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Some piano concerts are legendary. Those written by Franz Liszt are the work of the most revered virtuoso in the history of the instrument. Francesco Piemontesi measures himself with Concerto No. 2: a single musical arc, where sometimes the piano struggles to impose itself on the orchestra, sometimes he approaches it kindly to hide in its sound fabric. Gianandrea Noseda combines another masterpiece of Romanticism, offering an orchestral selection from Roméo et Juliette by Hector Berlioz, “dramatic symphony” dedicated to Niccolò Paganini. Even in the original symphony — which includes singers and choir — it is to the orchestra alone that Berlioz entrusts his favorite Scène d'amour, because, in his words, the instrumental language is “a richer, less determined and therefore incomparably more powerful language.” A rich language like that of Luigi Dallapiccola, who opens the program with his two orchestra cameos.
Due pezzi sinfonici
Orchestral selection from Roméo et Juliette
Concerto No. 2 in A major for piano and orchestra
Gianandrea Noseda è uno dei direttori d'orchestra più richiesti al mondo, ugualmente riconosciuto per la sua maestria sia nella sala da concerto che nel teatro d'opera.
Read MoreIl pianista italo-svizzero Francesco Piemontesi, originario di Locarno, si è guadagnato negli anni la reputazione di uno dei principali interpreti del repertorio classico e romantico tedesco.
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