Real Orquesta Sinfonica de Sevilla
The Australian conductor Daniel Smith, who already visited us with an entirely French program just prior to the pandemic in January 2020, revalidated what was already evidenced then - a devoted, energetic and disciplined baton. Accompanying Scheps [Chopin Piano Concerto No.2], he knew how to calibrate the abundant phrases intended for simple harmonic basis against those other more bombastic and tragic, which the work also transmits. But it was in the symphony Mathis der Maler, that Paul Hindemith composed as a prelude to his great opera inspired by the life of the 16th-century painter Matthias Grünewald, where Smith took the opportunity to show off his character. If he began luminous and serene in the Concert of Angels, assuming its playful character and contrapuntal development with enormous naturalness and excessive care for details, in the Entombment, he highlighted its mystical character, almost like a lament, with an extraordinarily grave output from the entire string complement, which was admired so much in this symphony. And, in the Temptation of Saint Anthony he was to the fullest, right inside its fascinating contrasts between the demonic fury and the subtle, relaxed passages, which Smith handled with remarkable ease and dramatic sense, all the way until reaching the final Alleluia with effulgent brass.
Juan José Roldán