Donnerstag, 18. Oktober 2018

Hyperion Ensemble: Hasta Siempre Amor

At my father I have recently heard some dusty CDs of a series with recordings of the old masters of classical music and romance. Unfortunately, these were somewhat ‘dusty’, and the musicians were probably not playing with great passion. At least they didn't reach me, and the CDs again found their place in the Oblivion Valley.
Now I have got the new CD Hasta Siempre Amor of the 'Hyperion Ensemble', founded by the 1992. This ensemble is also playing the music by some old masters, but now of the Tango scene. And the experience is different: these musicians are present with all their heart, playing with verve and passion - and they are touching me.
We hear Guido Bottaro (piano), Josè Luis Betancor (bandoneon), Valerio Giannarelli (violin), Beppino Boracchia (violin), Danilo Grandi (double bass), Bruno Fiorentini (traverse flute) and Davide D’Ambrosio (guitar), and as singerx Ruben Peloni, Hernan Godoy and Martin Troncozo. With three pieces, Ruben Peloni and Hernan Gody are heard as duet partners, which is appealing because of their different singing styles.
Listening to the ensemble is great joy, because they live the 16 ‘classics’ with enthusiasm. Donato Racciatti´s Hasta siempre amor is a recommendation, in which Ruben Peloni can shine with his vocals: no exaggerated pathos, but longing restraint. Hernan Godoy brings his tenor voice to the attention with Lalo Etchegoncelay´s Adios Corazón and Osvaldo Fresedo´s Vida Mia. Unfortunately, Martin Troncozo has only two songs to convince the listeners, and with Caldara´s Pasional and especially with En esta tarde gris by Mariano Mores he has no problems to do so. With the use of the women trio 'Trio Cre Artis' as an additional 'timbre' in three songs, I can't really befriend myself, but that's probably a matter of taste.
With this album, the musicians again recommend themselves as a contemporary ensemble with a sense of tradition and a safe style that both dancers and movement skeptics can draw on his side. 

Published first in Tangodanza.75 - 3.2018

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