SANDRINE CANTOREGGI

Concerts

 

11/05/2021

19:00 

Organisateur: CVL

Sabine WEYER, piano
Sandrine CANTOREGGI, violon

Programme:

24 Préludes op.34 pour violon et piano D. SHOSTAKOVICH (arrangement L. AUERBACH, D. TSYGANOV)
Sonate N.5 op.53 pour violon et piano M. WEINBERG

Ce concert réunit deux compositeurs russes dont l’un fut, pendant trop longtemps, injustement méconnu à l’Ouest. En effet, l’ampleur de l’œuvre de M. Weinberg, d’une intensité poignante, égale celle de Prokofieff ou de Shostakovitch, sans pour autant avoir atteint le même degré de célébrité internationale. Ce n’est qu’en 2019, à l’occasion du centenaire de ce compositeur d’origine polonaise, mais installé en URSS dès 1939, que de nombreux programmateurs de concerts se sont mis à lui rendre hommage! A travers le programme choisi, Sandrine Cantoreggi et Sabine Weyer souhaitent illuminer et partager en musique la forte amitié qui liait deux compositeurs aux destins hors du commun.

12/05/2021

20:00 

Sandrine Cantoreggi violon

Petra Vahle alto

Manuel Fischer-Dieskau violoncelle

Franz Schubert: Streichtrio D 471 

Maurice Ravel: Sonate pour violon et violoncelle

Gabriel Iranyi: Drei Sätze für Streichtrio

Wolfgang A. Mozart: Duo KV 423

Ernő Dohnányi: Sérénade op. 10

03/06/2021

20:00 

Un jeune soldat rentre chez lui en permission et rencontre le diable. Il fait un marché avec lui et échange son violon contre un livre qui a le pouvoir de le rendre très riche. Seulement, après avoir fait fortune, le soldat se rend compte qu'il lui manque l'essentiel et il finira par tout perdre, emmené par le diable en enfer. En collaboration avec Kammerata Luxembourg et en coproduction avec le Cape, la compagnie Kopla Bunz remet en scène cette pièce de théâtre musicale intimiste composée par Stravinsky lors de son exil en Suisse lors de la Première Guerre Mondiale sur des parole du poète suisse Charles Ferdinand Ramuz et conçue pour un théâtre ambulant.

Une coproduction Kopla Bunz, Kammerata Luxembourg, Trifolion Echternach et Cape Centre des Arts Puriels Ettelbruck.

 

Videos

 

Music

Live Concerts - excerpts
Discography
 

Press

Biography

Sandrine Cantoreggi, Violinist at heart, can not imagine life without music. It is through her violin that she focuses her emotions and thoughts. Her mode of communication, more than words, colors or movement, is the sound of the violin. The sound of the wind, the sea or the song of birds are all sources of inspiration that feed her interpretations. Sandrine is a complete artist who has always enjoyed dialogue with other artistic, musical, literary or plastic expressions.

 

Born in Bordeaux, Sandrine Cantoreggi started at the Conservatoire de Musique de Luxembourg and was admitted to the National Conservatory of Music and Dance in Paris at the age of 14. Trained in the respective classes of Pierre Amoyal, Régis Pasquier, Roman Nodel and Carlo Van Neste, she obtained, with the greatest honors, the diplomas of the 1st Violin Prize of the CNSMDParis, the Konzertexamen at the Musikhochschule of Mannheim-Heidelberg and the Graduate of the Queen Elisabeth Music Chapel of Belgium.

 

Disciple of violinists in the right line of Eugène Ysaye and Georges Enescu, Sandrine embodies the Franco-Belgian violin by the teaching she received while expanding her sonic and expressive palette by the interest she brings to the world Russian violin school.

 

Several meetings have been decisive in the musical development of Sandrine.

Yehudi Menuhin, who had noticed her during competitions, asked to meet her and he will support her in different projects. Sandrine played under his direction and keeps an unforgettable memory of this extraordinary musical encounter. Her taste developed for a highly expressive and authentic interpretation was confirmed by the master. A recording made in 1991 bears witness to their unfortunately too brief collaboration.

 

Sandrine is a soloist with orchestra, solo violin recital and chamber music. Among the musical personalities with whom she shared the stage are Yehudi Menuhin, Vladimir Spivakov, Yuri Bashmet, Georges Octors, Jan Stulen, Stephane Denève, Pierre Cao, Bruno Canino, Daniel Blumenthal, Dana Ciocarlie, Gustav Rivinius, Connie Shih.

Tours lead her to perform in the United States, England, Georgia and Japan and she performed on prestigious European stages such as the Salle Gaveau and the Orsay Museum (Paris), the Gewandhaus (Leipzig), the Rudolfinum (Prague), the Flagey Studio and the Monnaie (Brussels), and the Luxembourg Philharmonic.

 

The 2018/2019 musical season will be punctuated by the projects

- "On the wings of music" with pianist Connie Shih.

- a tour of Japan with pianist Bruno Canino.

- chamber and orchestral concerts in Georgia, Germany, Switzerland and Luxembourg with cellists Valérie Aimard and Manuel Fischer-Dieskau, violist Petra Vahle and musicians from KammerMusekVereinLuxembourg.

- the show "Tanz um die Zeit", "Dance around time" will link the music for Solo Violin to the dance and choreography by Hannah Ma.

 

Many of her concerts have been recorded by various European radios.

Since 1994 various CD recordings testify to his musical impulse. Sandrine Cantoreggi has recorded chamber music and concertos by Haydn, Mozart, Locatelli, Onslow, Respighi, Lalo, Ravel, Enescu, Ropartz and Ysaye for the Turtle Records, Pavane, Ligia and Kalidisc labels.

 

In turn, she likes to pass on her knowledge to younger generations. She has taught at the Brussels Conservatoire and is a professor at the Conservatoire de la Ville de Luxembourg. She is the founder and director of the Masterclass Journées Musicales Mondorf.

 

His Royal Highness Grand Duke Henri of Luxembourg awarded her the order of civil and military merit of Adolphe de Nassau and raised her to the rank of knight in the field of sciences and arts.

The Banque Internationale à Luxembourg is proud to support Sandrine Cantoreggi by providing a violin created around 1754 by Giovanni Battista Guadagnini. As a historic patron of Sandrine Cantoreggi, the Fondation Indépendance is pleased to contribute to the realization of her projects.

"Vehemence and sensibility. A performance reflecting easiness and fluidity as well as a dynamism free of any physical constraint. Her approach is always accompanied by a brilliant sound presence, an erudite happiness and splashing with joy."

Greg Foetz, Luxembourg Wort

 

May 23, 2018, Hakuju Hall Reviewd by Mariko Okayama

The concert was like a refined conversation between an old gentleman who has tasted the sweets and bitters of life and a mature woman who has a remnant of a girl at the cafe terrace at Montmartre at dusk. They were wonderful and nice. I enjoyed their songs and gave them applause.

 

Canino is a pianist familiar with the Kusatsu music festival. He was born in Naples in 1936. He is one of the regular members of Kusatsu music festival in which there are many musicians selected by the people of good judgement. He is a good player who plays well from classical to modern music. Cantoreggi is born in Bordeaux in 1969. It was the first time for me to listen to her music, but when I listened to them, I felt her music might has a taste like a taste of wine, rich and mellow (I'm not familiar with wine).

 

Debussy's "Sonata" first movement, it was like the sample of the impressionist's touch. It was colorful and rich, subtle delicateness of gradation. When she played the melody, she played "portamento" (which is her feature) sometimes. The sound seems like the movement of the Debussy's pen. Playing with piano, the sound described the outline of this music. Second movement, she played sharp rhythm, pizzicato well (other players can't play it well). In addition, she also showed me the bold play, a little avant-garde. Final movement, both of 2 musicians played sharply. I felt the interpretation of the musicians from impressionism to modernism through Sonata. That's great.

 

In 6 songs following Debussy's Sonata, I was attracted to 2 musicians in " Minstrel". Like a stylish Cakewalk, I enjoyed it. Cantoreggi played well at the husky voice of "La plus que lente". I can't find another musician like her who plays the violin expressively.

 

I admired the music of Ravel's "Sonata". The sound changed. She harmonized with the clear sound of piano. Cantoreggi played skillfully with the sound of Canino who is good at modern music. Second movement, blues, she played along the low tone of piano. I felt the breathing of blues (like a slow-motion of Monroe walking) in this song. I thought it was like the conversation (which I wrote at the first sentence of this critics) with the cocktail. The highlight of the final one is passionate temperament. Wonderful.

 

The performance of "Tzigane" exceeded more. The solo part of Cantoreggi was excellent, like a very good performance of the digest of "Carmen". That means, the audience are enchanted with the sound, like a sordid atmosphere, mysterious aroma and wildness of Roma culture (the portamento of this song was amazing). Moreover, Cannino made an interjection with perfect shift and delay sound. It was the great performance of the old gentleman. It seems like the love game between man and woman. I felt jealousy for their performance.

 

All the performance is attractive and varied, in addition elegance and refinement. I enjoyed the music which adult can enjoy. Thank you.

2018年5月23日 Hakuju Hall

Reviewed by 丘山万里子(Mariko Okayama)

写真提供:プロアルテムジケ

<演奏>

ブルーノ・カニーノpf

サンドリーネ・カントレッジvn

<曲目>

ドビュッシー :

  ヴァイオリンとピアノのためのソナタ

  前奏曲集第1巻より

    亜麻色の髪の乙女 (ハルトマン編)

    ミンストレル (ハルトマン編)

  レントより遅く (ロケ編曲)

  スケッチブックから (ヒルデブラント編)

  「ビリティスの3つの歌」より<髪> (ハイフェッツ編)

  美しき夕暮れ (ハイフェッツ編)

ラヴェル :

  ヴァイオリンとピアノのためのソナタ

  ツィガーヌ

サン=サーンス :

  序奏とロンド・カプリチオーソ イ短調 作品28

  ワルツ形式によるカプリス (イザイ編)

 

酸いも甘いも嚙み分けた老紳士と、どこか少女のかけらを残す、でも成熟した女性の洒脱な語らいを、モンマルトルの夕暮れ時、カフェテラスの隣テーブルで一人聴くような。素敵に楽しく、どの曲にも惜しみなく拍手を送った一夜であった。

カニーノは草津音楽祭で親しんだピアニスト。1936年ナポリ生まれ。確かな見識眼で選りすぐられた音楽家が集う草津の常連で、古典から現代まで造詣の深い名手だ。

カントレッジは1969年ボルドー出身、私は初めて聴くが、そういえば彼女の音楽、複雑で芳醇なそのワインに似る(さして詳しくないが)。

ドビュッシーの『ソナタ』第1楽章、印象派のタッチとはこういうものだ、という見本みたいな演奏。ふっくら色彩感の豊かなこと、グラデーションの微妙繊細、ただ配色をあれこれ見せるだけでなく、ヴァイオリンの旋律線には時折流し目みたいなポルタメントがかかり(彼女の特徴)、それがドビュッシーの筆先の動きをそのまま写し、そこに響きあうピアノとともにこの音楽の輪郭(輪郭については本誌掲載、金子仁美さんの「五線紙のパンセ」を参照されたい)をぼうっと描き出す。一転、第2楽章は鋭角リズムを快活に刻み、ピッツィカートも良く鳴り(痩せる奏者が多い)、加えて前衛の扉をちらと開けて覗き見するような大胆さも。終楽章も両者切れ味鋭く、ある意味、このソナタ3章で印象派から現代に至るドビュッシーの立ち位置を見せてもらった感じ。さすがだ。

続く6曲の小品では「ミンストレル」に二人の魅力がはじける。ショー・ステージがありあり浮かぶ小粋なケークウォークの愉悦感。「レント」のハスキーヴォイスにカントレッジの持ち味全開、こんな風にヴァイオリンで喋る人は今どきそうは居ない、と感じ入る。

さらに唸ったのはラヴェルの『ソナタ』。音色がぐっと変化してぱらぱらと粒立ちの良いピアノに絡まるヴァイオリンの身ごなしの敏捷。現代ものを得意とするカニーノの打音のカラッとしたテイストにカントレッジ巧みに歌い、飛び回り。第2楽章ブルース、ピアノ低音の刻みにのけぞるように載って行くブルースの息づかい(というかモンローウォークのスローモーションを想起されたい)ときたら、冒頭に記した二人の会話の夜の部カクテル、といったら良いか。終曲の無窮動はめらめらテンペラメントで沸点へ。いや、参りました。

と、思ったら『ツィガーヌ』が、さらにこれを上回り。ソロ部分での彼女の節回しから始まり、全編『カルメン』の瞬殺ダイジェスト版を観ているようだった。つまり、カルメンとそれを取り巻く人々、ロマ(ジプシー)文化の猥雑で妖しい香気と野性味が強烈に渦巻き、客席を悩殺したのだ(ここでのポルタメントの威力はいうまでもなく)。しかも、彼女の歌や踊りに合いの手を入れるピアノの微妙なずらし、溜め、の眩惑力は半端なく、これぞ老紳士の凄腕、男女の駆け引きクドきの様を目の当たり、何やら嫉妬を覚えるほど。

などなど、どれを取っても蠱惑に満ちたひねり技、しかも毅然とした品がある。大人の音楽をたっぷり味わわせていただきました。感謝。

 (2018/6/15

 

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