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MIssa Solemnis "In Gloria Dei"

 

Sunset I

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Gabriele Saro, irreprobative talent and free spirit. His vast, lameme production is the figure of an artistic personality who does not shy away from the incessant challenge towards talking horizons... and in 2017 he completed "MISSA SOLEMNIS "IN GLORIA DEI" FOR CHOIR, ORGAN AND ORCHESTRA": opera trinùzia, since it marries the broad celebratory, the lyrical and the severe. Ineradicable my approach with the composer when I attended the "live" performance of the opera: Gabriele Saro, inexplicably, immediately forced me to look for reference points to which I would stick in an attempt to classify it. But why was I in this state of constriction for his sacral composition? I had to take advantage of the experience to assault me: only those who prove to be a refined composer make you oblige, initially, to "this research". And so, abandoning what could perhaps be mere curiosity, without further delay, healthily capitulating, I recognized his exquisite, accurate, fine identity.

"MISSA SOLEMNIS "IN GLORIA DEI"...»... not only the "Mediterranean" character of the score but also the arrangement of the "elements" that make up the composition, enhance the relationship with religion, a bursting, nanny, prosperous relationship and also full of trepidance... trepidation like Kyrie: subdued "openness" as if it were being born from an indescribable silent heart of the earth.

Freshness and liveliness in the vocal expression and the tonal tablet of the orchestra: it seems a model of big-screen direction, totally suasive for any peremptor, from the most competent to the most neophyte. Slow "slips" destroy the heart that is in full swing when the aura of ancient crosses it; a fervent dawn discovers your chest when harmony takes on the outspoken late-romantic flavor; a vulcanal wind crosses you when the "head" invades the orchestra; the majestic lashes you, lifes you... notes overflowing with all wealth that seem waiting for our amazement to leap into it like festive springs.  The voices, perfectly adapted to their roles and saro's virtuosic writing, go hand in hand with the rigorous sound tightness: indeed, maestro Gabriele, draws a reading of great expressive power.

One cannot but pay attention to two robust and true elements in the Imaginative Saroiano: persuasive effectiveness and feeric vision. The interpreter who will be going to face this eternal value of Saro, will therefore have to grasp and evoke the strong and authentic elements of him: if the interpreter believes in the feelings of candidness, elevation and spirituality that this work presupposes, worthy of trust will also be his interpretation.  
Gabriele Saro lives in the sign of fluent communication with the public on all continents.

CLAUDIO GARDENAL

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