Sign in Register
Posted On: 13 November 2011 05:46 am
Updated On: 12 November 2020 02:11 pm

QPO recreates Beethoven’s magic at Katara

Discuss here!
Start a discussion
DOHA THE Qatar Philharmonic Orchestra on Saturday held a captivating concert featuring among others a performance of Beethoven’s Seventh Symphony conducted by renowned conductor Gerd Albrecht at Opera House of Katara. The special QPO performance was to entertain dignitaries participating in the Aspire4Sport 2011 Conference. Noted Czech soprano Petra Froese also mesmerised the audience with her soulful songs, melodious voice and effective style marked by sharp modulations at the concert in the tranquil ambience of the Opera House. Variations of great complexity, synchronisation of quiet and gentle movements with tumultuous ones and the combination of soft, tender notes with harsh ones marked the rendition of the legendary composer Beethoven’s Seventh Symphony. The musical soiree started with a brilliant performance by QPO of one of the most prolific composers of Western classical Felix Mendelssohn Bartholdy’s composition titled The Hebrides (Fingal’s Cave), Op 26. This was followed by an enchanting performance by soprano Petra Froese of Mendelssohn’s another composition titled Infelice, Op 94. Mendelssohn is regarded by classical music aficionados and critics alike as one of the most prolific and gifted composers the world has ever known. This was followed by a lovely presentation of one of the early compositions of Beethoven titled Ah Perfido by the soprano and the QPO. The remarkable balance and extraordinary range of Froese’s voice helped her stick to the notes even during the most complicated twists and turns of the composition. Her voice turned soft and gentle on lower notes and was rather harsh in the anticlimactic situations. Ah Perfido is an early Beethoven work immersed in 18th century operatic tradition. It is the cry of a woman who has been betrayed in love. Beethoven’s Symphony Number 7 is scored with pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets plus timpani and string choir. Wholly abstract and utterly symphonic, the Seventh was his definitive break with stylistic conventions practiced by Mozart and Haydn. Beethoven’s epochal character is often divided into early, middle and late periods represented respectively by works based on classical period models, by revolutionary pieces that expanded the vocabulary of music and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom.