Michael MacManus (member of acclaimed Melbourne Guitar Quartet) must be credited for his commitment to elevate and activate the classical guitar scene in Australia. In his words he “only hosts artists considered to be in the top one percent of their field”. Described by Opera World Magazine as “the female voice of the Spanish guitar”, Andrea Gonzalez Caballero has been “in the Top 10” for some time. So when word got out that she was invited to this year’s Adelaide International Guitar Festival, MacManus was quick to organise thirteen sellout concerts in Melbourne, Sydney, Canberra and Regional Victoria.
Impeccable, faultless, classy and beautiful in presentation, Gonzalez Caballero’s recital was performed fully from memory to a spellbound audience in an excellent performance venue. It was a privilege to be able to hear this outstanding musician in a full house where every guitarist in the audience was hanging on to each phrase with admiration for her technical mastery and ease of delivery. Opening with the Fantasy (Variations) on Themes from“La Traviata” by Tarrega was an excellent choice, bringing us the charm, beauty and romantic warmth needed on a wintry Melbourne night. How impressive was this virtuosic performer’s flawless technique as she calmly played first class repertoire with precision, clarity and flair combined with sensitive and richly varied dynamics.
Three dances by acclaimed Spanish guitarist and composer Regino Sainz de la Maza (1896 – 1981) allowed Gonzalez Caballero to envelop us in traditional flamenco colours with rhythmic attack, a range of finger techniques and fluent tremolos – soft and prestissimo – accompanying romantic melodies. Rondena and Zapateado in particular were highly applauded after their closing fiery, percussive crescendos, while the second dance Petenera took us to a sad, melancholic, yet enchanting place with its slow rhythms, harmonic effects and gossamer-like harmonies.
F. Torroba (1891-1982) had a long career in the world of opera, and it is his programmatic orchestral pieces Castles of Spain that have been transcribed successfully for the guitar, each describing a landscape from different regions of Spain. In the three contrasting pieces chosen by Gonzalez Caballero, melodies were enhanced in a popular vocal style, with free tempos, rich and mellow tone colours, and most effectively contrasting repetitions and alluring soft echoes.
Two popular orchestral works by Albeniz, Cataluna and Sevilla, offer virtuosic opportunities in their transcriptions for solo guitar, with moods and textures ranging from stately elegance, orchestral textures, colourful embroidery and exhilarating cadenzas. Gonzalez Caballero brilliantly contrasted the stately classical dance rhythm of Cataluna with the biting chordal accompaniment and the freedom, rubatos and passionate percussiveness of the bolero rhythms of Sevilla.
Connecting wonderfully with the audience through her music and stage presence, Gonzalez Caballero briefly introduced each piece, sharing her personal memories with a selection of four Spanish songs, personal favourites of hers since childhood days and favourites of her grandmother. Andalusian composer Manuel Lopez-Quirogas (1899 – 1988) wrote hundreds of popular songs, 36 Spanish light operas and 50 film scores. In these settings, Gonzalez Caballero created new colourful instrumental settings with heartfelt expression and intense dynamic contrasts. At times the song melodies were bold and energetic, at times generously free in rhythm and tempo, at times like a thoughtful recitative, and at times with questions and answers shifting across the six strings through different high, medium levels or with very effective mellowness in the bass.
The fiery orchestral music by Manuel de Falla is always sure to rouse passion and love for the unique flavours of the traditional Spanish music that brings out the gypsy in us. For twelve years Gonzalez Caballero studied with Joaquin Clerch, noted Cuban guitarist, composer and a professor at the Robert Schumann University, Dusseldorf. By choosing his arrangements of de Falla’s exciting Danza del Molinero (The Miller’s Dance) and the crowd pleasing Danza Espanola No 1 from La Vida Breve, Gonzalez Caballero gave us the full splendour of gypsy flavoured dance rhythms, hushed muted tones depicting the heat and shadows of the Alhambra contrasting with passionate free-whirling cadenzas and the biting timbres of exhilarating traditional Spanish music.
Following the chorus of loud bravos and a call-back for more, Gonzalez Caballero humorously and affectionately played her sweet arrangement of Waltzing Matilda with freely spaced open-air harmonies and tranquil rhythms.
Photo supplied.
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Julie McErlain reviewed “Six Strings One Heart” a guitar recital performed by Andrea Gonzalez Caballero – Guitar at the Yuma Auditorium (formerly Wyselaskie Hall), Melbourne University on July 3, 2023.
