Margarita Balanas made her solo debut at Wigmore Hall at age 17 and has performed for dignitaries and royalty, including HRH Prince Charles at venues such as Royal Festival Hall, Berliner Philharmonie, Foundation Louis Vuitton, Southbank Centre, Walt Disney Hall, Casa da Musica and Le Corum, and has appeared in festivals such as Piatigorsky International Cello Festival in Los Angeles, the Adelaide International Cello Festival in Australia, the International Cello Festival Shanghai, and performed with the Israel Camerata, Sinfonie Orchester Berlin, Saarbrucken Symphony Orchestra, Orchestra Filarmonica Marchigiana, Orchestra of St Johns, Malta Philharmonic Orchestra, Lithuanian National Orchestra. Margarita is a regular guest artist for Scala Radio, BBC Radio 3 In-Tune, Classic FM and Latvian Radio 3. Balanas was extended a personal invitation by Anne-Sophie Mutter to tour with the Mutter Virtuosi across South America. Balanas has given cello masterclasses in London and North America.
If Torelli and Corelli have notably establishes the form of the concerto grosso, in which a small ensemble of soloists, the concertino, opposes to the ripieno (orchestra), the solo concerto will be born from this concerto grosso by reducing the size of the concertino. Although he was not its inventor, Antonio Vivaldi imposed its form with this singular name « L' estro armonico » Op. 3 published in 1711. This prestigious collection of twelve concertos for strings comprising bold instrumental combinations with one, two or four violins, sometimes with a cello, presents a concentration of rhythmic and melodic formulas, each more daring than the other, the virtuosity of the writing, however, never alters a depth marked by an inner tension present throughout the work. No. 3, 6, 9, 12 (one violin) and 5 (two violins) are authentic solo concertos. The modernity of this collection will fascinate generations of musicians, until the 20th century. With its contrasts, the beginning of the famous Concerto No. 11, for two violins and cello, is particularly fascinating : a two-part canon for the two solo violins leads abruptly to a few measures of the solo cello, which introduces a long fugue whose elaborate construction profoundly influenced Johann Sebastian Bach. It is rejoicing that in this concerto so well represented by new musicians possess a technique at this point accomplished and at the service of an imagination also poetic. *Lucien*
Again I cannot help to mention. I am not Mike Peterson as listed below. My name is John Dantzler. I am from Brewton, Alabama. I don't know where the name Mike Peterson came from. Some pirated comment I suppose. That being said, I wish that I could meet these two ladies. God is so good to allow people to come into His presence bearing the very gifts and talents that He has bestowed upon them. Think on these things ladies and anyone who reads this. That is a truth that none can deny. BRAVO ladies!!! Bravo!
I have watched this video more times than I could possibly recall. Such remarkable compassion and endurance to the memory of Vivaldi and other great composers (not to mention such GREAT talent by two beautiful sisters). I commend you both on your ability to work and study together. I am sure it has had it's trials but the outcome is unbelievable. As I have watched this video so many, many times I found myself smiling at times and weeping even more. I really don't have the just words to exhibit the praise you both deserve. Bravo!! Again, BRAVO!!!!
