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duet
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Duet with Raquel Andueza, soprano, based on the XVIIth Century Italian repertoire. Together, they have performed in festivals such as Quincena Musical Donostiarra, Festival de Música Sacra de Vigo, Las Piedras Cantan (Castilla y León), Noches en los Jardines del Alcázar (Sevilla), Ciclo de Verano de la Comunidad de Madrid, Festival de Música Antigua de Aranjuez... They have just recorded their first CD, D'Amore e Tormenti, for NB Producciones. PRESS Public totally fascinated - The concert we lived in Bonanza’s Basilica was impressive […] For this recital, Raquel Andueza had the incomparable aid of the theorbo, being itself a great stringed instrument, a jewel with a mast of almost two meters. Sensible, with amazing imagination when improvising and with own light, the master Fernandez developed like that the different pieces, being the cradle of the breathing and loyal friend of Andueza in the interpretations. As a soloist, I would emphasize the Toccata VII of J.H.Kapsberger, in which he seemed as he was flying with his fingers in an absolute clear and clean sky. Meanwhile, the sweet and tender voice of Andueza made us feel again the symptoms of the pleasure. Every moment that the soprano emitted her warm voice, the public was excited because this way of singing, what an incredible sensation! She has a sweet, natural voice, with the right vibrato, and a perfect diction level. Instead of singing these pieces of the early Italian baroque, she told them, astonishing the listener all the time. If I had to emphasize some pieces, A pié della gran croce of Girolamo Frescobaldi or the Cantata Spirituale of Benedetto Ferrari would be a good election. The nucleus of the evening turned around the binomial between the love and the lack of affection. The strength, the sadness and the ardent heart that one could see in each musical phrase were performed with great fidelity. In the motet Jubilate Coeli of Francesco Ferrari she surprised us with many passages of difficult coloratura, and in the song Son ruinata, apassionata, with the sumptuous exaggerations of the lost love, she declaimed it in an exclamatory way, without losing the musical attention that all it confers. The voice of Andueza is made to make the listener feel an exquisite sensitivity. Her interpretive strength, helped by a great wisdom, together with her great warmth, conquered our souls during the recital. They both offered to us a great night of music, incapable to leave people indifferent. This recital will be difficult to forget in the forthcoming years” Arkaitz Mendoza, Berria Diary, 19th August, 2007 “Italian Beauty - The soprano Raquel Andueza displayed again all her arms and qualities that characterize her and that makes her be a splendid and very complete singer. On one hand, there are her great aptitudes for the singing. The quality of her voice is given by a beautiful and warm voice, a facility and transparency in her magnificent emission, and by an excellent vocal technique that she firmly dominates, with beautiful ornamentations and always with the right and necessary vibrato to embellish its song. Her great capacity for the nuances, her captivating sensitivity as well as her wide expressiveness, allowed her to be brilliant as well in the slowest and lyric pieces -thanks to her dominion of the legato and her beautiful and caring phrasing – and also in the most moved and agitated passages, in which she demonstrated to have enough agility to make them shine. In addition to these virtues, one has to admire her pleasing staging attitude. The admirable gestual work that she offers is vital to involve the listener in the appropriate atmosphere in every moment. The musical complicity with her companion, Jesús Fernández, was also perfect, being always right balanced, working with a great level. The complete balance, therefore, was magnificent. To mention some pieces, Jubilate Coeli, Son Ruinata Appasionata, Cantata Spirituale or Quel Sguardo Sdegnosetto, that reached levels of great beauty, emotion and luminosity” Aitor Álvarez , Diario Vasco, 18th August 2007 “From the first piece […] the main arms of the Navarrese singer were very well presented. First of all, she has an enormous capacity to fulfil the music with musical and dramatic senses, paying a magnificent attention to accents and nuances, something essential in the baroque rhetoric. To her dominion of the legato in the lyric passages, we have to add as well her expressiveness and the character she presents in the agitated passages. The voice stays always in a remarkable homogeneity, without jumps or changes of colour in the registry passages; the vibrato is used here like an expression where it is necessary, whereas the voice stays near the natural emission in the central zone, with a beautiful change of the emission in the top notes. And also, something very important: the intelligibility. When she sings it is possible to transcribe the text perfectly, which is essential to understand the wisdom and the mastery of her performance. Next to her, a luxurious support: Jesus Fernandez’s hands. As well in the ostinati of some songs as in the quick pieces, he always showed an important dose of fantasy in the resolution of his part. And in the solo pieces […] he solved them with brilliance, remarking Sanz’s Folias to the baroque guitar” Andrés Moreno Mengíbar, Diario de Sevilla, 13th July, 2005 “At this point, it is already well-known the versatility, good taste and performing capacity of Raquel Andueza, without a doubt, a singer who is right now in the highest places of our country when referring to the documented historical performance […] her diction, her technique, her refining taste that reaches the perfection […] and her capacity to elaborate and to introduce the necessary ornaments in the correct place. […] Her performance of Merula’s Folle è ben che si crede was really fantastic, which deserved the encore, insistently requested from the audience. And what to say about Jesus Fernandez, who was in charge of the continuo. Her mastery and sensitiveness with the instrument, were, without any doubt, perfect […] The Toccata arpeggiata was delicious, solved in an admirable way, and that confirmed itself the elaboration of style brisée, […] Jesús Fernández’s theorbo sounded with authority and precision”. Xosé Crisanto Gándara, Revista Mundo Clásico, julio 2004
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