{"id":14111,"date":"2026-04-10T11:29:37","date_gmt":"2026-04-10T11:29:37","guid":{"rendered":"https:\/\/www.pianostreet.com\/blog\/?p=14111"},"modified":"2026-04-10T11:30:52","modified_gmt":"2026-04-10T11:30:52","slug":"beatrice-ranas-classiche-forme","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/articles\/beatrice-ranas-classiche-forme-14111\/","title":{"rendered":"Beatrice Rana’s “Classiche Forme”"},"content":{"rendered":"

This upcoming summer marks the highly anticipated 10th edition of the Classiche Forme chamber music festival<\/a>, run by acclaimed pianist Beatrice Rana. As preparations for the milestone anniversary get underway, we now get a fascinating look back at the last edition by guest writer Laurence Vittes from Bachtrack.<\/span><\/p>\n

The ninth edition of Beatrice Rana\u2019s weeklong \u2018Classiche Forme\u2019 chamber music festival in the southern Italian city of Lecce opened on a warm, golden evening, the air weighted with the hush of a sweltering day.<\/p>\n

The setting was the courtyard at the Chiostro del Rettorato at Piazza Tancredi, part of the former Carmelite convent now home to the University of Salento. The program opened with dreams \u2013 Clara Schumann\u2019s Three Romances for violin and piano \u2013 and closed with Robert\u2019s love song to his wife, his Piano Trio no. 2 in F major. Maurice Ravel\u2019s exposed-nerve Sonata for Violin and Cello came in the middle \u2013 an arresting and unconventional choice that nestled between the Schumanns with a gentle jolt of Impressionist austerity.<\/p>\n

\"\"

Chiostro del Rettorato at Piazza Tancredi<\/p><\/div>\n

Clara\u2019s Romances, composed in 1853 and dedicated to Joseph Joachim, were the ideal curtain-raisers for both the evening and the festival. While Robert never played the violin, it\u2019s tempting to imagine the couple sharing a quiet moment over the score, smiling at its beauties, and the rapt focus between pianist and violinist here suggested a similarly tender intimacy: Alexandra Conunova\u2019s poised eloquence matched beautifully with Rana\u2019s resplendent sound, though Conunova\u2019s tone \u2013 likely diminished by the open-air venue and the oppressive heat from the stage lights \u2013 felt smaller than usual. Undeterred, Rana was luminous even in the simplest of arpeggios and together with Conunova\u2019s graceful lyricism, they gently surged the passion into the final Romance, ending in a sublime glow.<\/p>\n

\"\"

Beatrice Rana<\/p><\/div>\n

The evening’s Ravel centerpiece, performed by Conunova and the young American cellist Brannon Cho, strips music to its bones. Ravel demanded that his performers sync pizzicatos like clockwork and launch lines \u201clike mechanical rabbits\u201d \u2013 it is music as exposed mechanism, engineered with fierce clarity. The sonata is also devilishly hard: the technical difficulties, especially in the second movement, are almost incomprehensible to non-string players. Even among elite duos, it\u2019s a high-wire act.<\/p>\n

Conunova and Cho delivered a poised but softened interpretation \u2013 a tour de force in itself, less a high-wire act than a pastel rendering of music drafted with the exactitude of a blueprint. Their coordination was tight and to the point, and the second movement\u2019s guitar-like pizzicatos and harmonics came off cleanly. The ferocity was dialed back in both the second and fourth movements \u2013 the interruptions were only moderately loud nor violent \u2013 and alas, in the second, the cello\u2019s concluding glissando pizzicato chord was completely lost in the night air. Still, the smoothly virtuosic performance felt attuned to the setting: a warm, outdoor evening where understatement resonated more naturally than raw attack.<\/p>\n

\"\"

Alexandra Conunova and Brannon Cho<\/p><\/div>\n

Admittedly, there was little sense of le bon go\u00fbt fran\u00e7ais in terms of style and color \u2013 which might be described as a balance of light bow speed and gentle vibrato while sustaining only key harmonic points \u2013 and Conunova occasionally leaned into portamenti that, while expressive, were at odds with Ravel\u2019s precise markings. There were flashes of absolute brilliance: after a furtive smile from Conunova toward Cho at the start of the lightning-fast second movement \u2013 a kind of \u201cOkay, here we go, let\u2019s hope this works\u201d bravado \u2013 her crisp, well-shaped double-stops were breathtaking.<\/p>\n

Rana returned to join her colleagues for Robert Schumann\u2019s F major Piano Trio in a performance that was modest in scale but full of affection, and the final dialogue in the last movement was genuinely moving. Rana\u2019s phrasing was exquisite throughout \u2013 elegant, expressive and full of quiet authority. Having known her solely through concerto and solo recordings, hearing Rana as a chamber musician was a revelation: deliciously intimate, deeply collaborative and simply gorgeous.<\/p>\n

Text: Laurence Vittes
\nPhotos: \u00a9 Flavio Ianniello<\/p>\n

This article is a contribution from the online magazine Bachtrack<\/strong> through <\/em>Piano Street’s International Media Exchange Initiative.<\/em><\/p>\n

\"PianoSolo.it\"<\/a>Founded in 2008, Bachtrack is the world’s leading platform for classical music, opera, and dance. Serving 360,000 monthly users across four languages, we provide comprehensive global event listings, expert reviews, and exclusive interviews with top industry figures.<\/p>\n

<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

This upcoming summer marks the highly anticipated 10th edition of the Classiche Forme chamber music festival, run by acclaimed pianist Beatrice Rana. As preparations for the milestone anniversary get underway, we now get a fascinating look back at the last edition by guest writer Laurence Vittes from Bachtrack. 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