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Avilés enjoying Anna Tonna: double premiere Baroque

Wednesday 13 , 20:15 hours. "XXXIV Religious Music Week Avilés" . Church of St. Thomas: Anna Tonna (mezzo); Intxaurbe Itziar Aguirre (piano), with the collaboration of Niwelt Jacek (violin). Works: Debussy , Bach, Jacinto Javier (1968), Samuel Barber and Julian Orbon (1925-1991).
At last there was light and music came up with an interpretation of the third day of the week Avilesina. Dominican The soprano
, nationalized U.S. Anna Tonna, scholarship in Spain, long career where he does not forget the concert or the zarzuela , acting with the pianist, flutist and teacher local Itziar Aguirre (I stress three aspects because they have much to do) facing a high program where not miss anything with professional and high quality performances and "power." He tore the concert
-again echoing the clicks of rude staff photographer "? - With the translation of all the letters in his hand (congratulations for the initiative) with the vocal beauty of Debussy is the Lia Song (from the cantata L'enfant prodigue ), which in this version with mezzo piano recording gave more substance, and an accompaniment that was beyond co-star, with that script yet, "little Impressionist "but just as sensitive," breathing "together, coloring, playing on a French diction and English fingering.
could not miss "mein gott" Bach aria with contralateral Erbarme dich ( the Passion According to St. Matthew ) with violin Polish teacher who lives as in Avilés, Jacek Niwelt therefore not be the same without this "duet" suffering, earthy and spiritual at once. Again, while not recording "natural" of the U.S., financed from the German perfect with an intensity and interpretation intimate and almost able to touch us pray together with the musicians union.

The first release (all) of the evening was the Stabat Mater of Gipuzkoa Javier Jacinto (1968), that despite the current composition academicism breathing very interesting, not in the vocal area, where the text is the subject perfectly highlighted by the melody, but also with an accompanying "classic" tonal, with slight nods not muddy at all the feeling of the picture more moving of the Holy Week. You might even have opted for the body as a companion had not achieved the same climate, but the voice is the star, especially with the interpretation of Anna Tonna. Then another work
very demanding and I think that this little heard: Hermit Songs ( The Hermit Songs), Op 29, Samuel Barber, ten pages cycle composed between 1952-1953 (even within the period called "modern" dating from 1910 to 1949) on Irish Gaelic texts and Latin of the eighth to thirteenth centuries are a "micro-stories" , requiring highly concentrated performances by the star duo (first performed by the great Leontyne Price the author's own piano , though there are also versions or today baritone, mezzo): Voice should tell, pray , comment , laugh, whisper , want re- pray ... and piano with "text itself" where the notes have to "talk" without concessions descriptive, although there is some obviously. Again demonstrate the extent of registration to deal smoothly every one of the songs, again with more corporeal than the version "reliable" , and a plethora Itziar of suggestive sounds, pulsation contained when the music demanded it , and a set of pedals that could only cloud the reverberation of the church itself.

And the second release (in Avilés) of this event would Book of Songs (1986) made, I think in his last trip home, by Julian avilesino Orbón (1925-1991) of the mezzo spoke interview local newspaper, the composer that names the local conservatory and certainly one of the great symphonic composers of the twentieth century , sadly most recognized America than in Europe, a real musical bridge Atlantic but those who discover recorded, interpreted and even repeated .

From the work of head of the Asturian music is Lyric Song of Asturiana of Eduardo Martinez Torner , Julian Orbón gave us a new interpretation / recreation of fourteen topics where the piano takes on a color unthinkable in many other composers who drank and still drink from the same sources, and the voice really takes category of "poetry", which is related to Antón García Abril and your Mother Asturias " (1) in recording the tenor Joaquín Pixán and piano Rosa Torres-Pardo , but with the Avilés, Asturias in Cuba and then in "exile" of Miami, reaching the rank of homage and tribute to his homeland in his "last journey", I am convinced Enduring Testimony will interpret in the five continents around duo front row in his recitals. Very demanding work for voice and even more for the piano, try to find out if published it must be conveyed as authentic Asturian Musical Heritage and deserved recognition to the forgotten Master Orbón , at least in Avilés home itself has been honored prophet and in life!. Seemed both impressive performers take years together and not a few trials, very clearly worked before the concert. When there is talent is easily arise empathy, and I suppose the common tastes also help a lot.

well-deserved applause and excitement broken at the end of a concert that has put Aviles and his week on the site that we are accustomed.

(1) About the piano, the notes of my admired colleague Ramón Avello, also present at this evening, could explain this new "reinterpretation" of folklore Spaniard led the concert halls. PD
: are already rising in the week Channel on YouTube interpretations of Bach and J. releases Jacinto. plus the Book of Songs of Orbón , essential.