Name: Sinfónico 14
Start: 2024-03-08T00:00:00.000Z
End: 2024-03-10T00:00:00.000Z
Location: Auditorio Nacional de Musica

Organization

Conductor

Masaaki Suzuki

Singer

Camilla Tilling

Soprano

Benjamin Bruns

Tenor

Bass

Christian Immler

Others

National Choir of Spain

Orchestra

National Orchestra of Spain

Orquesta y Coro Nacionales de España

Auditorio Nacional de Música

Chorus master

Beatriz Oleaga

Mezzo-Soprano

Maria Morellà

Contralto

Luis Izquierdo

Enrique Sánchez

Helder Jair Espinosa

Pedro Llarena

Margarita Rodríguez

Sinfónico 14

Madrid

Spain

Auditorio Nacional de Musica

Sinfónico 14: Paulus MWV A 14 op. 36 Mendelssohn

Public

Paulus MWV A 14 op. 36

Simon Samuel

Approved

OCNE. Symphony 14: Paulus op. 36 Mendelssohn

Este fin de semana, la Orquesta y Coro Nacionales de España interpretarán el oratorio 'Paulus, op. 36' de Felix Mendelssohn junto al director japonés Masaaki...

Bienvenida 2.0 - Sinfónico 14 - Ocne en Red

Wagner sembró la semilla de la discordia en torno a Mendelssohn al relacionar, en un célebre escrito de 1850, la supuesta falta de sinceridad de la música de este autor con su condición de judío converso. Mendelssohn no estaba allí para defenderse –había fallecido en 1847–, pero no es difícil percatarse de que estos ataques obedecían a intereses más complejos e inconfesables, pues no mucho tiempo antes –en 1843– había aplaudido su oratorio Paulus como un motivo de «justo orgullo parar la época en que vivimos».

En realidad, Mendelssohn fue un luterano modélico que debió contrapesar sus raíces –por ejemplo, en este mismo oratorio– presentando eventualmente a los judíos bajo un prisma negativo. El paralelismo entre su biografía y las dramáticas circunstancias que acompañaron la conversión de Pablo de Tarso –perseguidor de cristianos primero y mártir de esta fe después– otorgan más bien una rara autenticidad a esta obra que es quizá el oratorio más influyente –incluso en el joven Wagner– de todo el Romanticismo.

español

Wagner sowed the seeds of discord around Mendelssohn by relating, in a famous writing from 1850, the supposed lack of sincerity of this author's music with his condition as a converted Jew. Mendelssohn was not there to defend himself – he had died in 1847 – but it is not difficult to see that these attacks obeyed more complex and unspeakable interests, since not long before –in 1843– Paulus had applauded his oratorio as a reason for “ just proud to stop the time in which we live.

In reality, Mendelssohn was a model Lutheran who had to counterbalance his roots –for example, in this very oratory– eventually presenting the Jews in a negative light. The parallelism between his biography and the dramatic circumstances that accompanied the conversion of Paul of Tarsus – first persecutor of Christians and later a martyr for this faith – give a rather rare authenticity to this work, which is perhaps the most influential oratorio – even in the young Wagner– of all Romanticism.

English

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