Adelaide International Guitar Festival. Adelaide Festival Theatre. 18 July 2014
Pepe Romero and Yamandú Costa make for a stunning but contrasting double bill. One alone sits you back and leaves you with a gently drawn smile over your awe-struck face, but two is almost too much and leaves you shaking your head in disbelief. Their styles are different – one appears casual, almost offhand, while the other exudes wisdom and the calmness of years. One is flamboyant, the other is almost reserved. But, in their hands the guitar is a majestic concert instrument that demands and deserves as much attention as any other mainstream instrument.
The thing about the guitar is that it can easily be engulfed by a backing ensemble. By itself, and in the hands of a maestro, it can be easily heard even to the back row of the cavernous Festival Theatre, but with a sizeable orchestra it can become lost. That is unless it is expertly amplified (not just made louder) and the music suits the combination of guitar and orchestra. This was precisely the case with Rodrigo’s Concierto de Aranjuez. The composition is a masterpiece that allows the virtuosity of the soloist to be demonstrated and the orchestration is such that it never overshadows the guitar. Romero’s reading was exceptional. He was a picture of studied concentration but in the more lyrical and relaxed sections of the concerto he looked intently at the audience and gently smiled on occasion. The Adelaide Art Orchestra under Brett Kelly were finely balanced during the concerto, and seemed more at home than with the more free-flowing but less memorable compositions played by Costa in the first half. Perhaps I’m showing my own personal taste?
Costa’s solo sets were adored by the audience, particularly for his showy dexterity and almost unrestrained joy, and the audience went to the interval wanting more. On the other hand, Romero’s solos were just sublime. They featured some of the mainstays of the repertoire, including Asturias, Malagueña and Recuerdos de la Alhambra. The Aranjuez was wonderful, but Romero’s solos were spell-binding and one knew one was in the presence of guitar royalty.
Kym Clayton
When: Closed
Where: Festival Theatre
Bookings: Closed
