The violinist Zeraldas Bidva had been playing as a soloist for two minutes and Mrs. Ethel, with her straight white hair, got up with a cell phone in her hand and recorded everything she could of the Lithuanian’s performance.
Although many had refrained from breaking the “protocol” that a symphony concert implies (being seated, clapping only at the end of the works and remaining willing), the lady could not contain herself.
The Iglesia de la Soledad, located in the heart of San José, hosted the Credomatic Music Festival this Sunday, August 14, and there everyone seemed to take advantage of said “protocol” to the letter, but Mrs. Ethel could not resist her anymore. passion. It didn’t matter, rather. The people behind her seat also got up to record the great Lithuanian violinist who was at the front of the stage.
Music gives vigor even in that sense: in breaking the mold and getting up to enjoy music in their own way, as happened with this free concert, where the spirit of art was lived with open doors for anyone who wanted it.
BAC Credomatic Music Festival: Concerts from Iglesia de la Soledad to Liberian Cattle Chamber
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In 31 editions, the BAC Credomatic Music Festival has provided open spaces to enjoy music free of charge, always with top-level musicians brought from other countries.
For this year, the presence of the Lithuanian Chamber Orchestra, an ensemble founded in 1960 by Saulius Sondeckis, a legendary musician, stood out in the program.
However, in the church the subject of resumes or who was in charge did not matter at all because, from the moment the artists entered the center of the temple, the aura of being in front of exceptional musicians was felt.
The presentation began with the suite st paul by the composer Gustav Holst. Jordi Antich, director of the festival, complied with the custom of giving context to the works that were performed. “Listening to these dances is like imagining being on a ship, loaded with sailors. Let yourself be carried away by the music and feel everything it provokes”, he said, as a prelude to this first musical dish.
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From the first sounds that came from the violins, hypnosis fell on the audience. With the church packed, the audience did nothing but stare straight ahead, motionless, as if afraid that leaning to the side or craning their necks would spoil the score coming true in the air.
The suite took about ten minutes of satisfaction for the public. People seemed to be anxiously awaiting the closing of the end of the work to let out all that accumulated applause. When the musicians lowered their shoulders, the burst of applause appeared.
Later, the ensemble surprised with Kol Nidrei, the work of Max Bruch, which was not in the planned program. “This is a special work”, Antich clarified, before beginning, “because it takes the cello as an emulator of the voice that would be heard in a Jewish synagogue. The cello provides the rhythm in this work”.
That’s how it went. The talented Deividas Dumcius was lord and master of this slow work, which lowered the energetic rhythms that had been promoted with the previous interpretation. The public seemed to relax, many passers-by came to settle in the external columns to listen and, at the end of the song, the ovation was repeated.
For the final work, which was the Concerto for violin and orchestra in E minor, op.64 by Felix Mendelssohn, no one in the audience had yet left the so-called “protocol”, until Doña Ethel appeared.
His enthusiasm was more than justified: soloist Dzeraldas Bidva was a cook of delights to the ear, completely stealing the Show and leaving everyone present satisfied, who went home with the best possible taste in their mouths.
The epilogue of the concert was a complete temple standing applauding as a symbol of praise and gratitude.
At the end of the concert, Mrs. Ethel continued with her smile intact. Stopping her and exchanging a couple of sentences, she only managed to say: “That man (the violinist) made me happy like I hadn’t felt in a long time.” Her family accompanied her outside the temple, holding her hand to take her home satisfied.
The music won, as always. Those chords signed by Lithuanian talent will not be forgotten just like that; emotion that Mrs. Ethel can attest to.
The festival does not end!
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If you want to enjoy the Credomatic Music Festival, there are still more features available. Next, the detail of the remaining free concerts:
Tuesday, August 16, 7:30 pm, at the BAC Credomatic Branch in La Fortuna de San Carlos: Bel Tono, United States Trumpet Ensemble.
Saturday, August 20, 5 pm, at the Church of Las Mercedes (Greece): Bel Tono, United States Trumpet Ensemble.
Saturday, August 20, 7 pm, at the Cartago Amphitheater (Municipality of Cartago): Le Baroque Nomade, from France.
Saturday, August 20, 8 pm, at the National Theater: Heredia Symphony Orchestra.
Sunday, August 21, 7 pm, at the Teatro La Palestra, Ciudad Colón: Le Baroque Nomade, from France.
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Music flooded the Iglesia de la Soledad: standing applause for an unforgettable concert