Composer: Fernando J. Obradors () Teresa Berganza, soprano; Felix Lavilla, piano. Aix-en-provence festival 18 July El Vito. El vito is a traditional folk song and dance music of Andalusia whose origins can be traced back to the 16th century. Its name refers to the “disease” known as St. Fernando (Ferran) Jaumandreu Obradors (–) was a Spanish composer . Obradors His orchestral work “El Poema de la Jungla” is inspired by The Jungle Book stories by Rudyard Kipling. Many of his contemporaries left Spain to .
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She brings so much nuance to the character, and what a piano part! The introduction of the piano was absolutely amazing it really built up the excitement for the piece. It kind of feels not quite finished even though the way the pianist played the final chords would indicate an end. April Phillips April 5, at I really love the rhythmic qualifies in the piano, and how they are mirrored in the vocal line.
Her body language was great as well. Thank you for posting it for us. The piano is very reminiscent of the guitar with the repetitions, and the singer uses her face very well to interpret the text.
El vito – Wikipedia
Katalin April 7, at 2: Somehow Theresa Berganza sings this with a sense of relaxed ease, you can see it in her body and hear it in her voice. John April 3, at 9: The introduction reminds me of Albeniz’s Leyenda. I want to play this piece now!! I enjoyed the rhythmic energy and drive of this music.
The rhythmic impulse in this piece is absolutely driving and unrelenting. Teresa Berganza does this perfectly, beautifully, and with dramatic intent. Amalia Osuga April 6, at 9: How exciting when the images are so clear from listening to a ep. I love the piano’s role with the repeated notes. I obrados the, as Abby put it, crispness of this piece and I love the way it exists intimately with the passion. This seems like a really fun song to perform. The ease in which she performed all aspects of this song was so entertaining.
All materials found here are for educational purposes only. Sunday, March 22, “El vito” by Obradors.
Ashleigh April 9, at 2: This blog was created to provide a place to discuss the music and texts of vocal performances of various styles and languages. That is when the dance really begins.
I really can imagine a woman in a sea of bullfighters. The drama and excitement is gripping and very much sounds like something that would appeal to bull fighters. This piece is so passionate.
What a sensual piece. That was immediate impression I got after hearing this recording.
Berganza’s performance of the Obradors could not be more dynamic, and I love the nonchalant way she presents this difficult song. Sarah Brauer April 9, at The line about her being too poor is especially effective with the use of staccato. Translations are from Lied and Art Song Page. Some of the runs sound more pianistic than guitaristic, but the majority of the writing definitely sounds guitar eel.
She communicates so much with just her eyes. It was so nice to vio it performed by such an expert vocalist. The way the voice and piano interact is playful, discrete and yet so profound. I can really hear the inspiration from the guitar. Berganza’s viro to maintain the crisp, piano sections of the vocal line and then sing in full legato later create an exciting performance.
Emma Lynn April 8, at 5: I really liked the different articulations that were used in the work as well with sections being more legato and others that were more snappy! Another example of a translation from guitar to piano.
It was also nice to hear a performance with a different dialect than Spanish from Spain or Mexico, which is what I’ve typically heard this piece performance. Vincent April 10, at 8: Very subtle and a fantastic final note from her.