Paulinho Mosca, Three Views of the 20th Century Folk and Choral Universe

The evening was attended by Rio Negro’s Secretary of State for Culture, Ariel Avalos, who visited the lakeside city, specifically monitoring the development of the festival.

In this program, the song collection of Uruguayan Florencia Núñez, together with Micah Miller from Bariloche, and the attractive proposal of the La Fragua group complete the program for this Thursday, May 25, during which a good attendance of the public was a success. A fight against bad weather.

Paulinho Moska and the power of songs to recreate memory

Scenes from the raging fire that destroyed Rio de Janeiro’s National Museum on September 2, 2018, were projected onto an enormous backdrop screen in the Teatro La, with a stylish chair flanked by two guitars across the scene. Paita was the starting point for Paulinho Mosca’s presentations (at 7:00pm and 10:00pm).

In the testimony that followed one another, one spoke of Brazil as “a country of burning memories, a country without much memory,” while the ruins of the residence of the one-time king, Dom Pedro II, remained. He ruled for a long time in the neighboring “Empire”. It was only then that the Brazilian singer-songwriter entered the scene.

From that moment his magnetism and the power of the songs took over the place. First, the description of the character “Phoenix Guitars of the National Museum”, the show goes through the journey of those two instruments rescued from the ashes by a fireman and a luthier who insist on exchanging coal for art. Then the music.

“Todo novo de novo”, “The arrow and the target”, “Lágrimas de liberad”… Lines and songs from different moments of his extensive life were reworked to outline the metaphor of rebirth.

“Tears and sadness are the precious stones of our lives,” said Paulinho, and recounted encounters with Fito Baez and Kevin Johansson to continue “Hermanos,” “Que Belesa, A Belesa” and “Waiting for the Gun Come.” ”, a kind of bilingual recital, sometimes trilingual, whose atmospheres were enhanced by the lighting scale, was successful.

Then, in perfect touch with the public, came “Thinking of You,” for which a fearsome choir with Mosca’s clear and nuanced voice descended from the stalls and continued into “Sins o samba a samba.” The final stage of an encounter, that intimacy culminated in an applause that needed a few minutes to calm down and get lost in the cold of Moreno Street.

Three views of a shared universe

Meanwhile, at the Center for Arts, Sciences and Technology, three blocks from La Paita, the La Fragua group in the foreground, Toby Villa later and finally the Guillo Espel Quartet form a kind of stylistic triptych with Argentine roots music. Different influences, as a common denominator.

With healthy self-confidence and generous dedication, the Bariloche team of Patricia Di Matteo, Marcela Di Matteo, Alejandro Fatur, Guillermo Dolaba and Alejandro Bianco Dubini created on Andean aerophones, cross flutes, bass drums, sarangos and quid. Serving up their blend of Argentine folk and rock with the music of The Beatles.

Other highlights include Sarango’s ontological solo for Harrison’s “For You Blue,” a mashup of sorts with “Rudas Argentinas,” before the set ends with “With a Little Help From My Friends,” a signature, public nod of drums dueling.

Next, Toby Villa of La Plata, who lives on the Rio Negro, and played his bandanion as locals, complete with violin, guitar and legero bass drum, proved to be a perfect fit for a repertoire that included his particular version. I’m coming to offer my heart” coupled with another no less than “Balterrama” and closing the presentation “Chammacedo” cat was a bridge to a steady tour with the audience filling the room.

In this context, Villa’s humor played an important role in completing a situation that called for a dance between the Chacareras and the Zambas, turning Nahuel Huabi into a cliff. And in between, Jorge Fundermol’s “Oración del remanso”, some clues and the ultimate satisfaction of being part of a truly popular festival.

Thus, the presence of the Guillo Espel Quartet highlighted Fimba’s vast stylistic palette once again on a still-sparkling stage, where contrasts play against each other and in favor of a musical journey enriched by connection and interaction.

That’s why the call of the guitarist and composer was added to the group consisting of Alejandro Becerra on cello, Alejandro Kuershberg on pantone and Oscar Albrieu Roca on percussion, Bombisto from the Villamor group, Miguel Luduena on marimba and vibraphone. Version of La Humble by Diaz Brothers.

By then, Espel and his people put their music at the service of a journey through different parts of Argentina by Julio Argentino Jerez, “La baguala”; Chile’s Willy Pascuan’s cueca “Voi Pa’ Mendoza” and “La Nochera”, a classic classic, offer a different perspective on the group’s proposal, full of subtleties and nuances.

They played two pieces, “Otra Latitude” and “Fabi” as Spells of Great Beauty; And on “Salí al ruedo,” Albrieu Roca extends his virtuosity to the marimba, while Guerschberg and Becerra both hold their own in command of the solo and duet instruments throughout “La interruptida.” ” and “Zamba Azul” contributed to a timbral diversity that was enriched again with Ludueña’s contribution for a personal version of “La viuda” as a key and final touch to the concert.

Choirs in the cathedral, hymns in La Araucania

Early on, the Aurike Vocal Ensemble, with a repertoire that included Estonian Arvo Bard (“Solfeggio”) and DMK, filled every corner of the grand architecture of Nahuel Huapi’s Mother Cathedral with their voices. Argentinean Guillermo Giono (“La Roy del Curango”) and Mario Vitis (“Tico la Majamora” – with lyrics by E. Aguero and music by P. Carabajal) American Morton Lauridsen (“De Luxe Aterna”).

In between, and approaching the 17-voice ensemble with a composure that doesn’t conspire against, are Tomás Luis de Victoria (“O magnum mysterium”), Francis Poulenc (“Four Christmas Motets”) and Camilo Matta (“Verde”), among other 20th-century-based composers. Romero playing with “Blackbird”.

A few kilometers later, a few kilometers from the remarkable work designed by Alejandro Bustillo in La Araucania, Uruguayan singer and composer Florencia Núñez, on a stage shared with local artist Micah Miller, completed the soundscape of the date. .

As follows

This Friday, May 26, it’s the turn of the Antigua Camera Group, Camping Musical Bariloche at 6:00 p.m.; Nano Stern and Fernando Cabrera and the Chamber Ensemble of the Rio Negro Philharmonic Orchestra will take the stage at La Paita at 7:00pm and 10:00pm; The stage of the Municipal Center of Arts, Sciences and Technology will be for Los Tara at 8:00 pm, Patagonia Tango at 9:00 pm and Rodolfo Mederos and the Philharmonic String Ensemble at 10:00 pm.

On a day marked by incessant rain, which did not allow to breathe well at night, the gathering was organized by the Government of the Rio Negro, with the support of the Municipality of the City of Bariloche, Horizonte Seguros, the Rio Negro Lottery and the Tégnes Foundation. , and directed by Martin Friel Milstein, director of the Rio Negro Philharmonic Orchestra, cemented its status as a meeting point for diverse aesthetics.