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passionately in "the second" of the Week Avilesina

Tuesday, 12 April , 20:15 . "XXXIV Religious Music Week Avilés" . Church of St. Thomas: Angeles Tey (soprano) and Bernardo García Huidobro (guitar), with the collaboration of Izumi Kando (continuo. Works Bach, Enrique Villaverde , Purcell and D. Scarlatti .

Concert something "puzzling" by the formation of choice, voice and guitar (more specifically the organ), in a repertoire suitable for the environment pre-Passion though with unequal results.
day I opened my always beloved Bach with three of his "Geistliche Lieder" : the BWV 469 (Ich steh an Deiner Krippen hier), BWV 493 ( O Süss Jesulein ) that Mendelssohn would also for Oratorio "Paulus" and BWV 458 ( Vollbracht Es ist ) for soprano and guitar, a first handicap of having to do all the bass as an instrument of six strings, with little volume but fully integrated into a score that is not theirs, combined with whose low register voice barely hear (and I was sitting in the fifth pew) perhaps taking the intimate by a low-emission projection, although versions baritone or tenor (let alone for high child), are more pervasive .

The bar rose with the first hearing (mentioned at the beginning that it was opening): Aleph, est Obscuratum Quomodo ( Lamentation on Good Friday 2 nd , single, 1745) of Enrique Villaverde (1702-1774) that was choirmaster of the Cathedral of Oviedo and "discovered" by my teachers and Inmaculada Quintana Emilio Casares, version for voice, guitar and organ, Gregorian chant to the great polyphonic succumbed in his scores. Work fully adequate to the color of the soprano, was somewhat undermined by an accompaniment in the background too, losing the richness of the bass, and a mismatch between the performers, but that under what he heard then was the best concert.
The Cantata for soprano and continuo (again "watered down" by the guitar accompaniment only, despite the efforts of the Chilean ) Tell me some pitying angel ( Purcell ) taking chapter 2, verse 4 of San Lucas, I again descended into purgatory on earth, with an initial recitative totally out of tune, do not know if the voice or the guitar that was on a completely different harmony to the melody heard. The rest was running a little better, but with the same shortcomings Initial, despite a discreet accompaniment sound as the plane ("could use a little amplifación despite the natural reverberation of the temple?).
To conclude the brief concert, Domenico Scarlatti and four numbers making up their Salve Regina (in this concert versioning for soprano, guitar and organ). A step up after the "trip" above, but more killing for pleasure sinful listener ear, staying just on the landing. Conceived work for countertenor and orchestra, although there versions for soprano and organ (I I prefer the mezzo and orchestra of ) obviously tend to compare with heard, and is the reason why I was not very comfortable, although I remain grateful to bet on these repertoire. It's okay to bring in "short version" and more in times of crisis, we can not work must not lose, especially live (the disc is another thing), but not go into qualities that other paths lead me anything you want. As was my admired Diana Diaz , I hope to read his critique on LNE, and personally I'm more "anxious" to hear the third, let alone the fourth ... this week full musically.

PD 1: I've already uploaded some songs to ® Channel on YouTube of the Week . PD
2: Overview of Fernando del Busto in La Voz de Avilés the same Tuesday. PD 3: Overview of T. Cembranos in LNE on Wednesday 13 .
PD 4: Review of Diana Diaz in LNE Thursday 14.