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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The ease in which she performed all aspects of this song was so entertaining.
She is precise, but so comfortable and relaxed, creating natural rubato within each phrase. Berganza has a lovely sense of line, and the soft stacatti sections almost feel like teasing.
It was playful without feeling affectated. Her body language was great as well. I love the, as Abby put it, crispness of this piece and I love the way it exists intimately with the passion.
Ben April 2, at 4: The rhythmic intensity paired with the ease and improvisatory nature of this song create an atmosphere of unpredictability.
El vito – Wikipedia
From the “no, no” to the fiesty “Ay! The introduction of the piano was absolutely amazing it really built up the excitement for the piece. 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!
The pianist in the performance did an excellent job of emulating a guitar with rhythmic clarity and precision.
Canciones Clásicas Españolas, Vol.3 (Obradors, Fernando)
Berganza’s ability to maintain the crisp, piano sections of the vocal line and then sing in full legato later create an exciting performance. Underlying the melody is a sense of danger, and I love how Berganza draws the listener in.
I love this piece!!! Somehow Theresa Berganza sings this with a sense of relaxed ease, you can see it in her body and hear it in her voice. Sarah Benzinger April 5, at Con el vito, vito, vito, con el vito, vito, va. All materials found here are for educational purposes only.
Another interpretation where the rhythmic vigor relies much more on crispness and precision than in weight of accents. It feels less like a dance until Berganza comes in. This has always been one of my favorite Spanish songs, not only to play, but simply to listen too. And I really like Teresa Berganza’s facial expressions and body language in here.
The piano prelude made me think of Lara’s Granada. Newer Post Older Post Home. April Phillips April 5, at This piece does not end how I would obradorrs expected. Thank you for posting viot for us.
Sunday, March 22, “El vito” by Obradors. Shannon McAleb April 5, at Need to say it again: Connie April 6, at The way the voice and piano interact is playful, discrete and yet so profound.
Fernando Obradors – Wikipedia
What a sensual piece. I enjoyed the rhythmic energy and drive of this music.
Brooklyn April 7, at It is such an effective performance. Teresa Berganza, as always, perfectly exemplifies this style. The piano part somehow reminds vifo of Falla’s “Polo” the repeated notes. I can really hear the inspiration from the guitar.