While some revered Latin American artists have a significant international profile, others are less widely known. An exhibition celebrating Mexican artist Frida Kahlo is currently running at the Bendigo Art Gallery, but it has taken renowned pianist Coady Green, the curator of the latest iteration of the fortyfivedownstairs Chamber Music Festival, to bring the name of Violeta Parra to the attention of many local music lovers.
Green’s championing of the talents of virtuoso Chilean pianist Ricardo Roche Idini, who is now completing his Honours studies with him at the University of Melbourne, is to be applauded; Idini’s preparation of this exploration of the life and art of Violeta Parra was exceptional in both the quality of its story-telling and musical presentation. Sold out well beforehand, the only drawback to the event was that the venue limits audience numbers. While the intimacy and relatively relaxed vibe of fortyfivedownstairs heightened a sense of involvement in the very personal story and music, it was a pity that more people could not be swept away by what we experienced. Another positive contribution to the general atmosphere was having so many people of Spanish/Latin American origin in the audience; Spanish could be heard everywhere as people chatted.
This production catered well for those with limited Spanish or English language skills. A handout in Spanish was available, and the back wall of the venue was put to good use, with projections of all songs and poems provided in the original and English translation. We also saw images of Violeta Parra, her family, close friends and her artwork. It would have been a surprise to many that in April 1964 she was the first Latin American artist to have a solo exhibition at the Louvre. Exhibits included oil paintings, wire sculptures and arpilleras – brightly coloured patchwork depicting the life of the poor during Chile’s totalitarian regime. Although Violeta Parra (4 October 1917 – 5 February 1967) did not experience Pinochet’s dictatorship as such, she lost a brother to an oppressive regime that enraged her and proved a catalyst for her passionate artistic creations. Her contribution to ethnomusicology and the renewal and reinvention of Chilean folk music, including distinctive guitar playing, was so significant that her birthdate was chosen as “Chilean Musicians’ Day”.
Narrating a text written by Idini, Andrea Rodriguez described Parra’s extraordinary life – one of intensity and commitment. We heard about her upbringing and musical beginnings as a performer, her growing concern for Chilean music, her time in France, her romantic relationships and her political activism. What was repeated several times was her role as “the soul of Chile” and the intensity of her approach to life: loving completely even in the face of disappointment and heartbreak, and her devotion to the support of the poor and persecuted.
Between the narrated episodes from Parra’s life, multi-instrumentalist/singer Alejandro Vargas and singer Tash Vargas performed a selection of her songs with Idini accompanying them. Idini also played two short piano solo pieces, one to open the program, and another – delicate and wistful – by Victor Jara later on. Alejandro Vargas began with the popular La Jardinera, his strong stylish vocal technique and guitar playing vivid and exciting. Both he and Tash Vargas sang very close to the microphone, enveloping us in a soundscape of emotion, their voices true and with the timbre and colour associated with these songs –darkly raw, full-bodied and technically secure. Her singing of “Volver a los 17” (Being 17 again) was compelling – vocally and dramatically powerful. Murmurs of approval mingled with the following applause. For “Run Run Se Fue Pa’l Norte” – the song from the time of political unrest and a message to her brother, tragic victim of vicious oppressors – Alejandro Vargas also played an instrument resembling a recorder that sounded like an evocative haunting flute, a vibrato adding intensity.
After interval, we heard what was referred to as an “oratorio”, with Parra’s poetry replacing the narrative before each song. In an arrangement of “Canto para una semilla”, Andrea Rodriguez read Parra’s poems in fluent Spanish, each poem followed by seven songs that further chronicled key parts of Parra’s life. “Los Parientes”, “La Infancia”, “El Amor”, “La Denuncia”, “La Esperanza”, “La Muerta” and, finally “Gracias a la vida”. The last song concluded both halves of the program and acted as an Epilogue to Parra’s life – one filled with tears and suffering but also laughter and joy.
As we heard the music, it became clearer to what degree Parra wanted to communicate a story – with truthful, heartfelt passion. A love of words as much as music was central. The music was generally folk-like in nature, with the guitar strumming predominant and flute and simple percussion included in some pieces, but the mood of each one varied, reflecting the poetry. Whereas the very opening piano piece was a rocking lullaby you could hear the anger in the fast “La Denuncia”, emphasised by Charlotte Roberts’ drumming. Oscar Poncell played a second guitar for the slow, gently rocking rhythms of “La Muerta” (Death), sung with great feeling by Tash Vargas.
The most poignant moment came with the final “Gracias a la vida”. Even those who had never heard of Violeta Parra had come to know and admire her by this time, and felt tremendously moved that this inspiring woman, this “mother of Chilean folk music” had decided to end her life in her own time and way.
We have come to expect the unexpected in a Chamber Music Festival curated by Coady Green, but this performance surpassed expectations in so many ways, as the standing ovation acknowledged.
The fortyfivedownstairs Chamber Music Festival 2025 runs until Sunday, May 18. Don’t miss it.
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Heather Leviston reviewed “Violeta Parra’s Chile”, presented as part of the Chamber Music Festival at fortyfivedownstairs on May 8, 2025.
