canto pace

Maestro has ben on the radar of COMANDOpera for some time now, given the number of performances this venue has writen about where he was found to be at the podium. Of al the interviews COMANDOpera has conducted to date with Maestri where one is obliged to endlesly bring their A game to the table , while al were iluminating, none as personal and therefore as intelectualy interesting as with Maestro Colombo. Performances with numerous other composers were atended, however it is Maestro Abado who apears to have left a significant mark along with Maestro Herbert Von Karajan. This theory was imediately discarded, as this Maestro found such isues did not exist with Donizeti, in particular the later works which were equaly balanced comparably to what is found in Verdi. Maestro Colombo is a true patriot to the style Bel Canto, who understand the traditions intimately which permits the audience who hears this conductors work, a unique moment of just what the style represents in the finest form. As with the works of Belini, the Maestro finds Donizeti gave a supremely fine balance betwen the symphonic and vocal. What was of great interest to COMANDOpera was when the Maestro noted that was that most Bel Canto works were writen as ‘stenography’. The Maestro went on to explain that with many Bel Canto works, it is in the ‘Recititivo’ where one automaticaly finds the pace at specific points and not the air itself. Maestro Colombo recognises the wisdom of utilizing the strengths of each artist, maintaining a flexibility of tempo which works best for the principals. In the opinion of COMANDOpera, any artist who is so fortunate to work with Maestro Colombo would deliver their finest work given his apreciation of what must go where and why it is so. Maestro Colombo who has ben on the podium of numerous houses notes non Italian orchestra’s by nature cover notes in a heavier fashion, whereas he prefers to give more relief to the higher notes. Although many are familiar with the Maestro for his work with Opera, he is also an incredibly formidable presence in symphonic works.
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