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En el CCK, el cantante mexicano se estrenó ante el público local con una actuación meritoria, llevándose una sonada ovación.
Vía: www.clarin.com | Por MARGARITA POLLINI
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Una de las mayores sorpresas que deparó desde su anuncio el Festival Barenboim 2019 fue el debut en Argentina del mexicano Rolando Villazón, en un recital de canciones junto a Daniel Barenboim. Con seguidores locales tan numerosos como fervientes, el cantante tuvo con el público argentino un encuentro no por tardío menos apasionado, a juzgar por las ovaciones que lo saludaron desde su ingreso al Auditorio Nacional del CCK.
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Villazón es un artista que ha sabido reinventarse luego de una afección vocal, y que como cantante saca hoy el máximo provecho de sus recursos actuales. Dentro del programa general del ciclo Barenboim, con predominancia de música alemana y rusa, el repertorio elegido por Villazón puso una cuota de fuego latino y supuso desde el vamos una carta de triunfo. Simpático y comunicativo a más no poder, el tenor rompió el hielo con las Siete canciones populares españolas de Falla, donde mostró claridad en la articulación del texto (a veces en detrimento de la pureza de la línea, que revela por momentos asperezas en el registro medio y grave) y su capacidad para crear climas diferentes. Le siguió un ramillete de las Canciones clásicas españolas de Fernando Obradors, otro desafío interpretativo que reveló momentos de particular belleza, y que culminó con una explosión de energía en la deliciosa Chiquitita la novia.
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Si la primera parte estuvo dedicada a España, la segunda, con eje en obras de autores centro y sudamericanos, tuvo también sus lazos con lo ibérico. Es el caso de las Cinco canciones de niños de Silvestre Revueltas, sobre textos de Lorca, Antonio de Trueba y anónimos, y Las nubes de Guastavino, basado en poemas de Luis Cernuda, y una de cuyas canciones (Jardín antiguo) impresionó en su momento a Manuel de Falla; el ciclo guastaviniano, interpretado con más vehemencia de lo habitual, fue uno de los puntos altos del programa.
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De todos los Festivales Barenboim éste es posiblemente el que más facetas de su creador permite transitar. Y el recital con Villazón dio la oportunidad de acercarse en vivo a Daniel Barenboim como a un intérprete exquisito en su tarea de secundar a la voz, atento a las inflexiones del cantante y explorador incansable de timbres y sonoridades. Fueron particularmente notables su orfebrería del contrapunto en La mi sola, Laureola (Obradors) y los colores que aportó al ciclo de Falla y a la Canción al árbol del olvido, que Villazón cantó con belleza y acento local.
Con piezas del brasileño Alberto Nepomuceno (Coração triste) y el colombiano Luis Calvo (Gitana), el cierre del programa dio paso a los bises: el clásico de Guastavino La rosa y el sauce,- vertido con sentimiento-, otro homenaje a la tierra natal de Villazón con Te quiero, dijiste, de María Grever, y la esperable incursión tanguera con Mano a mano, que más que afortunada resultó desopilante por el cómico modo en el que tenor fue resolviendo sus dificultades con el lunfardo. Aunque no hubo lugar para otras obras fuera de programa voceadas por el público, puede decirse que, en los márgenes del programa elegido, Villazón convenció -y venció- con su entrega y su autenticidad.
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