In the moments of break in between movements, you could hear thick anticipation hanging in the air. While Vivaldi’s Four Seasons was played with only one pause for applause, Richter’s Vivaldi: Composed was swept through without one. This music lifts one up from themselves and draws them into something deep and grand. I caught myself almost laughing for joy in a state of sheer wonder-struck incredulity. With a dreamy splash of lighting on the stage, Richter’s creative imagining of Vivaldi’s work cascaded into the audience. Richter’s reworking meant listening again to what is constantly new in a piece we think we are hearing when, really, we just blank it out.” From stage he shared the hopes that Richter had shared with him back in 2012: since Vivaldi’s music can be so oversaturated, he dreadfully wanted to reclaim its majesty through a new and awe-inspiring frame. Upon the opening of Vivaldi: Recomposed, Daniel Hope encouraged the audience to enter in, saying “Mr. I observed the seamless communication of the ensemble members and the dynamics that flew to the auditorium ceiling and rolled like a broken wave to the very farthest row of the top balcony, captivating us with every note. Without a conductor, I was stunned to see the synchronization of this ensemble as the passages of the music would swell and subside. Musically directed by the award-winning British violinist Daniel Hope, the Zurich Symphony Orchestra brought the Hill Auditorium to life in a stunning performance of Antonio Vivaldi’s The Four Seasons, and the UMS premiere of Max Richter’s Recomposed: Vivaldi – The Four Seasons.
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