Triad of Talents: Yuja, Nikolaj, and Arturo, by Lázaro Azar
Losing the Rhythm: A Weekend of Musical Nostalgia in Mexico City
It's been a hot minute since Mexico City grooved to a three-day musical extravaganza that left us yearning for a time when we danced carefree, living our best lives. Alas, as time marches forward, we can't help but realize that we've paid the price for fun – the loss of a Republic where power was evenly distributed and the infamous "three of three" declarations, once a necessity for aspiring public officials aimed at avoiding corruption. So, let's revisit a "three of three" in reminiscence of those days gone by:
I. Yuja Wang: Eastern pianists don't always get the recognition they deserve, often mistaken as mere karatekas with quirky gestures. Yuja Wang, born in Beijing in 1987, is an exception. Her extraordinary technique, striking stage presence, and profound musicality prove the rule wrong. But, just like her petite stature, her sound isn't booming – though, it fits her just right.
The weekend's performances, at the National Auditorium, highlighted the necessity of good audio equipment. Undoubtedly, having a small orchestra, akin to the Mahler Chamber Orchestra with which Wang started her tour, such equipment was a lifesaver, allowing her to share her talents without being drowned by the music.
Her performance included pieces like Beethoven's Coriolanus overture and the Dumbarton Oaks Concerto by Stravinsky. While the MCO was masterfully led by concertmaster José María Blumenschein, Wang's lighter-than-air touch left some passages barely audible, even with a scaled-down orchestra.
Blessedly, the side screens gave spectators a glimpse into Wang's nimble fingerwork, earning her audience applause and two encores, respectively featuring Philip Glass' Etude n. 6 and Leticia Gómez-Tagle's arrangement of Arturo Márquez's Danzón 2. Despite the condensed versions, Wang tackled both pieces with enthusiasm, though lacking the sensuality typically associated with rhythmic pieces.
II. Nikolaj Szeps-Znaider: Audiences at Neza Hall were mesmerized by the Mexican debut of this esteemed Danish violinist, courtesy of the Patronato and the Society of Friends of the OFUNAM. Worryingly, though, it seemed as though this illustrious concert had whet the appetite of many, causing them to realize what has been missing from OFUNAM performances for months. One couldn't help but wonder what Szeps-Znaider was thinking upon finishing the overture Tannhäuser by Wagner, as he looked at me with a mixture of surprise and shame, muttering, "Did they not rehearse?"
Szeps-Znaider delivered a robust, refined sound and incredible phrasing, excelling particularly in Bruch's Scottish Fantasy. His heartfelt Andante moderato was moving, his control during the final Allegro was admirable, and his performance of Estrellita by Ponce, Heifetz's arrangement, was memorable.
The night's downfall, though, was the overly slow and disjointed reading of Brahms' Fourth Symphony, Op. 98, which left me thinking of a peculiar colloquialism – watching executively scripted action was "like watching a duck shit." The UNAM's music direction hasn't improved since Jose Wolffer's tenure, and one can't help but wonder if they'll be able to salvage the ship after the departure of Valeria Palomino, the driving force behind the orchestra's success.
III. Arturo Chacón-Cruz: Festival-goers at Bellas Artes were treated to an emotional encore performance in celebration of Arturo Chacón-Cruz's 25th anniversary, highlighted by the Sonoran tenor's legendary vocals. Known for his honesty, authenticity, and warm, hard-won reputation, Chacán was the epitome of a beloved artist.
The thoughtfully-selected program, featuring arias from Turandot, Carmen, Manon Lescaut, and Macbeth, guided audiences through the various facets of Chacán's career with steady grace. Lo Coco demonstrated his prodigious talent as a conductor, while Giménez's La boda de Luis Alonso's Intermezzo set the mood for the festive second part.
The true climax, though, came when Chacán paid tribute to José José, performing El triste as his second encore. Overwhelmed by the performance, an audience member was heard proclaiming, "I have fallen for this guy!" As the evening ended with Chacán kissing the stage floor, it's hard not to agree.
At the End of the World with Javier Cercas
The cultural extravaganza in Mexico City not only showcased captivating performances but also highlighted the importance of good entertainment, blending Eastern and Western music with the keynote artist, Yuja Wang. (culture, music, entertainment)
Living our best lives during the musical weekend in Mexico City reminded us of the vibrant lifestyle that permeated those days, with celebrated artists like Nikolaj Szeps-Znaider rekindling our appreciation for the arts. (lifestyle, music, entertainment)
