Sensitivity and Impetus: The magical performance of Massarelli on the podium of Bellini, Catania.( S. Sciacca )
Sensitivity and Impetus: The magical performance of Massarelli on the podium of BelliniCatania. But does there exist music for women? Illustrious musicologists affirm that every true artist interprets the music according to his soul which is diverse from one personality to another: but the distinction of gender no, there is none. After having heard, in rapid succession, at Teatro Massimo, two concerts conducted by two women, the judgment changes.Silvia Massarelli, this weekend, gave a decisive performance: she revealed an exceptional personality: a profound sensitivity, that grasps also the slightest indications of the score, an impalpable delicacy in dreamy moments, and then an impetus, a sentimental fervor which one recognizes immediately. It is the feminine personality of a Corinna, of a George Sand of music. It is that fervid sensitivity that the late Clara Schumann elevated here to all the colors of a great orchestra.Silvia Massarelli offered the Dolly of Gabriel Faure with all the seductions of an insinuating decadence, sweet,but not lacking sudden aggressive movements which rarely one finds in the mediocre performances directed by men. A mixture of impulses and tender singing which is repeated for the symphonic dances of Rachmaninov where the reverberations of mid-day are dissolved in the trembling twilight to arrive at a midnight of languors and improvised joys that makes the music a faithful analysis of the soul in the moments of gracefulness.The conductor participated in all the emotions that she evoked with impetus, with visible affection and, at the conclusion, among the thunderous applause from the competent audience before her, she was congratulated with the soloists of the orchestra who permitted the enchantment.