The concert of the Zadig Trio on October 25 in Regensburg was recorded by the German radio station BR Klassik.
Program:
- Haydn: Trio Hob. XV 12 (n°25) in e minor
- Beethoven: Trio op 70 n°1 "Ghost" in D Major
- Piazzolla: The four seasons of Buenos Aires
https://www.br-klassik.de/programm/radio/ausstrahlung-2627468.html
Review of our latest album ORPHEUS in Opus HD:
"Trio Zadig takes these works in stride, with a communicative fervor that doesn't let go of the listener until the last note of a demanding program. In short, a recording to listen to without delay."
Check out the full review below:
http://www.opushd.net/article?article=2994
« Trio Zadig evokes Beethoven and Dvorak from the resonance of a borrowed violin. »
« In the Concertgebouw's Small Hall, Trio Zadig outlined mysterious atmospheres in Beethoven's 'Geister' on Tuesday. Dvorak's 'Dumky' grew into an epic tale.
Voltaire's novel character Zadig falls prey to strange and tragic twists of fate before becoming prince of Babylonia. So whoever calls his ensemble Trio Zadig must reckon with the unexpected. That's what violinist Boris Borgolotto noticed, whose instrument threatened to give out just before the performance in the Concertgebouw's Kleine Zaal. He called Muziekhaven in Zaandam, where violinist Mathieu van Bellen got in the car to bring him his wife Maria Milstein's instrument, "because that's a bit more accessible to play in one second."
Milstein conjured up many a Beethoven's Geister and Dvorak's Dumky on her violin in the Van Baerle Trio. Under Borgolotto's hands, that happened again. Something that feeds the seductive myth that such an instrument has a memory of its own.
Haunting sound
In Beethoven's Fifth Piano Trio, Zadig found the ghostly sound to which the piece owes its nickname Geister - ghostly apparition. Especially in the 'Largo' it seemed as if the trio was descending into a mysterious crypt: pianist Ian Barber sometimes gave voice to the footsteps on the stairs, cellist Marc Girard Garcia and violinist Borgolotto embodied the voices that were singing their way out of the dark depths.
The highlight was Dvorak's monumental Dumky Trio. Zadig allowed the six movements to grow into chapters in an epic story, and their instruments became characters, brothers or childhood friends who meet again after many years, embrace each other, reminisce about tempestuous adventures and old loves, sometimes quarrel and are overcome by melancholy about times gone by.
What was particularly striking in both pieces were the beautiful melodies and lines that Beethoven and Dvorak wrote for the cello, often the most unassuming voice in chamber music, but in the Trio Zadig Garcia's instrument became the heart of the music, its strings emerging as - as Voltaire writes in Zadig - the thin threads on which the fate of mortals hangs. His "singing" left no one unmoved. »
Joost Galema - NRC
After already being rescheduled once before, the first performance of Benjamin Attahir's Triple Concerto, which should have taken place on Thursday, May 13, 2021 in Pau under the direction of Faycal Karoui, will be postponed for the 2022/2023 season.
The Zadig trio has been nominated to spend a week in artistic residency at the Villecroze Music Academy with the dancer Ariane Servagent to create a video clip directed by Antonin Amy-Menichetti of the Dvorak "Dumky" trio.
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Trio Zadig - Fanny Mendelssohn - Pianotrio: Finale | Podium Klassiek
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The Making of “The Mendelssohn Legacy” (TRIO ZADIG)
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Felix Mendelssohn – Piano Trio No. 2 in C Minor | IV. Finale. Allegro appassionato (TRIO ZADIG)
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Felix Mendelssohn – “Consolation” | Lieder ohne Worte, Op. 30 (TRIO ZADIG)
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Fanny Mendelssohn – Piano Trio in D Minor, Op.11 | I. Allegro molto vivace (TRIO ZADIG)
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Piazzolla: Las Cuatro Estaciones porteñas - Invierno porteño
5 Stars from Classica for our album "The Seasons" !
Thanks to Fabienne Bouvet for this beautiful review 🙏🙏
« If there is another month that alone justifies listening to this recording, and the well-deserved success of Zadig, it is without question October. Listen to this subtle inflection of tempo, from the twentieth second, by the violinist Boris Borgolotto. In one hesitation, everything is said. "The three friends do not play, they sing. See how from the weeping of Marc Girard Garcia's cello is born, at 2'40, this obsessive and haunting line of the piano. Like a reminiscence of happiness with a fragile light, sublimated by the incredibly tender playing of the American lan Barber. Sometimes, the strength of an interpretation lies in its fragility.
This is the case here, my favorite of the week.»