#1024 ネルソン・フレイレ ピアノリサイタル/Nelson Freire Piano Recital

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2018年8月1日(水)@すみだトリフォニーホール 1st August, 2018 (Wed)@ Sumida Triphony Hall
Reported by Kayo Fushiya  伏谷佳代
Photos by Koichi Miura 三浦興一

ベートーヴェン:ピアノ・ソナタ第14番嬰ハ短調op.27-2 『月光』
Beethoven: Piano Sonata No.14 Cis-Moll op.27-2 “Quasi una fantasia”
Piano Sonata No.31 As-Dur op.110

Brahms: Vier Klavierstuecke op.119

Debussy: ‘Reflets dans l’eau’ from “Images”1
‘Poissons d’or’ from “Images”2
Albeniz: ‘Evocación’ from “Suite Iberia”1
ナバーラ Navarra

Paderewski: Nocturne
Grieg: Wedding day at Troldhaugen
Villa=Lobos: “Carnaval das Crianças” 〜No.1 ‘O Chicote do diabinho’
グルック(スガンバーディ編) :精霊の踊り
Gluck(Sgambati): Dance of the blessed spirit


This broad program spanning classical, Romantic, and modern works could only have been performed by a maestro like Freire. The pleasure the listener feels from head to toe was in large part attributable to the myriad scattered sound droplets wrapped in a naturalness so perfect that it would be easy to think the performance was overly sparse. The Beethoven in the first half was boundlessly open, yet meditative with no sign of tension. Beginning with “Moonlight” the serene and pristine sounds steadily and quietly accumulated in the innermost depths of the audience heart; the appealing power of the music reached a threshold at op.110, a late work, before sublimely overflowing. What unpretentious music! Without being caught in the stereotypical Beethoven rut, Freire skillfully spoke for the soul of the composer. In the following Brahms and Debussy as well, with only tone color layers and the transition of hues he brilliantly exposed the anguish and passion, and the nature and sentiment flickering within the heart of each piece. The diverse techniques closing in on the very essence in the shortest time; their accumulation and gradual development in his life. The extreme status of an artist is revealed here – nothing truly shows it more than the presence of Freire. The Albéniz piece and the Gluck – Freire’s signature encore – were played with a seductive and violently explosive pianism; a stroke of dense color left in space thrust the audience into a completely different dimension.(Kayo Fushiya)






伏谷佳代 (Kayo Fushiya) 1975年仙台市出身。早稲田大学卒業。幼少時よりクラシック音楽に親しみ、欧州滞在時 (ポルトガル・ドイツ・イタリア) に各地の音楽シーンに通暁。欧州ジャズとクラシックを中心にジャンルを超えて新譜・コンサート/ライヴ評、演奏会プログラムの執筆、翻訳などを手がける。