By José Gandue @Gandour
Normally (and you know this) symphonic experiments that pay tribute to rock artists They are, to say the least, boring. They have a ceremonial pretension with very bombastic and tedious elitist aspirations. I include in that list (and take responsibility for it) that experiment that Gustavo Cerati did called 11 symphonic episodes, performed in August 2001 at the Avenida Theater. The truth is that of all his work, that chapter was the least interesting.
A year after his disappearance, his friends, Alejandro Terán (the same one who conducted the orchestra 14 years ago) and Tweety González, as general director of the project, put together, within the framework of the Argentine Cultural Industries Market (MICA), the show Gustavo Cerati's Magic Carpet – Symphonic Journeys, all in the Blue Whale auditorium, of the Nestor Kirchner Cultural Center.
Broadcast by Argentine Public Television a few days ago, The result of this tribute was surprising. Blame it on nostalgia, but also on the wisdom of the editing. From the beginning, Terán, a character willing to break the ceremonial cliché of the occasion, She brought joy to the entire concert through her demeanor and that of her musicians. Furthermore, the wise decision to include Fernando Samalea on drums added a delightful freshness to the musical setting, creating an ideal connection with the audience. The traditional and timeless elegance of the orchestral attire It was filled with details, with colors that suggested the spectacle led to jubilation., no to tears for the absent one.
The guest vocalists for the occasion were top-notch. Some were more than obvious, being fellow travelers: Richard Coleman, Leo García, Leandro Fresco. The presence of Leandro Aristimuño, Lucio Mantel, Nicolás Rainone, Carlos Casella, and the Chilean Gepe was a pleasant surprise., Representatives of young Latin American generations who also fully experienced Cerati's music. The presence of Loli Molina and Elena Roger was appreciated., a detail of subtle coquetry and impressive interpretation which gave an outstanding nuance to the versions performed.
The most noteworthy thing? In my opinion, the best moments were with the version of Crime, by Aristimuño (an unexpected voice for this topic, But her sensitivity eased and overcame the moment), the moving performance of Root, Fresco's version, and Loli Molina's playful version of Deceive, perhaps the high point of the event.
I told you at the beginning, I don't have a good opinion of those symphonic tributes to rock artists. But, fortunately, there are commendable exceptions to the rule. Therefore, I invite you to enjoy this great recital, which not only brings back fond memories of Gustavo Cerati but rather it exalts it in a blissful way.
