Cervical Mucus Prior Period

Klingsor "Mefistofele" (Arrigo Boito) - Palau de les Arts - 04/27/1911

Yesterday was released in so-called Auditorium of the Palau de les Arts the last opera of the season in Valencia, with the concert version of the work of Arrigo Boito "Mefistofele" , a page that is not the most common in the repertoire of major opera theaters, but has a definite musical interest, with some beautiful moments.

operas in concert version is not exactly my cup of tea. The stage is a fundamental component of an opera, although it failed, and when it is suppressed, the final result, although it is very positive as in the case of yesterday, I keep calling costs opera. It's another thing. Some argue that prefer these versions in concert performances in that break the script. But it's not my case.

I assume that the times of crisis we need to be adjusted and that one way of lowering costs in this area is to resort to such representations. I accept it, but inevitably my interest wanes. And I fear that this is only the beginning and the operas in concert will increase next season (yes, that here is still not officially disclosed, if at all decent theaters in the world have long since been announced with all kinds of construction details, dates and performers).

A lack of scenery, on this occasion he tried to acclimate a little thing with a continuous release of smoke and lighting effects using fairly basic (red tones and blue evil passages and white in heaven).

Italian director Nicola Luisotti , head of the Orquestra de la Comunitat Valenciana , conducted an extraordinary reading of the score. Knew how to draw, in depth, all designed by orchestral richness and care Boito nuances neatly, accurately and energetic running briskly. So strong that at one point, the baton went flying, but luckily sacase the eye to any musician. Ildar Abdrazakov picked it up and handed it, throw it back to the ground, the director, I do not know if this time intentionally or not.

This is a work in which if orchestra and chorus work, the ultimate success is almost guaranteed. And in this case the orchestra, conducted by Luisotti wisely , worked perfectly in all sections, and the choir was immense.

And the great star of the evening was undoubtedly the Cor de la Generalitat , which has put a finishing touch to the season with his superb performance this demanding score, which got so shine incontestable. His first speech, entering into piano "Ave Signor" was truly sublime, grand and seamless as was the impressive final. children Escolania de la Mare de Deu dels Desamparats were not the same level, although there is nothing to object to his performance.

As for the soloists, the bass Ildar Abdrazakov , a regular on the New York MET, was a prominent Mefistofele. I really liked. Perhaps it was missing more forcefully, especially in the most serious costs exceed the orchestra, especially in its last sentences of the night where I do not know if he sang or simply move your mouth, because it was covered relentlessly by the choral and orchestral sound stream. But the Russian sings with great taste with a warm voice, beautiful color and timbre nobility, and "are spirit che nega" was fantastic, with power.

The role of Faust was taken by the Mexican tenor Ramon Vargas repeating role in Les Arts after its recent success in "L'Elisir d'Amore" and I have to say it was not as bright as on that occasion. I left with the conviction that, in addition to this role is less to his vocalism, possibly yesterday was not in perfect health. Since then he started quite insecure and "Dai campi dai prati" was really improved, showing some struggle to achieve and project the treble. It also seemed a bit cold and lacking in expression. Anyway in the second half of the opera improved significantly. Showed a more dramatic implication, the voice was in much better and gave us some magical moments, like a remarkable "Giunta, sul'passo extremity" and a beautiful duet "Lontano, lontano" which wasted elegance songbird.

The hitherto completely unknown to me, Canadian soprano Yannick-Muriel Noah as Margherita, was one of the winners of the night. I know I'm going to go against the majority opinion, but I have to say that I ended up convincing. His voice sounded too dark and sometimes piped gave the impression that he had placed a whole sobrasada bell. I acknowledge that delivery not missed. Wore volume, power and clarity in the treble, good fiat, was adorned with boldly outlining some middle voices and filados very acceptable, and was always immersed in the role, with great dramatic expressiveness. But when a voice not you excited, there is nothing to do, me and Noah left me completely cold. It was probably my problem, but I can not say otherwise.

The Venezuelan Lucrezia García in the role of Elena , I did not like. Technically much more limited Noah, no could control the huge volume of his voice. He was very powerful in the treble, but they were open and whistling. And his sudden change of color in the different registers greatly disfigured vocal line.

papers and Marta Pantalis , little given to the splendor, were played brilliantly by the young Mallorcan mezzo Maria Luisa Corbacho returning to Les Arts after last season left us some excellent prints "Cavalleria Rusticana" , "The Traviata or "La Vida Breve" .

Elche tenor Javier Agulló also appeared in two roles, as Wagner and Nereo , which do not offer much room to stand out, and so did meet with enormous correction. He started feeling a little nervous, but not tarnished at all in his duet with Vargas Act I

The audience, which was over three quarters of entry despite the semifinal match with soccer, and those who could see the maestro Alberto Zedda responded with loud applause to the good show put on, the applause sound proving particularly for members of Cor de la Generalitat and Nicola Luisotti .

I do not want to close this review without referring once again to this monstrosity aesthetically pleasing and acoustically despicable who dared call Auditorium at the Palau de les Arts. I'm saying that if he had called Juan Manuel, the name would have been better.

Although compared to the first years have improved somewhat, remains absolutely unpresentable the acoustics of this hall, the result of dysfunctional architectural onanism Mr. Calatrava , for me to be the third of the brothers comedians, because what makes us laugh the fucked every time we go is priceless.

Yesterday we mentioned some friends the need for this chestnut Auditorium longer used for musical chores and give any other purpose. It was noted that could be used to store (for sets, bill of costumes, shoes Mairé ...) or "ballenográfico" leveraging its similarity to the inside of a whale, and Helga could even set Pinocchio, or heated (for capitalize on the flood), or any failure to set fire Special Section in 2012 ... so I do not know ... will open a contest of ideas and proposals are supported.

I recommend reading the reviews and comments and Titus Maacah .

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SAUL BASS. THE ART OF ASSETS

If you've ever heard someone say in the movies or watching television: "you have not lost anything, until now only been out signs" , is that the credits of that film were not Saul Bass .

Saul Bass (1920-1996) was born in the New York borough of the Bronx. He studied graphic design in this city and in 1946 he moved to the West Coast, where he began working in the Publicity Department of the Warner in Hollywood.

There, in 1952, created his own company, "Saul Bass & Associates" , and in 1954 will meet the director Otto Preminger , who commissioned the poster design his film "Carmen Jones" . When Bass submitted the proposal, Preminger was so impressed that he offered to produce the credits of the film, thus beginning a long and innovative career in this field, hitherto almost entirely secondary and dispensable.

next year also carried out the advertising image and the credits of a new film by Preminger , "Man With the Golden Arm" where Frank Sinatra played a jazz musician addict heroin. Here is where Bass definitely be revealed as the great revitalization of the genre, including some animated credits, with its own autonomy within the film, creating a personal style that is identifiable throughout his career.

Up Bass arrival , credits of the films were little more than a forced and rapid enumeration of artistic and technical staff was involved in it, with a listing on a background still image, which was what was responsible for graphic designers, or at most, overprinted with the onset of action. Bass With the start of a movie gives a radical and credits go on to become an event in itself, a small autonomous work of art, full of visual and aesthetic force, announcing its own personality, of his Graphic author (who first appears uncredited), which is going to below. Bass said the goal of credits should be symbolize and summarize the story that introduced, and he got on a teacher.

This also is another important element in power which is the soundtrack. The music, in those few minutes during the opening credits, is in perfect harmony with the images and helps to describe, as an overture, the intimate spirit of history will tell us.

's collaboration Bass Preminger and reached its zenith in 1959 with "Anatomy of a Murder" . An out-standing work both from the standpoint of film as the design of the credits, where the creation of Bass, with the silhouette of a body built to the rhythm of the great music of Duke Ellington , leaves one the best moments of the genre:

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A year earlier, Saul Bass had initiated another successful tandem with another great director, Alfred Hitchcock , who work in three masterpieces of suspense wizard, "Vertigo" (1958), "North by Northwest" (With the North by Northwest) (1959), and Psycho (1960).

Saul Bass created for "Vertigo" a hypnotic titles, from the first frame, we enter the world of obsessions and fears of the protagonist. It counts with excellent add a soundtrack from Bernard Herrmann beautifully constructed, with a haunting notes of the harp, sudden appearances of metals and chiseling a swinging rope climbs and descents in the score, we plunge into this dizzying spiral Bass visually raises a pupil and that, at any given time, reverse the direction of rotation to return back to the vision of the eye with the name of Alfred Hitchcock it:

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His collaboration with Alfred Hitchcock in Psycho seems that extended beyond the stunning opening credits to the film and reached storyboard design the shower scene. Still remains alive the controversy about whether Saul Bass merely to draw up plans to film on paper or actually was in charge of directing the filming, which Hitchcock always denied.

Some other noteworthy of his creations were, for example, "Around the World in 80 days " (1956), with the famous music by Victor Young background:

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O "Good morning blues" (1958), "The Big Country" (1958), or "Ocean's Eleven" (The crew of eleven) (1960):


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O “Éxodo” (1960), “West Side Story” (1961),  “El mundo está loco, loco, loco” (1963)...

Pero su trabajo en el mundo del cine no se limitará sólo al diseño de carteles y títulos de crédito. Dirigió varios cortometrajes, labor por la que llegaría a obtener un Oscar en 1968 por su corto titulado “Why Man Creates” . Y también dirigió un largometraje, “Phase IV” , una interesante historia de ciencia ficción que sin embargo pasó sin pena ni glory through the screens.

announced his retirement in 1980 film, but first let us the excellent work that introduces the legendary Ridley Scott film "Alien" . From this time will focus on graphic design work which will be responsible for logos and corporate images for companies like United Airlines, Minolta, Bell, AT & T, Kleenex or Warner Communications, and in 1984 will be in charge of designing the poster of the Olympic Games in Los Angeles.

film director James L. Brooks claim in 1987 services to develop Saul Bass credits "Al Filo de la Noticia" (Broadcast News) , thus initiating the second stage New York designer in this field, where accompanied by his return wife Elaine, which is marked by his friendship with Martin Scorsese , who will collaborate in four memorable titles: "Goodfellas" (Goodfellas) (1990), "Cape Fear" (1991 ) "The Age of Innocence" (1993) and "Casino" (1995), which would ultimately his latest work, leaving forever in our minds the memory of that powerful start in the body of Robert de Niro explodes after his car explode and remains floating in the fire while the credits are occurring at the sound of the Choir impressive "Wir setzen uns mit Tränen nieder" of "The Passion According to St. Matthew " of JSBach .

Unfortunately, I could find on youtube video the beginning of "Casino" (*) , so I will end with another great work of this master of design, as Spartacus (1960) The film directed by Stanley Kubrick . Saul Bass here again makes a show of genius and, true to his own motto of "synthesize and symbolize" , get a huge sum sobriety epic drama that will follow. Looking at each of the memoranda accompanying the names of the cast, see how Kirk Douglas - Spartacus is represented by a hand with a clenched fist holding a knotted rope, Jeanne Simmons - Davinia is a woman's hand holding a vase, Laurence Olivier - Crassus is an eagle and John Gavin - Julius Caesar is a sword that goes down to meet another, when it appears the title of the movie, "Spartacus " , symbolizing the struggle for freedom and against the power of Rome. All accompanied by the perfect soundtrack for Alex North in one of his most inspired scores:

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(*) With the help of friends and Joaquim José Luis add these other two see videos of the good work of Saul Bass . These are the claims of "West Side Story" and "Casino" :

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Casino
from Georgi Dimitrov on Vimeo.

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Wilhelm Furtwangler (4)

Despite their courage, Furtwängler did not act out of pure altruism. Almost everything he did was intended to preserve the integrity of Germanic music. But since Furtwängler himself was regarded as the most important example of this art, its activity was used to consolidate their status and ego gratification. Furtwängler hardly be compared to Raoul Wallenberg, Oskar Schindler and other heroes who had nothing to gain and who acted purely as a matter of conscience, ultimately sacrificing all they had to oppose the Nazi genocide. Focused exclusively in the art, simply Furtwängler himself was not concerned by the wider social context.

This limited approach produced mixed results. Inextricably linked to each of the laudable objectives and achievements of Furtwängler, there was an unwanted inconvenience. Despite valid cultural intentions unwittingly strengthened the German war effort.

For example, Furtwängler accepted the vice presidency of the union, compulsory, artists, and served on a committee to approve all programs of public concerts. He assumed these positions of leadership to maximize their impact on the preservation of cultural integrity and to ensure exposure to composers and artists of quality. But their constant visibility also served to legitimize and lend credibility to the Nazi regime, not only in the eyes of foreign observers, but also to the public: after all, how could the Nazis be the most barbaric and depraved if someone like Furtwängler could coexist with them?

Similarly, after the war many said they Furtwängler concert served to bring together members of the Resistance. These events brought together a group of cultural leaders for a postwar Germany that would boast of humanism over militarism. Even outside of Germany, many immigrants were inspired by Furtwängler as a symbol of dissent.

Thus Furtwängler activities during the War may have produced lasting humanitarian benefits. But nevertheless, in the short term, had the opposite effect.

As Sam Shirakawa, biographer, points out quite rightly, Furtwängler could have offered their art for the sake of "true Germans", but had no control over its dissemination. Therefore, their concerts were broadcast to boost the morale of the troops. And what is worse, Hitler and his top henchmen often attended concerts Furtwängler to wallow in their musical balm. That same balm may have lulled the frustration of the intellectuals and artists and putting them led to the indifference and diverted their energies in active opposition to war and genocide.

Furtwängler

only saw his music as a force for moral redemption. Once told Toscanini: "Human beings are always free to interpret Wagner and Beethoven, and if they are not free at first, are released while listening to these works." But the hearts of Nazi soldiers are not melted, and the souls of their leaders proved to be insensitive to the aesthetic redemption. Those responsible for (or, at best, indifferent to) the extermination of millions of innocent people, are they really the right to have their consciences be released from the glory of music?

Nor the personal views of Furtwängler was free of paradox. In fact, even his attitude toward Jews was inconsistent. One of the axioms of Nazi social engineering was that Jews were incapable of being true German spirit, and therefore were less than fully human and social pollution. Nowhere in the absurdity of this assumption was more evident than in classical music, as many of the best artists of Germany were Jews. In fact, the pianist Arthur Schnabel, a Jew, was universally acclaimed as the ultimate exponent of Mozart, Schubert and Beethoven in particular, the quintessence of German music. And yet although it was ideally equipped to reject the racist Nazi point of view, Furtwängler often made distinction between two kinds of Jews.

one hand, strongly supported the Jews who had reached the pinnacle of their musical careers, artistic, scientific or academic. Furtwängler vehemently opposed to Nazi efforts to deport such people, since it had become an integral and significant contributors of German culture. The vast majority of Jews who helped Furtwängler were professionals (or their families or acquaintances).

On the other hand, Furtwängler apparently believed that the Jews out of these exalted ranks were potentially subversive and, therefore, expendable. Approved of attacks on the alleged Jewish domination of newspapers because, from their point of view, this replaced the development of a press truly "Germanic." Similarly, the boycott seemed to allow businesses to Jews, protesting only foreign adverse publicity and the threat of flooding that could deplete the arts.

Even in May 1945 Furtwängler did not seem to fully understand the consequences of Nazi racism. From the geographical and historical perspective of his sanctuary in Switzerland, had ample time to reflect on the past decade.

However, his main concern became the fear that following the defeat of the atrocities public now be blamed entirely on the German people, ignoring cultural greatness and nobility interior . Despite everything he had witnessed, Furtwängler simply could not accept that the culture that had ever occurred to Goethe and Beethoven had rotted now in a quagmire of military boots and crematoria.

Prieberg Fred calls this a myth of protection that Furtwängler was created to protect itself from liability in a real world where civilizations fall, in which people are responsible of their leaders, and in which art can not be so conveniently insulated from politics. Furtwängler's tragedy was that she had to believe this illusion of permanent German cultural merit to justify the work of his life. Prieberg concludes: "Furtwängler was sacrificed to his own fiction."

In recent years, we were treated to a pathetic parade of elderly German artists claiming an innocent ignorance of the Holocaust. Furtwängler had been "one of them? Apart from a few expressions of shame after the war, no evidence that Furtwängler has ever taken a stand against the terrible culmination of his casual tolerance of anti-Semitism. Indeed, it seems inconceivable that a man who spent much of his time studying closely the political leaders and social trends have been genuinely ignorant of this cornerstone of the Nazi policy and activities. Or, knowing, Did you see the world through artistic blinders and just not care?

Speculation about Furtwängler's mental state are confusing and inconclusive. But luckily there is a more reliable index of his conscience. When we hear performances during the war of Strauss, Böhm, von Karajan, Krauss, Mengelberg, and other moralists Axis directors heard fully at peace with themselves, happily oblivious to the horrors around them, comfortably located in their insular worlds of satisfaction abstract art.

But Furtwängler production this season has a completely different dimension, reaching far beyond the limits of the classical tradition accepted distended brutally twisted structures, tempos outrageous, irregular phrasing, balance bizarre and violent dynamics. This is not simply the expression of a cold-hearted Nazi. But, clearly and irrefutably denotes a sensitive and deeply troubled man, plagued by internal conflicts and doubts of his soul hurt, always about to explode in agony.

The debate on political conceptions of wartime Furtwängler may continue to rotate among academics, historians and social philosophers, but his art gives the proof of his fundamental humanity. There is no room for subtleties or doubts. Possibly one that is sensitive to the interpretation of the music can be confused .-

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Translated:

Peter Gutmann: Wilhelm Furtwangler, Genius Forged in the Cauldron of War / in: Classical Notes


To view the art. original Click Here

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Galina Vishnevskaya Glinka

"Portrait of the composer Mikhail Glinka" - Ilya Repin - 1887

composer Mikhail Glinka (1804-1857) is considered the precursor of Russian musical nationalism. Its importance in the evolution of Russian classical music, which gave its own personality, is undeniable and as a composer Tchaikovsky be compared to the same Mozart .

His opera "A Life by the tsar " (1836) marks a before and after in the music of his country, being the first to introduce elements of indigenous folklore, deviating from the fees set by the prevailing strong influences from Italy, Germany or France also focusing on a purely Russian theme, recounting the invasion of the country by the Poles in 1613, the town being the main character and the hero of the story an ordinary peasant. The opera won a major popular success despite the fact that sectors close to the Imperial Court described the composition of "music appropriate for a driver" with the contempt Glinka who said that "people are more important than their masters" .

Then came his most famous work "Ruslan and Ludmila" (1842), based on a poem by Pushkin , where in addition to the components also include reasons fantastic folklore and reminiscences to oriental music. The opera will have a decisive influence on the final emergence of the Russian Nationalist School, led by called "Group of Five" ( Modest Mussorgsky , Nikolai Rimsky-Korsakov, Alexander Borodin , Kui TSEs and Mili Balakirev ).

His sentence: "The music is created by the people and the composers only managed" is clarifying the importance attached to folk and popular component in the formation of Russian musical style and his desire to bring music to its roots, eliminating the identification of this as something exclusive to the wealthy.

From 1845 he traveled to Spain several times, inquiring by the English traditions and folklore, with particular emphasis on flamenco, which later led him to compose works as their "English Overtures" the "Jota Aragonesa" or "Memories of a summer night Madrid . During one such stay in our country, it seems that his wife could have been used for marriage in Russia with another man, committing bigamy and leaving poor Glinka adorned like Bambi's dad .

Glinka was possibly the first Russian composer to obtain a significant internationally beyond its borders and is now known to us mainly through the two operas mentioned, but his musical output, though not especially wide, has numerous pieces for piano, pages orchestral, opera, ballet, chamber music and some songs.

One of these songs is what led me to speak today of this composer. This is "Elegy" , one of the first songs of a young Glinka, who was barely 21 years, and wrote taking to this a poem by Evgeny Baratynsky . Glinka himself seems to have been given to play this song at parties and meetings that he had occasion and their improvised audience were delighted, praising his creation and encouraged him to devote himself to composition, which he did.

The piece still shows some influences of music hall that was done in Europe and, while not present the strongest features of his mature works, and has an unmistakable "aroma" Russian , constituting a melodious and passionate lament, full of melancholy and torn at the same time of elegance and distinction, which shows an undeniable beauty.

is true that the interpretation that I first heard that one I brought here today, also makes it much. It is the holding, so insurmountable, another Russian legend, the soprano Galina Vishnevskaya , who can hear the piano accompanied by her husband, also Russian and legendary Mstislav Rostropovich :

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I could not find the Castilian translation of the text of the song, and although my Russian language tutoring with Netrebko are progressing, I dare not even make my own, so I leave the English transliteration:

or Do not tempt me needlessly:

lost Affection Can not return. How

Foreign to the broken-hearted

Are all the charms of bygone days!

Longer I can not trust thy promise;

Longer I have no Faith in love;

And Once Again Can not Suffer

To be deceived by phantom visions.

Do not augment my anguish mute;

Say not a word of former gladness.

And, kindly friend, o do not trouble

A convalescent's dreaming rest.

I sleep: how sweet to me oblivion:

Forgotten all my youthful dreams!

Within my soul is naught but turmoil,

And love shall wake no more for thee.

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CANTA "Was it a dream?" - JEAN SIBELIUS CONCERT JAPAN

"The Dream" - Francisco de Goya - 1790 - National Gallery (Dublin)

During the early twentieth century, the Finn Jean Sibelius (1865-1957) lived one of its most fertile periods of composition. Among the works to see the light at the time there are several songs ( sangen ) of opus 37, all of which constitutes a good example of overflowing romanticism that characterized the production of these years.

blog Today I wanted to bring to the fourth of these songs from his opus 37, it is "Var det in drom?" (Was it a dream?) , one of the most famous and vocal pieces interpreted Sibelius. It was composed on a text by the poet Josef Julius Wecksell , arguably the most important romantic writer Finnish Swedish language, and the composer dedicated to the Finnish soprano Ida Ekman (1875-1942).

Ekman was a lyric soprano who focused most of his career in the field of oratorio, the Lied sangen and Nordic becoming the leading interpreter of the songs of Finnish composer, who publicly declared a devoted fan of the soprano, whose voice and interpretive quirks he had in mind when writing the score for "Var det in drom?" being the first singer who performed this piece. When Sibelius Ekman gave the manuscript of this composition, said unabashedly: "here's my song most beautiful"

"Var det in drom? "is written Swedish, Finnish bourgeoisie language of those years and mother tongue Sibelius, who used it daily to communicate with people you care. Hence, the Swedish language was also chosen by the composer for those of his works, contains a more intimate, more connected to their own feelings, like the songs. In fact, of the 100 who wrote throughout his career, in only 6 of them with popular or folk overtones, employ Finnish.

Although aware of the existence of this song, the whereabouts of the original score was unknown for many years. In particular until 2003, when original manuscripts were found four songs by the composer, among which was "Var det in drom?" in the safe of a bank of Oulu, a town north of Finland.

In this short but lovely piece, the poet wonders if the memory of a former love was just a dream, while the music of Sibelius undeniable melody weaves a dramatic force, where the tone dream and longing of the text is perfectly reflected. word "memory" insistently repeated throughout the poem, showing how, from the sadness of the moment, the images of the past appear as confusing flashes become an unrealistic dream of lost love.

listening I propose three different versions. The first to bring is played by the legendary and unique American contralto Marian Anderson . A singer who came to know personally Sibelius after a gig in Helsinki and even had the chance to play some songs from it at home, making him cry "the roof of my house is too small for his amazing voice . Sibelius became fascinated with the interpretation of Anderson and stated that it had been able to penetrate the soul of the Nordic people. So much so that the composer would ultimately spend in 1939 "Solitude" , one of his last songs.

But let me roll and go directly to hear Marian Anderson playing "Var det in drom?" accompanied on piano by Kosti Vehanen :

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is now the great Swedish soprano Birgit Nilsson who offers his version of "Var det in drom?" , in this case orchestral accompaniment, in particular the Orchestra of the Vienna State Opera conducted by Bertil Bokstedt :

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and ended

with another Swedish soprano, Nina Stemme I admired Accompanied on piano by Antonio Pappano , who can see interpret "Var det in drom?" in a concert that took place at the Liceu in 2007. And then, as a bis , also sings "Flicker without älsklings möte Ifran kom" (The girl returned from meeting her lover) , the last of the five songs of Opus 37 by Sibelius composed on a poem by Johan Runeberg :

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"DET VAR in the Drôme?" (Was it a dream?)

Was it a dream that once

I was the true love in your heart?

I remember him as a quiet song

whose sound is still ringing.

I remember a wild rose that you gave me,

look so shy and tender.

remember a bright tears when we parted.

"It was all a dream?

A dream as brief as the life of a flower

in a green meadow in spring,

whose beauty soon fades

before a crowd of new flowers.

But many nights I hear a voice

through my bitter tears stream:

Hide this I remember deep in your heart,

because it was your best dream.

Diagram, Laser Sailboat

LES ARTS: THE CHRONICLE

Last Thursday was held at the Auditorium of the Palau de les Arts organized a benefit concert for the victims of the events in Japan, which I spoke in a post above.

The organization of the event seems that emerged from the musicians and singers and the Palau de Doña Helga in this case is limited to the premises. And by the way, the day of the concert I saw there to my mayor favorite, but I can not say that was not given the location where I was.

One of the people involved in this organization has been the English-Uruguayan baritone Erwin Schrott , who at the end of the act he seemed really excited and is very acknowledge the personal interest he has put into it.

Being a charity event in which all participants have worked for free for a weekend of solidarity, it is unnecessary here to highlight the failures or limitations that may have one or the other, especially considering that the event has been organized in a few days and almost no possibility of testing. The important thing is the cause of solidarity and the fact that it has taken this initiative and welcomes it as itself the work of those involved.

But also I must say that everything went better than many expected and the audience really enjoyed the show.

After a spirited interpretation of the Overture "La Forza del Destino" the Orquestra de la Comunitat Valenciana , the Mexican tenor Ramon Vargas gave us one of the highlights of the night with aria "Quando will sere the placido" of "Luisa Miller" of Verdi, who sang with great expression, strength, sensibility and vocal control, thrilling. At the end of the evening would Vargas to electrify the backbone of the audience, in this case with the popular "Granada" , where once again amazed by his musicality, impressive control of acute and fiat .

soprano Rocío Ignacio sang "Caro Nome" of "Rigoletto" , which made an adequate showing coloratura control and domain acute zone .

also starred the beautiful Georgian soprano Ilona Mataradze opted for a piece forever grateful for the public as is the "O mio babbino caro" of "Gianni Schicchi "Puccini of , who sang with a voice so beautiful, showing a lot of taste and refinement.

El Cor de la Generalitat had two great interventions that ended each of the parts of the concert: "Amen. In everlasting " the" Stabat Mater "Rossini of , and " Coro a Bocca Chiusa " of" Madama Butterfly "Puccini of , beautiful and exciting.

But if there was a protagonist night, that was Erwin Schrott. His first appearance was singing "Udit, Udit" of "L'Elisir d'Amore" Donizetti of . And when I say singing, I mean really sing. Giving the character the comic character he has, but without falling into excessive pantomime in which he incurred in the past to the detriment of the song. Showcased her powerful voice, deep and well-pitched and his services to the score. And of course, missed the peculiar "Schrott touch." As an elixir pulled a sheet wrapped and addressed the crowd flying high as he sang to buy it, which was remedy for all ills. Unfolded the sheet in question was a concert poster signed by the participants in it. A spectator in the front row took a 20 euro note and handed it to Schrott, who in turn gave the cartel. At the end of her aria addressed the audience and, while saving the ticket in the pocket of his jacket, he said, "This is going to Japan" , and proceeded to leave the stage leaving the man with the face of "for go ... "

The second half began with remarks by Consul General of Japan in Barcelona, \u200b\u200bexcited, thanked on behalf of his country for the event organized, which took place after the intervention of Israeli percussion duo PercaDu who performed a piece composed by Minoru Miki Japanese , which exhibited a prodigious virtuosity and synchronization .

After this came the section devoted to the tango. Omer Wellber took the stage in chalequillo and the accordion to accompany Erwin Schrott in Oblivion Astor Piazzolla of , the Uruguayan sang with style and attention to nuance, while not hesitate to direct the orchestra with significant gestures, because the teacher was busy pounding the accordion.

then Wellber and accordion with the orchestra attacked the "Libertango" Piazzolla of and, of course, what happened had to happen. Wellber plays the accordion as directed, in the hyperactivity unleashed that makes you wonder if they have an army of carnivorous ants in the pants and piranhas in the armpits, so half of "Libertango" , two or three keys Accordion went to take ... the air. Wellber stood looking at the instrument puzzled face, shrugged his shoulders and had to stop the orchestra accompanying rhythmic pounding of the accordion as if it were some congas.

tanguista paragraph ended with Erwin Schrott addressing the title track to the CD recently released, "Rojo Tango" in Pablo Ziegler, and may not be accompanied by Wellber and former accordion, as was originally planned, and that there should be cover of the instrument. Schrott here again demonstrated his powerful voice, very into style, and it was fun to see how Wellber conducted the orchestra baton in hand and, at his side, Schrott did the same with your hands and do not always coincide with the teacher prompts.

the end (no encores ), the crowd that filled three-quarters of the capacity of the auditorium, with a large presence of the Japanese community in Valencia, tax because standing, a long standing ovation to all participants and we left all of there very satisfied after spending a night full of emotions, human and artistic.

hope this gesture of solidarity that took place on Thursday in Valencia will serve to alleviate the pain of those affected by the disaster in Japan, if not from an economic standpoint, at least itself as a message of support to feel they are not alone in the difficult days they are living.

Finally, I leave the rough translation of the poem by Kenji Miyazawa , "Ame ni mo mazeku" who read at the concert the two Japanese musicians of Orquestra de la Comunitat Valenciana , Eri violinist and bass Takeya Nobuaki Nakata, all a tribute to the struggle for life and solidarity:

able to withstand rain,

withstand wind,

able to resist that the snow as the summer heat

with a strong body,

without cravings.

There never carried away by temperament.

With a quiet joy.

eating every day, four cups of rice,

miso and some vegetables.

In all,

others think first.

See, hear and understand

and also never forget.

In the shadow of the pines, in the meadows,
being in a small thatched hut.

If a sick child to the East,
assistance.
If an exhausted mother to the West,
be shouldered their bundles of rice.
If a dying man to the South,

say no issue.

If there is a war or conflict in the north,

say I'd better stop it.

When there is drought, shed tears.

When the summer is cold, wandering bewildered.

Being called stupid by all

not be praised

not be blamed.

I become

in a person.