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Carlos Aragón, majestic in the musical direction of El gitano por amor at the Cervantes in Málaga
25 September 2024 |
After the premiere of El gitano por amor at the Teatro Cervantes on September 20, the press has highlighted the work of conductor Carlos Aragón.
Beckmesser magazine highlights the following:
"Carlos Aragón has managed to make of an orchestra and a group of young singers an ensemble assembled and totally committed to this music not at all easy to interpret [...] achieving the maestro from Cadiz a remarkable rhythmic flexibility and coordination, which is no small feat when dealing with a score full of rhythm changes, hemiolias and syncopations. The abundant dance rhythms were underlined by Aragón with grace and strength in the accents, at the same time that he made energetic and dramatic attacks in moments such as the aria “Hernando desventurado” or the tempest of the finale primo. In the complex concertantes he was attentive to take the singers by the hand in a precise manner”.
For its part, the magazine Ópera Actual remarked on the maestro's dynamic character:
“The proposal came from the hand of what is already a formative and artistic reality as is the Ópera Estudio de Málaga led by two outstanding artists, Carlos Álvarez and Carlos Aragón.
In this sense and from the podium, Carlos Aragón bet on a contrasting and accentuated dynamic thread with the Ópera de Estudio de Málaga Orchestra, folded at all times to the cast and choral mass without losing originality and personality”.
The magazine Codalario combines the scenic and musical work of the production:
“The experience of Emilio Sagi on stage and Carlos Aragón in the pit, architects of a balance and conjunction that have made possible a realization that has constantly kept the attention of an expectant audience that filled the theater's capacity. [...] to the expert baton of maestro Carlos de Aragón (sic), who has developed an untiring work to adjust tuning, timbres and regulators in each one of the components, with an arduous attention to maintain the conjunction between the different instrumental sections”
Beckmesser magazine highlights the following:
"Carlos Aragón has managed to make of an orchestra and a group of young singers an ensemble assembled and totally committed to this music not at all easy to interpret [...] achieving the maestro from Cadiz a remarkable rhythmic flexibility and coordination, which is no small feat when dealing with a score full of rhythm changes, hemiolias and syncopations. The abundant dance rhythms were underlined by Aragón with grace and strength in the accents, at the same time that he made energetic and dramatic attacks in moments such as the aria “Hernando desventurado” or the tempest of the finale primo. In the complex concertantes he was attentive to take the singers by the hand in a precise manner”.
For its part, the magazine Ópera Actual remarked on the maestro's dynamic character:
“The proposal came from the hand of what is already a formative and artistic reality as is the Ópera Estudio de Málaga led by two outstanding artists, Carlos Álvarez and Carlos Aragón.
In this sense and from the podium, Carlos Aragón bet on a contrasting and accentuated dynamic thread with the Ópera de Estudio de Málaga Orchestra, folded at all times to the cast and choral mass without losing originality and personality”.
The magazine Codalario combines the scenic and musical work of the production:
“The experience of Emilio Sagi on stage and Carlos Aragón in the pit, architects of a balance and conjunction that have made possible a realization that has constantly kept the attention of an expectant audience that filled the theater's capacity. [...] to the expert baton of maestro Carlos de Aragón (sic), who has developed an untiring work to adjust tuning, timbres and regulators in each one of the components, with an arduous attention to maintain the conjunction between the different instrumental sections”
