Photo: José María Vitier and Maria del Mar Bonet In Havana
Editing and adaptation of Toni Basanta from Fairfax, Vermont, USA
If this is not the year in that Maria del Mar Bonet commemorates, since last December, fifty of professional activity, would probably be defined in its race as the year of 'Ultramar'.
> The album thus titled is an ambitious and resolute production with a dazzling craft and artistic success with Cuban musicians who have participated in its recording and that of the legendary Mallorcan singer.
Traveling musically from the Mediterranean to the Islands of the Caribbean seems to listen to this record, it is an easy thing and maybe it is, but only for an artist of great sensitivity, capacity for perception and experience as the Bonet.More news: Daiana's Crochet: Step by Step of a Rose
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SI She explains, in the texts of the disc, the metrical coincidences between the traditional songs of her Island, which she has so admirably sung, and those of the Cuban countryside and has achieved, with some, the small miracle of putting them lyrics taken from the popular Mallorcan songbook. In others, she has written the texts, new or translated into Catalan of the original Cuban in some case. And some pieces are of his creation or several of his collaborators as always.
Homogeneous, the disc is the result of addictive listening. To be accompanied by him, without fear of the empacho.
The album contains pieces that are like jewels of a renewed songbook that has been elaborated with contributions like Enrique Pérez Mesa (director of the National Symphonic Orchestra of Cuba) of the double bassist and arranger Jorge Reyes (his work is excellent, for example, in 'Tant com te cerc', by Guillem D'Efak, among other subjects where he is supported by his Sexteto or by Strings of the Mountain, Amat; of the flutist José Luis Cortés 'Tosco' (formidable in 'Nina, ninona' and 'Dintre teu', both Bonet originals) of the percussionist Eduardo Libre , of the pianist and arranger Alejandro Falcón ; the voice of María Victoria , in the 'Tonada libre' list of instrumentalists to which have been added the Catalan Dani Espasa and other musicians.
Special mention deserves the two original pieces and the 'Dance of the end of the century', an instrumental to which the Mallorcan has given him lyrics and has become a wonderful song. born from one of the musical genres, the Cuban dance, which best symbolizes the synthesis of European and African music.
This dance created by Vitier brings together tradition and contemporaneity. have been enriched by the words and voice of Bonet, that appears as if it were a solo instrument.
In September and October, Maria del Mar Bonet , who is now performing numerous recitals including the album 'Bellver', International CubaDisco in 2011, will present live and in large format 'Ultramar'.
To the lectoires that this viaita in SPAIN, we offer you new opportunities, both on the album and for sale, as in those direct futures, to appreciate and delight in the creativity of Maria del Mar Bonet < / strong> that on the 50th anniversary of his career does not conform to the dense and brilliant work he has done, in which he has also sought artistic alliances often, as in Amic, Amat (Picap, 2004), with Cham Ensemble of Damascus ; or "Anells d'aigua" (Sony Music, 1985 and 1995), with the Ensemble de Musique Traditionalle de Tunis, for example.