This is truly “his” repertoire, in which he feels particularly comfortable and effortlessly shares his enjoyment and that of his Baroque Ensemble with the audience. On Friday evening, in the Saint-Martin – Saint-Augustin Church located in old Nice, Gilbert Bezzina and his fourteen musicians performed the complete “Sinfonias” by Francesco Maria Veracini, a largely unknown figure from the 18th century, yet one of the most extraordinary violinists of his time. And an indefatigable traveler: from the Basilica San Marco in Venice where he performed in 1711, he returned to his hometown, Florence, for the creation of his Oratorio “Il trionfo della innocenza patrocinata de San Niccolo” before going to London and Düsseldorf and then settling in Dresden, where he was hired by the Elector Friedrich August I of Saxony. It is probably from this period that his Sinfonias were created.
Reminiscent of some pieces by Telemann, these six “Overtures,” elegant and enjoyable despite not being scripturally complex, were executed by the musicians of the Nice Baroque Ensemble in impressive harmony, likely under the well-handled direction of its conductor and violinist Gilbert Bezzina. Slow and fast movements alternated with an interpretation that emphasized varying nuances from one melodic phrase to another. According to the director, this approach helped avoid potential “repetitive effects.” An unjustified apprehension: the majestic nature of the fourth, the gentleness of the sixth or the energy of the third of these Overtures offered a broad spectrum of emotions.
The shared inspiration made the attacks and changes in rhythm almost visible: a wave moved the bodies and heads of the musicians in unison, a sensation that spread to a thoroughly captivated audience. Whether hanging on every signal from Gilbert Bezzina like the very involved -and very promising- cellist Julien Hainsworth, never looking at him like the impressive bassist François de Rudder who admits that “by working together,” one “feels” the direction or hesitating to loosen his bow tie to amplify his breath like the talented Christophe Mazaud (oboe), each musician has contributed -in their own way- to the success of the concert.
This Baroque Ensemble has successfully delivered the enjoyment and pleasure contained in this music: in one of the final movements of the first Overture, an exceptional duo occurs between bassoon and oboe. In the second and third of these Overtures, an emotive string trio (Gilbert Bezzina, Laura Corolla, and Ottavia Rausa) is heard, punctuated by numerous dialogues which alternate with unexpected changes in tonality. Enough to legitimize an encore that was not merely formal.
