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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Again, onradors dance begins when Berganza comes in. You have these lithe and bouncing stacatti sections that serve as the buildup to the larger, sweeping melodic figures, giving the entire piece a sense of tension and release. It looks so fun to perform. It feels less like a dance until Berganza comes in. Emma Lynn April 8, at 5: Teresa Berganza, as always, perfectly exemplifies this style.
She is precise, but so comfortable and relaxed, creating natural rubato within each phrase. Another example of a translation from fl to piano. She brings so much nuance to the character, and what a piano part!
What a sensual piece. John April 3, at 9: The way the voice and piano interact is playful, discrete and yet so profound. I want to play this piece now!!
The introduction reminds me of Albeniz’s Leyenda.
Canciones Clásicas Españolas, Vol.3 (Obradors, Fernando)
Another interpretation where the rhythmic vigor relies much more on crispness and precision than in weight ibradors accents. Con el vito, vito, vito, con el vito, vito, va.
It embodies so much of what one expects of the “Spanish” sound. The vitp in the performance did an excellent job of emulating a guitar with rhythmic clarity and precision. From the “no, no” to the fiesty “Ay! April Phillips April 5, at Katherine Curtis April 10, at 8: A driving, perpetual introduction, a vocal line that is very dance-like as well as seductive. This seems like a really fun song to perform. Newer Post Older Post Home. I love the piano’s role with the repeated notes.
It was so nice to hear it performed by such an expert vocalist. Obradorx wonder if the quickly repeated notes that are so difficult on the piano are an example of “punteado” as was described by Kimball in the obradora. The piano part somehow reminds me of Falla’s “Polo” the repeated notes. Teresa Berganza does this perfectly, beautifully, and with dramatic intent. The guitar figures are apparent in the piano accompaniment. Yoshi April 10, at 9: Onradors really can imagine a woman in a sea of bullfighters.
Song Lied Mélodie: “El vito” by Obradors
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! Although the piano version is exciting, pianists should really emulate the guitar which it is obviously modeled after. Sarah Brauer April 9, at It is such an effective performance.
Dylan Bunten April obradirs, at 9: 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. Andrew April 5, at Amalia Osuga April 6, at 9: Sunday, March 22, “El vito” by Obradors.
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Underlying the melody is a sense of danger, and I love how Berganza draws the listener in. As is the case with all of Teresa Berganza’s performances that have been shared, she has an amazing expressive power and genuine performance persona that is impeccable.
The ease in which she performed all aspects of this song was so entertaining. The rhythmic intensity paired with the ease and improvisatory nature of this song create an atmosphere of unpredictability.