Critical Reception
Belinfante's recorded output was sparse and poorly maintained. None of the pre-war recorded radio performances survive, and only the very last recording of her American career is preserved in archive. However, more than three decades of critical reviews exist internationally that document Belinfante's superlative musical gifts. Her conducting technique was noted for her command of period style, cohesive ensemble, clear and decisive baton technique, transparent ensemble textures, buoyant and propulsive rhythms, and conducting all performances without a score. As a soloist on the cello and viola da gamba, she was noted for her particular insight into the music of Johannes Brahms and Johann Sebastian Bach, especially the Suites for Unaccompanied Cello BWV 1007-1012. Belinfante’s solo, concerto and chamber performances were characterized by a singular beauty of tone, faultless intonation and legato, complete technique, profound involvement with the music, and an expressive interpretation free of mannerism. Her repertoire spanned all periods and media including works from the Baroque to contemporary living composers of the period, especially those working in Holland and France and in particular her close association with Dutch composer Henriëtte Bosmans.
Read more about this topic: Frieda Belinfante
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