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On the Wings of Latin American Song Bogotá
Teatro Mayor Julio Mario Santo Domingo
04/19/2025 -
Songs & Piano Pieces by Manuel Ponce, Heitor Villa‑Lobos, Rosa Mercedes Ayarza de Morales, Luis Calvo, Noel Estrada, Agustín Lara, Carlos Gardel, Carlos Guastavino, Osman Pérez, Pedro Elías Gutíerrez, Jesús Pinzón, María Grever & Armando Manzanero
Ramón Vargas (tenor), César Canón (piano)
R. Vargas
On the last day of the “Bogotá es America” Festival, Mexican tenor Ramón Vargas delivered a generous program of songs from several Latin American countries. This opera star has graced the world’s most prominent stages in myriad roles, and is most noted for his bel canto. Now in his sixties, the lyric tenor’s top notes are not as secure, but his stage presence is even bigger than in his prime. His middle voice is still intact, and the repertoire was chosen accordingly. As he demonstrated three days earlier in the festival’s inaugural Gala lírica, he is at his best in these popular songs.
This material does not require excessively high notes and most are in the middle register. What they require is expressivity, which Vargas has in droves. Moreover, César Canón’s attentive piano accompaniment allows for a more intimate setting. Though one would have preferred this recital to be in the smaller, more intimate Teatro Colón, it’s understandable the much larger Teatro Mayor was the venue, given Vargas’s significant fan base.
The repertoire included several unfamiliar art songs, which proved to be revelatory. Of special note were the opening songs by Mexican composer Manuel Ponce (1882‑1948). Mostly known for his guitar compositions, at least outside of Mexico, his songs A la orilla de un palmar and especially Lejos de tí were a precious discovery. They were interpreted by Vargas with elegance and delicacy. Likewise, the final two songs by Armando Manzanero (1935‑2020) were delightful. The song Somos novios is surprisingly romantic and poetic. Vargas was highly moving in his interpretation of this sad song.
Several of these Latin American art songs are reminiscent of Italian canzoni by the likes of Paolo Tosti (1846‑1916) rather than German Lieder or French chansons. They are melodious and often quite sentimental.
A beautiful song by Argentine Carlos Guastavino (1912‑2000) had exquisite lyrics reminiscent of Oscar Wilde’s cross‑species love. The song, La rosa y el sauce, recounts the love between a rose and a willow tree. This parallels Wilde’s swallow that admired the reed in “The Happy Prince” or the nightingale that fell in love with and died for the handsome student in “The Nightingale and the Rose”. Musically, this song was most similar to a French chanson rather than an Italian canzone. Vargas was able to convey the melancholy of Guastavino’s song without excessive sentimentality.
The two songs by Brazilian Heitor Villa-Lobos (1887‑1959) did not convince, mostly due to flawed diction. My companion did not realize they were not in Spanish. The two languages have many words in common but their musicality is quite different, and Portuguese ought not to sound like Spanish, whether spoken or sung.
Pianist César Canón demonstrated his virtuosity in pieces by two Colombian composers, Luis Calvo (1882‑1945) and Jesús Pinzón (1928‑2016). If Calvo’s Arabesque is representative of his output, his music definitely deserves to be better known.
There were also several well-known popular songs such the famous tango El día que me quieras by Franco-Argentine Carlos Gardel (1900‑1935) and Júrame by Mexican María Grever (1885‑1951). Both were exercises in charm, almost evocative of a crooner’s pop music concert. Vargas’ clear diction and knowing emphasis made these songs resonate with a greater passion than more commonly known interpretations.
This recital was greatly appreciated by Vargas’ many fans, and introduced the veteran tenor to a younger generation through an accessible repertoire that will hopefully inspire a healthy curiosity for art song and even opera.
Ossama el Naggar
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