One of the characteristics of the concert (“Women Resistance”), (is) its telluric intensity, the sonic force with which the composition reflects the events…(Impacto suite: ) It is a set of pieces, some of which did resonate the lowest notes of the piano, like an earthquake, like a visceral and atavistic liberation, and in which María Paz Santibáñez immerses herself completely, with her musical virtuosity, carrying an energy that moves the audience as she recites in Mapudungun, while singing some of the cries of revolt and while with one hand she wields the wooden spoon to hit the pot and with the other she vibrates the keyboard with notes that sound like gunshots and thunder… At the end of “Reñma”, the pianist hits the saucepan with her spoon in a dry crescendo that raises the hair on public’s heads and advances like the inexorable pulse of fate. Tragic. Demolisher. A silence of a few seconds precedes the resounding and excited applause of the public. (Debussy and Bartok are) a way of restoring order, a form of harmony, after diving into sounds and deep and moving evocations.
CONTINUE READING (ES)
