Press
Like from a Storybook
The orchestra is also audibly inspired by this brilliant performance. In Rimsky-Korsakov's earworm-laden Oriental fantasy "Scheherazade," the already highly profiled soloists at the first desks gain even more presence after the intermission. Each and every one understands themselves here, following Jansen's example, as an individual who contributes to the whole with their enchanting interventions.
The freedom of music-making now achieved under Järvi is an impressive progress compared to the sometimes timid appearance of the orchestra just a few years ago.
The challenges are high, particularly for concertmaster Klaidi Sahatçi, who embodies with his violin the title heroine telling her life story. Sensitively supported by his colleagues, he literally becomes one with the role.
A concert like from a storybook, and the encore of Rimsky's famous "Flight of the Bumblebee" made the audience's happiness complete.
Bisede me violinistin Klaidi Sahatci (Conversation with the violinist Klaidi Sahatci)
For me, Tirana in autumn has always been a kind of Sentimental Waltz by Tchaikovsky.
Question: If you were given the opportunity, which composer from the past would you like to have a conversation with?
In fact, when we play, we are in a way having a conversation with each one of them. If I were forced to choose, I would say Beethoven, Brahms, Robert and Clara Schumann. Instead of asking them questions, I would stay in a corner like a little boy listening to the conversations of adults — which, for me, would be a treasure of inspiration.
Vibrant Watercolors
Claude Debussy's music has been called Impressionist, thereby bringing it close to Claude Monet's blurred landscapes. Although the French composer decidedly resisted this assessment, the label has stuck. How little it applies to one of his major works could be experienced at the Zurich Tonhalle, where the house orchestra let a concert on the theme of "Water" culminate in the performance of "La mer." Its chief conductor David Zinman focused on clear drawing of lines and let the orchestra act in vibrant colors. While the middle movement may have lacked some tempo flexibility, the primal force of the turbulent sea in the "Dialogue du vent et de la mer" was physically palpable. Maurice Ravel's "Une barque sur l'océan" connects seamlessly to Debussy. The movement from the piano cycle "Miroirs" unfolded rich sparkle in its orchestral version.
While Ravel's and Debussy's orchestral works resist simple retelling, Bedřich Smetana's "Moldau" or "Vltava," as the piece is called in the original, is undoubtedly a classic of program music. The course of the river from source to mouth offers characteristic episodes such as a peasant wedding on the shore or the majestic view of the Prague fortress. Zinman, who set the grand arc with a composed hand, did not remain stuck in the picturesque, however, but also revealed thematic connections. This was particularly beautiful to follow in the transition from the nocturnal nymph dance to the rapids.
The evening's concert piece, Édouard Lalo's five-movement Symphonie espagnole in D minor, Op. 21, transported the audience under the heat of the southern sun. Klaidi Sahatçi, one of the three concertmasters of the Tonhalle Orchestra, intoned the solo part with richness of color and elegance. While he began with a certain restraint, he let Spanish color flash especially in the central Intermezzo and the concluding Rondo.
Con Stradivari l’integrazione tocca le corde giuste
"Il maestro Klaidi Sahatci, di origine albanese, dal 2007 è primo violino del più famoso teatro del mondo.
Violinista di successo, conteso dalle grandi orchestre d’Europa, Klaidi rappresenta un volto inedito dell’immigrazione in Italia: quello degli artisti e degli uomini di cultura.
E dimostra che, proprio attraverso la cultura è possibile una più profonda integrazione degli stranieri.
Klaidi ha ottenuto la nazionalità italiana nel 2001, è sposato con Silvia, una collega conosciuta al conservatorio di Milano e suona abitualmente un violino Stradivari del 1719."
