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VERSION:2.0
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DTSTAMP:20260922T232558Z
UID:cb3af802-1642-41d8-9303-278ab4d61b40
DTSTART;VALUE=DATE:20261126
DTEND;VALUE=DATE:20261128
DESCRIPTION:Nov 26-28\, 2026\nTechnicolor had yet to be invented when Ottor
 ino Respighi embarked on his Roman trilogy\, but he didn’t know that. Hi
 s splashy\, supersaturated palette for Fountains of Rome (1916)\, Pines of
  Rome (1924)\, and especially Roman Festivals (1928) did for the ear what 
 The Robe (1953)\, Ben-Hur (1959)\, and Cleopatra (1963) were later to do f
 or the retina. No movie palace we’ve heard of ever runs those blockbuste
 rs back-to-back (who’s got the hours?)\, but it’s possible—just—fo
 r an orchestra to play Respighi’s triptych straight through. True\, the 
 three panels of the triptych add up to little more than an hour. But the d
 emands on the musicians are relentless\, and the sensory overload on the a
 udience can be extreme. A phonograph recording of a nightingale provides a
  moment of exquisite respite. But the lion’s share of the music is very 
 loud. Beware\, in particular the buccine—circular trumpets of ancient Ro
 me whose true sonority is lost to time. For Respighi\, who knew what he wa
 nted\, these buccine must be built to order on a wing and a prayer or repl
 aced somehow by modern instruments. In either case\, the requirement is th
 at they must sound barbaric. (If you don’t see stars\, they’re not doi
 ng their job.) Barbarism isn’t really a keynote for the Berlin Philharmo
 nic\, which the late Herbert von Karajan transformed into a Space Age ense
 mble considered to this day the sleekest of the sleek. Several generations
  later\, Kirill Petrenko has been known to show a gladiatorial streak that
  could come in handy here.
LOCATION:Philharmonie Berlin\, Herbert-von-Karajan-Straße 1\, 10785 Berlin
 \, Germany
SUMMARY:Berlin Philharmonic presents Rome with Kirill Petrenko and Ottorino
  Respighi
URL;VALUE=TEXT:https://airmail.news/arts-intel/events/berlin-philharmonic-p
 resents-rome-with-kirill-petrenko-and-ottorino-respighi
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