I'm very proud to be performing again this Saturday with Oscar Edelstein and his ensemble, the ENS in Buenos Aires in the Casa de la Cultura. The concert is from the new disc "Estudios para La Grilla Acoustica / Studies for the Acoustic Grid" in which I am the guest vocalist. The last performance was in La Trastienda which is one of the most cool live music venues in Buenos Aires (see photo below).

I received two fantastic reviews, one from a newspaper in the Province of Entre Rios and another from Buenos Aires' main broadsheet, from music critic Federico Monjeau (You can see the two below translated into English and the original Spanish underneath).

“The Grid” does not seem to be more orientated to an idea of future than to that of a remote past, with it’s instruments like the lithophone, it’s noises and sounds of primitive tools ( En el mundo oíd a la voz del cuchillo que hiere a la luna ) and this strange dialect that the beautiful voice of  Deborah Claire Procter articulates, that seems to border on an articulated language, with the effect of the almost figurative swarming of these tiny words, more than with Pollock, the music of the ENS seems to connect with certain landscapes of the artist Eduardo Stupía. Federico Monjeau, Clarin

 

To the singer Deborah Claire Procter it is only necessary to be grateful to her for the opportunity that toasted the audience to be able to re-discover the incomparable and inimitable singularity of the beauty of the human voice. Her intervention (perhaps for coming closer to something that might unite scat or the onomatopoeic phonetics of certain African traditions) was simply dazzling for the technical solvency in the range and her versatility in having intervened in a work that demands superlative competences in order to translate the complex interior world that it expresses. El Diario, Paraná - Carlos Marín

Ensamble Nacional del Sur (Buenos Aires)

https://www.youtube.com/watch?v=ieyRQN0EBAM

 

La Grilla no parece más orientada por una idea de futuro que por la de un pasado remotísimo, con sus instrumentos como el litófono, sus ruidos y sonidos de utensilios primitivos ( En el mundo oíd a la voz del cuchillo que hiere a la luna ) y ese extraño dialecto que se articula en la hermosa voz de Deborah Claire Procter y que parece bordear el lenguaje articulado, como ocurre a partir de Luna sangrando a Jackson Pollock , a pesar de que, por efecto del hormigueo casi figurativo de esos diminutos vocablos, más que con Pollock esa música del ENS parece conectar con ciertos paisajes del artista Eduardo Stupía

A la cantante Deborah Claire Procter, sólo cabe agradecerle por la oportunidad que brindó a la audiencia de redescubrir la singularidad incomparable e inimitable de la belleza de la voz humana. Su intervención (acaso por aproximarse a algo podría ligársela al scat o a la fonética onomatopéyica de ciertas tradiciones africanas) fue simplemente deslumbrante por la solvencia técnica en el registro y su versatilidad al intervenir en una obra que exige competencias superlativas para traducir el complejo mundo interior que expresa.El Diario, Paraná- Carlos Marín

 

 

 

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