The Four Seasons (Feb)
9 - 23 February 2015
GABRIELI Sonata XXI 'con tre violini'
TAWADROS (orch. Tognetti) Kindred
VIVALDI Spring (from The Four Seasons), Op.8, No.1
TAWADROS (orch. Tognetti) Sleight of Hand
VIVALDI Summer (from The Four Seasons), Op.8, No.2
TAWADROS (orch. Tognetti) Eye of the Beholder
VIVALDI Concerto per la solennità di s. Lorenzo, RV562: II.
VIVALDI Concerto for Violin in A minor, RV356, Op.3, No.6: III. Presto
TAWADROS (orch. Tognetti) Permission to Evaporate
TAWADROS (orch. Tognetti) Give or Take
VIVALDI Autumn (from The Four Seasons), Op.8, No.3
MARCELLO Sinfonia (from Il pianto e il riso delle quattro stagioni): II. Andante
TAWADROS (orch. Tognetti) Point of Departure
VIVALDI Winter (from The Four Seasons), Op.8, No.4
TAWADROS (orch. Tognetti) Constantinople
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Clive Paget, Limelight Magazine
"For in Richard Tognetti’s smart reimagining of the Red Priest’s greatest hit, we get something rare, rich and just a little bit strange."
Suzannah Conway, The Australian
"The Four Seasons is perfect repertoire for the ACO and its leader, Richard Tognetti, a modern-day virtuosic Vivaldi. To spice up this standard repertoire, Tognetti has teamed up with brothers Joseph and James Tawadros and their modern brand of Eastern music."
'Tawadros’s trilogy [of albums] contains interwoven strands that culminate in a masterpiece that pulls all the threads together while concurrently treading fresh ground.'
Lloyd Bradford Skye, Syke on Stage
"This was probably one of the best classical crossover concerts I’ve seen in years. No. That’s probably not true. Make that decades."
Steve Moffatt, Manly Daily
"Musical cliches were avoided and what liberties were taken were all done in
good taste. Let’s face it, the purists have plenty of 'historically informed' or
full symphonic versions to choose from: this was a night for the more open-minded
‘And the packed out Angel Place audience lapped it up. The frenetic back and forth between oud and violin …raised the roof."
Peter McCallum, The Sydney Morning Herald
"In slow improvisatory passages (as in the Grave from the Concerto RV 562) there was a common languor and sensuousness from both players but it was in the fiery fast music that this convergence of spirits resulted in a genuinely new re-energised playing style."
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