Jacobo Christensen and Cristóbal Soler create a chamber orchestra of young musicians (Levante, 07.07.2021)

 This Monday, Nostrum Mare Camerata,

with musicians between the ages of 20 to 25, made its debut
at the Olympia Theatre

M.M. | València

The Nostrum Mare Camerata Orchestra, founded and led by the the 21 year-old violinist from Valencia Jacobo Christensen, made its debut last Monday at Valencia’s Olympia Theatre in an inaugural concert played to a full house whose clamorous applause was rewarded with three encores. 

The twenty two members of the orchestra, under the aegis of honorary conductor Cristóbal Soler of Valencia, are all young musicians between the ages of 20 and 25. Cristóbal Soler is the former director of Madrid’s Zarzuela Theatre and is currently the head of the city of Cuenca’s Religious Music Week and the city of Cullera’s Arts Festival. 

Monday’s concert, with works by Barber, Mozart, Offenbach, Delibes and Bartok, was first led  by Cristóbal Soler. He then passed the baton to Christensen who conducted the second part of the concert, including the encores. The programme began with Samuel Barber’s melancholic Adagio for Strings. For Wolfgang Amadeus Mozart’s Violin Concerto No. 5, the strings were joined by two French horns and two oboes, with Jacobo Christensen brilliantly executing the solo part, with cadences he himself had composed.

The audience was in for a surprise when Marina Cuesta, Blanca Ruiz and Carmen Lázaro left their places in the cello, double bass and viola sections respectively, where they had been playing up until then, to sing the Barcarolle from Offenbach’s Les contes d’Hoffman (Blanca Ruiz, soprano and Carmen Lázaro, mezzo-soprano) and the Flower Duet from Delibes’ Lakmé (Marina Cuesta, soprano and Carmen Lázaro, mezzo-soprano). 

After this lyric segment, the singers returned to their instruments for Bela Bartok’s beautiful and intense, though brief, Romanian Folk Dances. Thunderous applause brought them back for a rendition of Claudio Monteverdi’s Pur ti Miro.

But that didn’t satisfy the audience, and its insistent clapping earned a second encore: Vals en forma de jazz by Jesús Debón. The composer was in the audience and, at Christensen’s insistence, came up on stage to receive the ovation. As the public’s clamour persisted, Christensen announced as a final encore the repeat of Maruntel, the last of Bela Bartok’s Romanian Folk Dances that had been performed as the programme’s final piece. 

The new orchestra, under the production of singer and professor Gloria Fabuel, “represents a new generation of musicians with a voice of their own, offering roads less taken towards musical excellence and growth that are more in line with today’s society,”  in the words of Cristóbal Soler. 

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