IBERIAN MYSTICS; MUSIC OF THREE FAITHS
GEO'TOWN U. [12-6-03]
by Cecelia Porter
With thumbs up from the White House and Crown Prince Felipe de Borbon y Grecia of Spain, a program of song, instrumental music and dance devoted to Spain's multicultural past couldn't miss. Held at Georgetown University's Gaston Hall Friday night, the event ("Iberian Mystics") culminated a day's conference on Spain's languages, cultures, religions and arts. The concert highlighted Spain's historic role as a crossroads of Christian and Middle East (Jewish and Arab) cultures--entertainment fueled with hope for peace on earth.
Spanish Ambassador Francisco Javier Ruperez-Rubio opened an evening divided into Christian, Jewish and Arab segments in lovely mixes of vocal and instrumental music with readings from mystics of all three faiths. Angel Gil-Ordonez conducted the Woodley Ensemble, a chamber choir offering darkly-toned motets by Victoria, the Spanish contemporary of otherer Renaissance greats: Palestrina, Byrd, Gesualdo and Gabrieli, to name a few.
Mezzo Keri Alkema (Clotilde in the Washington Opera's recent "Norma"), soloed in Roberto Sierra's "Four Sephardic Songs," reaffirming the beauty of her entire mezzo range; in de Falla's "El Amor Brujo" her contralto register was charged with black mega-fire. Conductor Ordonez and the Post-Classical Ensemble were excellent in both works. The stunning artistry of Hicham Chami on the "qanun" (Arab zither) was matched by that of his partner, Kim Sopata on the flute and recorder. The singing of Flory Jagoda, a Sephardic Bosnian emigre, was moving in its mellifluous passion; flamenco dancer Sara Jerez enchanted all, even in the tiny space afforded her.
© 2004 The Washington Post Company
