Estratti

lun 28 ottobre 1996
Roma
Una viola al Massimo - Al S. Carlo buona prova di Paris
Paolo De Simone
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mar 01 maggio 1990
Diapason
Intégrale des Concertos pour viole d'amor RV 392-397
Roger-Claude Travers
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mer 01 novembre 1995
Gramophone
Rolla: Viola Concertos / Massimo Paris, I Musici

The music of Alessandro Rolla (1757-1841), on the evidence of this interesting CD — and I confess that my knowledge of Rolla does not extend beyond it — is quite conventional in tone and idiom but by no means empty or cliché-ridden, as is so much music of this period. The Op. 3 Concerto is a big, expansive piece (its first movement, with a short introduction, lasts more than 13 minutes); its style is quite austere, it has a number of unexpected if not deeply original ideas, while its handling of the viola (Rolla's own instrument, of course, though he was also a violinist and for many years leader at La Scala) is highly effective — its darker colours tellingly used, the emotional appeal of its reedy, readily plaintive upper register well exploited. There is no want of eloquence in the Largo and the finale is a cheerful, spirited polacca. I would guess that it dates from the 1780s or 1790s, when he was at the Parma court.

The Concertino is clearly rather later, musically and formally less solid and more intent on virtuosity and expression, with a shortish first movement leading directly into the quite intense Andante and this time a polonese finale. Clearly, Rolla relished these Polish rhythms: the second section of the Divertimento here is once again a polacca, after an Andante of considerable depth of expression and with some appealing ideas. The Rondo, seemingly earlier, is quite a brilliant piece, with a spirited main theme and also some cantabile writing.

Massimo Paris is an extremely accomplished player who clearly has the measure, technically and musically, of these pieces; he also composed the cadenzas, allowing himself perhaps more space, and wider scope, than Rolla himself might have done. But I have nothing but praise for his performance, his handling of the instrument's colours, his command of the idiom and his management of the virtuoso music. The accompaniments, too, are prompt and efficient. The adventurous listener might well like to try this unusual disc.

fonte ArkivMusic

Stanley Sadie

ven 01 gennaio 1999
NUZ Neu Ulmer Zeitung
Bartók in Hochform
Barbara Perkovac
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gio 21 gennaio 1999
Südwest Presse
Das Fresko eines Lebens
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mar 01 agosto 1995
Strad
Rolla: Viola Concerto in E flat major
Tully Potter
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sab 01 maggio 1999
Das Orchester
Auch Bartók beschert große Resonanz
Günter Bühles
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sab 01 aprile 1989
CD Classica
Recensione Concerti per viola d'amore
Alberto Batisti
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mer 18 dicembre 2002
Il Tempo
Beethoven sorride a Lu Ja

..la viola dell'eccellente Massimo Paris era viatico per entrare nei misteri dei giardini musicali segreti del passato come in queli presenti...

LT.
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mar 01 novembre 2011
Stereoplay
Recensione Homenaje a Albéniz
Christoph Schüren
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Archi Magazine
Recensione Homenaje a Albéniz
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mer 06 ottobre 1982
The New York Times
Chamber: Vivaldi by I Musici
Edward Rothstein
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ven 06 dicembre 1991
El Diario de Caracas
Las Serenatas de Morello Muñoz evocaron el ayer
Joaquin Lopez Mujica
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ven 05 maggio 1995
Musik&Theater
Recensione Cd Concerto Rolla
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Frankfurter Allgemeine

Feinen Genuss verschffte ein junger Mann names Massimo Paris mit seiner wunderschön sonor klingenden Viola. Frei und selbständing musizierte er vor allem in der Hindemith-Sonate (op.11 nr.4), zielstrebig auf den Charackter des Themas und seine Veränderungen eingehend.


Sundey Times

Mr. Paris was the soloist with distinction in telemann's Concerto... Mr. Paris showed the breadth of the instrument with its round contralto sonorities.
He displayed the grace of its sounds in the firts moviment and its dextery in the Allegro and the final Presto.


West Australian

...the highlight of evening, was Mr. Paris performace.
Both Mr. Paris and his accompanist distingued themselves by their sensitive performance.

Nassau Guardian (Bahamas)

gio 19 febbraio 1981
Corriere della Sera
Con Graziosi un giovane solista
Valerio Cappelli
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Il Tempo

...che dire del violista Massimo Paris la cui cavata è ricca, vigorosa, spesso pastosa e morbida.


Paese Sera

...Il programma dell'auditorio RAI presentava: "Dialoghi" per viola, chitarra e orchestra di Irma Ravinale, solisti eccellenti Massimo Paris e Mario Gangi.

A. Br

AvantiUltimo

Christmas with Los Romeros

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