Feast of Music

Opera Hispánica Presents "María de Buenos Aires"

by Melanie Wong

On Friday night, Opera Hispánica presented Ástor Piazzolla’s tango-opera, María de Buenos Aires, at (le) Poisson Rouge, the culmination of the pioneer Latino opera comapny's first festival season. With a goal of showcasing Hispanic and Latino composers and compositions, the fledgling group certainly hit their mark, and the packed house was inevitably left wanting more.

The 75-minute opera tells the tale of a girl named María, “every woman and no woman...a shadow and a saint.” She is conjured by two spirits, El Duende (the wicked ghost-poet) and El Payador (the tender country-poet), who sing her story to the audience. Unfortunately, Horacio Ferrer’s poetic libretto, while beautifully written, was difficult to follow; the subtitles were over-simplified and changed too quickly, before their meaning could be fully grasped.

"La Pasión" Brings Carnival to Carnegie Hall

by Aristea Mellos

In the last year or two, there’s been a flurry of negative press surrounding the composer Osvaldo Golijov. Repeated talk of missed deadlines and accusations of plagiarism left me wondering about Carnegie Hall’s decision to appoint him to the Richard and Barbara Debs Composer’s Chair for the 2012-13 season. In an age of endless news cycles and limitless tweets, it can be easy to forget about what really matters—in this case the music and its sheer power to communicate, uplift, and transform. Sunday’s performance of Golijov’s La Pasión según San Marcos did just that.

La Pasión is the result of a 2000 commission by conductor Helmuth Rilling and the International Bachakademie Stuttgart, in which Golijov was chosen as one of four composers to write a new Passion for the new millennium. Performed without intermission, the 90-minute work kept the Carnegie Hall audience captivated with cinematic string writing, grooving rhythms, animated vocals, and versatile soloists.

The fleet of percussionists that drive La Pasión opened the piece with a steady ostinato, transporting the audience into a heady world of rhythmic cycles and irresistible groves. The addition of canonical trumpets hinted at the fiesta-like atmosphere that would dominate much of the work, while a capoeira dancer slowly turned behind a fishing net, imbuing the opening with a rich sense of symbolism.

The sounds of muted strings, playful brass, and the exotic array of percussion (including cabasas, shakers, and a Venezuelan instrument called a quitipla) formed the backbone of the Orquesta La Pasión. Led by energetic conductor Robert Spano, the instrumentalists created a taut canvas upon which blocks of choral color were added and the drama of Christ’s crucifixion was played out.

Tibet House Benefit at Carnegie Hall

Patti Smith closing out the night with "People Have the Power."

More pics of performances by Jim James, Tune-Yards, Rahzel, as well as Ira and Philip Glass at FoM's photo page.

SLV (Sandra Lilia Velasquez) at Joe's Pub

by Sky Disco

This past Monday, I experienced a live performance by Sandra Lilia Velasquez (better known as SLV) at Joe’s Pub that quickly brought the word “sophisticated” to mind. SLV's sound—produced by 10-time Grammy nominee Me'Shell Ndegéocello—was reminiscent of early Sade fused with the Latin flavors and vocal textures of Gloria Estefan.   

Warm and inviting, like a semi-formal supper party, SLV was at ease in her mind-space when grooving during instrumental sections; emitting an appreciation of both self and circumstance, her energy blanketed the audience. Under the illumination of diffused spotlight, she owned her platform while delivering songs from her latest EP, Dig Deeper.

With her crystal-clear acoustic guitar and soul-baring lyrics, SLV transported the audience to a different time and place, causing one to truly contemplate the things that are often avoided in life—be it personal, political, or otherwise.

Leaving the deepest impression was SLV's absolute authenticity. When speaking with her after the show, I found that although she played the guitar and sang in her previous project, she now enjoys the freedom of being of an independent songwriter. Co-writing with Ndegéocello and drummer Sean Dixon, her self-revealing message mixed with soothing charm may be exactly what this city needs in these cold winter months.

Here's a little sneak peek at Monday night's show: