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Plácido Domingo conducts a Spanish Night at the Waldbühne

01 Jul 2001
From the Berlin Waldbühne

Berliner Philharmoniker
Plácido Domingo

  • Amadeo Vives
    Doña Francisquita: Fandango (4 min.)

  • Pablo de Sarasate
    Zigeunerweisen (Gypsy Airs), op. 20 (9 min.)

    Sarah Chang Violine

  • Emmanuel Chabrier
    España (7 min.)

  • Johann (Sohn) Strauß
    Spanischer Marsch, op. 433 (6 min.)

  • Federico Moreno Torroba
    La Marchenera: La Petenara (4 min.)

    Ana Maria Martinez Sopran

  • Manuel de Falla
    El Sombrero de tres Picos (The Three-Cornered Hat), orchestral suite No. 2 (13 min.)

  • Nikolai Rimsky-Korsakov
    Capriccio espagnol, op. 34 (18 min.)

  • José Serrano
    Los Claveles: Romanza (5 min.)

    Ana Maria Martinez Sopran

  • Ernesto Lecuona
    Malagueña (5 min.)

  • Ernesto Lecuona
    Andalucía (3 min.)

  • Isaac Albéniz
    Cantos de España, op. 232: Córdoba (7 min.)

  • Pablo de Sarasate
    Carmen Fantasy, op. 25 (14 min.)

    Sarah Chang Violine

  • José Pablo Moncayo
    Huapango (10 min.)

  • Pablo Luna
    El niño judío: Canción española (6 min.)

    Ana Maria Martinez Sopran

  • Jules Massenet
    Thaïs: Méditation (6 min.)

    Sarah Chang Violine

  • Paul Lincke
    Berliner Luft (6 min.)

Every year more than 20,000 music lovers make their way to the Waldbühne – in the opinion of connoisseurs one of the world’s most beautiful open-air stages – for the end-of-season concert of the Berliner Philharmoniker. Their first concert was held here in 1984, and since then the orchestra has ended each season with a very special musical treat devoted to a particular theme: there has been an “Italian Night” under Claudio Abbado, an “American Night” under Sir Simon Rattle, a “Russian Night׆ under Seiji Ozawa and a “French Night” under Georges Prêtre. In 2001 Plácido Domingo joined this phalanx of conductors and made his debut with the orchestra, conducting the present “Spanish Night”.

By this date one of the world’s leading tenors had already proved that for him conducting was far more than a second job. He had in fact studied conducting in addition to singing and the piano at the Mexico City Conservatory. At the Waldbühne he impressed his audience with his musical credentials and lively temperament, while at the same time introducing his listeners to the first love of his musical life, the zarzuela, a kind of operetta rarely encountered outside the Spanish-speaking world. In excerpts from works by Pablo Luna, Amadeo Vives, Federico Moreno Torroba and José Serrano he was ably supported by the soprano Ana María Martínez, of whom the critic of the Berliner Zeitung wrote enthusiastically: “She turned couples into lovers and brought dreams of blissful happiness to the lonely. Many listeners closed their eyes and smiled beatifically.”

The violinist Sarah Chang then played Pablo de Sarasate’s Gypsy Airs and Carmen Fantasy, delighting her audience with her immaculate technique and imaginative playing. The rest of the programme was made up of works by non-Spanish composers such as Emmanuel Chabrier, Johann Strauß the Younger and Nikolai Rimsky-Korsakov, all of whom were inspired by the music and cultural of the Iberian peninsula, while the music of Latin America was represented by José Pablo Moncayo. And when the audience began to call on Domingo to sing for them during the encores, he lost no time in seizing the microphone and joining in the immortal song in praise of Berlin, Paul Lincke’s Berliner Luft.

EuroArts

© 2001 EuroArts Music International

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