PERFORMERS:
Zhanna Dombrovskaya (soprano)
Larisa Yudina (soprano)
Dmitry Voropaev (tenor)
Mariinsky Opera soloists and Orchestra
Conductor: Christian Knapp
Musical Preparation: Marina Yevseyeva
In his final three symphonies, Mozart takes a brave look towards the future. If the famous Fortieth Symphony in G Minor foretells the arrival of Schubert the Romantic, the Forty-First Symphony in C Major (not by chance did it become associated with Jupiter, a name given by God knows whom!) is full of true, Beethoven-like power and heroics. Already contemporaries saw in Symphony in C Major a vivid combination of gallant and studied styles, refined and subtle melodics with their sophisticated polyphonic development.
“Such an abundance of beauty … almost fatigues the soul and at the same time veils the effect of the whole. And yet we wish the artist well, his only mistake being his excessive perfection,” as one contemporary critique of Mozart says. The perfection of Mozart’s great works has remained aliveto the present day.
Iosif Raiskin
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