The musicians received a certificate for this from the guinness book of records editors just a few months ago. That was a nice present in 175. Year of the existence of bad kissingen's spa orchestra, which has big fans among guests and locals alike.
But now the birthday was also celebrated with a festive concert in the great hall of the regentenbau. Invited, high-carat soloists set highlights on this evening, which had altogether a very high musical level.
Enthusiastic applause after each contribution confirmed that the stylistically diverse compilation of popular works from the so-called classical repertoire, opera and operetta, as well as christmas contributions, certainly met the expectations of the audience.
As a "travel companion who chats to the program", presented the "black bass heinz georg fichtner introduced himself, who, in addition to moderating, also sang the solo part of osmin's aria "wer ein liebchen hat gefunden" ("who has found a sweetheart") from mozart's opera "the abduction from the seraglio had been taken over. He prepared sympathetically and whimsically each work and its composer.
Early dedicated band
Sigismund Von Dobschutz, who as a former spa director was particularly familiar with the orchestra, conveyed interesting facts about the spa orchestra in a sometimes very humorous manner, always providing links to general contemporary history alongside the various stations of the orchestra's chronicle.
And so it was learned that "the cure music" in bad kissingen is already much older than today's orchestra, which since 1980 has been the "ara of the modern spa orchestra" pragt. In the period around 1837, a permanently engaged bohemian band entertained the guests, after which munich, vienna and hohen orchestras played in bad kissingen.
Wonderful changes of color, piano passages of the utmost delicacy and intonational precision, a soft, withdrawn clarinet solo by deputy orchestra leader albert galimzanov, discreet pizzicati and very carefully played brass made two arlesienne suite movements by georges bizet a convincing start that whetted the appetite for more.
The musicians accompanied the mezzo-soprano kylie carter in the "carmen" in the same colorful and sociable way-habanera. The soloist performed her part with mysteriously restrained temperament; this made the performance extremely exciting. The atmosphere of an opera house brought her powerful, darkly luminous voice into the coarse hall.
Not inferior to her was the soprano deborah lynn cole, who made her mark with the touchingly sung aria "O mio babbino caro" presented. The duet with carter in the "barcarole" showed that the voices matched each other from "hoffmann's redemptions. Even in the more restrained christmas tunes, both brought colorful touches to the program, even if some of the coquetry seemed a bit out of place.
It was not entirely clear why the sangers had been electronically strengthened throughout; that was unnecessary. Schoner would have been the pure sound, and whoever could hold his own against a full-blown opera orchestra would also have been able to do so against a 13-man kurorchester.
The vocal star of the evening, it is fair to say, was the tenor keith ikaia-purdy: whether in the aria "nessun dorma", or in the "nessun dorma", or in the "nessun dorma", or in the "nessun dorma" from puccini's "turandot or at the well known "cantique de noel" the audience was completely overwhelmed by adolphe adam's clear, pithy voice, the liveliness of his singing and the underground expression he conveyed. This performance was an enormous gain for the festival concert.
With the organist michael kunz, another soloist had been invited to perform. He had his "concert organ and with it he thrilled everyone. He is a brilliant virtuoso at the keys and with the help of the instrument a sound magician. The "last-night-of-the-proms-medley" elicited several bravos. At the end, everyone played together again in the traditional way.
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