MARIO, MARIO, MARIO!

Pianist Max Lifchitz and tenor Mario Arévalo

When we attend a concert and never glance down at the program, it means that the performance has occupied our entire attention. What a rare and special experience that is! Last night at the National Opera Center we were enthralled by the performance of El Salvadoran tenor Mario Arévalo whom we have not heard in several years since he left New York City for Miami.

We first heard Mr. Arévalo as a Goodwill Ambassador for Fine Arts and Culture for the United Nations Association of El Salvador. We recall some exciting Pan-American celebrations involving colorful costumes, exciting rhythms, and tuneful melodies--all of which mark the music of our southern neighbors. This admirable musician is known for his arts initiative Una Voz, Un Mundo which advocates cultural diversity (a goal we share) and provides musical instruments for low income youth.

But that is not what we were thinking about during his performance. We were totally immersed in the music without for a second thinking about the academic points we usually write about. We were swaying with the rhythms and tuning in to the feelings that Latin American music evokes. Part of this must be credited to the beauty of the Spanish language with its pure vowels. Another part relates to the Latin American avoidance of 20th century academics which robbed music of its melodic structure. Still more credit goes to the heartfelt lyrics; no prosy intellectualism here! No lectures or philosophizing, just pure emotion.

Of course, one needs a singer with soul who can take advantage of these qualities and, in Mr. Arévalo, this glorious music has found a fine interpreter. He is an artist who pours his entire soul into the music! Most of these composers were new to us and it wasn't until we heard "Damisela Encantadora" by the Cuban composer Ernesto Lecuona that we felt ourself to be on familiar ground. We confess that the romantic adoration expressed by the lyrics left us a bit weak in the knees. Fortunately we were sitting down!

Even more familiar was the tender waltz "La rosa y el sauce". from the Argentinian composer Carlos Guastavino. It is a sad tale of a rose, beloved by a willow tree, plucked by a coquettish girl who is heedless of the pain of the willow. We suppose that is why we speak of the "weeping willow" in English. The symbolism is inescapable and anyone whose love has been stolen can relate to the mournful melody. The program ended on a fine note with "Jurame"  a familiar passionate song by the Mexican composer María Grever. We never tire of hearing it and it was a fine way to end a recital that held our interest from beginning to end.

Before ending, we would like to share with you some of the other Latin American composers we heard for the first time--Pedro Elias Gutierrez, Mario Chacon, Jaime Leon, Carlos Colon, Pancho Lara, and Isabel Chabuca Grande.

We would also like to mention that the accompanying pianist Max Lifschitz, born in Mexico, was completely in tune with Mr. Arévalo and furthermore shared some of his own compositions, giving our tenor an opportunity to ditch his formal attire (a tailcoat!) for a semi formal tuxedo.

We hope Mr. Arévalo will not wait another few years to return to New York City! We need more Latin American music!

© meche kroop