Jelena: A short trip to the imagination with Silvia Peréz Cruz

When my classmate Maite suggested going to the concert by Silvia Peréz Cruz, I was delighted, as I saw a great opportunity to experience and learn something new. I had no previous knowledge of this singer, and although jazz, which was the main theme, is not my favourite music style, the fact that the young Spanish vocalist is moving within different music genres, including fado and flamenco, actually the ones I prefer, I felt quite curious. 

The concert was held in the “Juan del Enzina” theatre, and to my mind it was just the perfect place for that kind of music, the space that gave us the sensation of a more intimate, warmer atmosphere and one which enabled a better connection between the musicians and the audience. The simplicity of the stage and the casual look of the artists, as if they were just rehearsing for the concert, made us feel more relaxed and ready to absorb the immense quantity of positive energy and strong emotions.

The songs we could hear were from Silvia’s only CD so far, named “En la imaginacion”, the fruit of the collaboration with the famous Javier Colina trio, whose founder, the magnificent double bass player Javier Colina, made a selection of some classics of Cuban music, Latin jazz to be precise, arranged and found on the album. Each song was telling us a story of love, passion, sadness, longing and hope, and we wouldn’t have enjoyed them if it wasn’t for Silvia’s radiant, warm and versatile voice. She performed each song as if it was her own story, her own emotion, her personal experience, and it wasn’t just her voice, but her eyes, her face, her entire body that was involved in the task of conveying every single feeling, so in a way there was no need to understand all the words. 

It was a unique experience in which we enjoyed ourselves together, the artists as much as the audience. What impressed me greatly was the degree of improvisation made by the musicians, which made the concert unique and, to some extent, amusing. For two short (at least to me) hours sequenced wonderful songs were played one after another, like “Debí llorar”, “Qué dirías de mi”, “Ella y yo” and “Veinte años”, but Silvia didn’t want to make us feel too sad or melancholic, so from time to time she performed some faster, more entertaining songs like “Belen” and “El panquelero”.

The most touching moment of the concert was at the very end, when Silvia and Javier sang together a beautiful song named “Si te contara”, which she dedicated to either a friend or a relative - who apparently passed away the same day they held the concert - while telling us that there was no reason to feel sad or disappointed. With a great smile on her face, looking to the sky, she paid homage to somebody she really cared for and who obviously must have loved the song. 

Silvia truly made her way to my heart, so I have started to listen to her music, and I’m deeply grateful to my friend Maite for sharing an extraordinary musical experience with me.

Thanks, dear Jelena, a riveting post indeed. I mean, sure you can write a Spanish artist - or from any other nationality for that matter - as long as it is in English!

I am just sorry I missed the gig as I find Silvia a fascinating singer, with a beautiful voice and oozing on-stage charisma. Hopefully I'll see her perform live soon. I hope you approve of the photos and clip I've embedded!

Chani: WHEN DESTINY WANTS TO TOY WITH SOMEONE (Searching for Sugar Man)

Last Thursday I went to watch this film of the “Ciclo de Cine e Idiomas” in Van Dyck cinema, Salamanca. The experience was absolutely amazing and rewarding. Even though I had previously heard of the incredible but true history of Rodriguez I couldn’t help being moved. 

First and foremost, the documentary made me feel at the beginning as if the protagonist was dead. Furthermore, I couldn’t certainly image how something like that could have happened in this supposedly advanced and modern world.  

To a certain extent, I dare say that it is really difficult to be a prophet in your homeland. This is precisely what happened to Rodriguez, who started his musical career in his native Detroit, Michigan. His songs, based on the cruel reality of the miserable, deprived neighbourhood where he lived, are like a scream of protest against social injustice. Contrary to popular belief, not only do his critical lyrics focus on the downside of a dire situation but they also show a slight light of hope on the horizon.

The music company Sussex Records released only two albums by Rodriguez and, quite ironically, dismissed him two weeks before Christmas, as he writes in one of his songs. Unfortunately, this artist was not successful in his own country so he gave up music and carried on working in the construction industry. As far as I am concerned, the owner of Sussex, who is interviewed in the film, is the one to blame for so many years lost for Rodriguez.

A young "Sixto" Rodriguez back in the early 70s

Little did he imagine what life had in store for him. Meanwhile, far away from the USA, the story of this great singersongwriter was being written in capital letters. In South Africa, his two albums, “Cold Fact” and “Coming from Reality”, reached the peak of success. What is more, they became so popular that Rodriguez was compared to his well-known, contemporary fellow artist Bob Dylan. Not to mention the fact that in South Africa, people were living the terrible “Apartheid” – the rights of the majority of the black citizens were curtailed. Obviously, people rebelled against the tyrannical government through submissive, peaceful protests in which Rodriguez’s songs were like a strong symbol of resistance and true hymns of freedom. 

I can’t help telling you that “yes, Rodriguez is still alive!” His life took a U-turn. The first gig he played in South Africa in 1998, almost 25 years after he recorded his music, face to face with his devoted fans, was absolutely spectacular. The concert hall was full to overflowing and the audience exploded in a burst of applause. I really liked what Rodriguez said: “Thanks for keeping me alive”.

Finally, I have to praise director Malik Bendjelloul for his good decision to carry on with the determination to find Rodriguez wherever he was. Of course, I eagerly recommend you to watch Searching for Sugar Man. There are still some questions on the air to be answered such as what happened to the royalties produced by the sales of Rodriguez’s albums in South Africa? Apparently, his record company received the money but the singer did not have any knowledge. Is Rodriguez going to delight us with new songs? I hope so!

Well done, Chani! You know, I can't emphasize enough, however enthusiastically I recommended you guys the film in class, that I totally, utterly love "Searching for Sugar Man" (so much so that I've watched it three times!) Not only Rodriguez's moving life story but, above all, his awesome music, which indeed deserves recognition, as it's mentioned in the movie.

So allow me to embed this clip of an interesting interview with Rodriguez himself and the film's director, during the promotion of the highly praised, critically acclaimed documentary.

Finally, just to give an example of his immense, unrecognized talent as a (sadly wasted) singer-songwriter, I'd like to post a song whose lyrics are sheer poetry to my ears. It's called "Cause" and it's said to be the last song Rodriguez ever recorded in his fleeting career. Sadly, dear Chani, I'm afraid he's just too old now, in his early 70s, so way past his prime, to pen any more songs. But his late legacy is one of amazing beauty. Enjoy!

Sara Collantes: GOD SAVE THE QUEEN

While I am writing this, the last vinyl I bought, “Greatest Hits II” by Queen, keeps spinning and playing loudly. I have to stand up every four songs to turn the volume down but, you know, that’s the magic of vinyls.

On a day like today in 1991 Freddie Mercury, the frontman, main composer, lead singer and the heart and soul of Queen, died because of a bronchopneumonia brought on by AIDS.

I was only 8 when Freddie passed away and little did I know at the time about R ‘n’ R; however, what I do remember clearly is listening to lots of rock bands such as Deep Purple, Dire Straits and, above all, Queen. All of them used to play on my father’s car radio or at home while doing the weekly cleaning of the house on Sundays. It’s a kind of the soundtrack of my early days. Many years later I rediscovered the band and I’ve been absolutely hooked since then.

It’s undeniable that he was unique and a great performer, but it’s not as simple as that. Away beyond just being a musical artist, not merely a singer, he was widely known for his strength, magnetism and thrilling performances on stage. He was a really shy man and famous for his scarce interviews but as a performer he was like a burst of energy, an explosion of good feelings, a mixture of powerful vocals and a flamboyant attitude.

The worldwide known soprano, Montserrat Caballé, with whom Freddie recorded an album, said: “His technique was astonishing. His phrasing was subtle, delicate and sweet or energetic and slamming. He was able to find the right colouring or expressive nuance for each word”. Considering the source of this statement I believe it is a huge compliment.

In his last years he was seriously ill although nobody knew except his closest friends and band mates. During those years they penned some of the saddest songs ever written, such as “The show must go on”. I’ve always believed it was his final farewell. 

“The show must go on

The show must go on

I'll face it with a grin

I'm never giving in”

Last February I was in London with my boyfriend visiting a friend when we had the opportunity to see Brian May in concert. He played a small gig at St. Pancras Station to raise money as part of a campaign by an organization called “Save Tigers Now”. It was only 30 minutes long and most of the songs were covers from other bands but the last one he played was “A crazy little thing called love”. I was excited, absolutely delighted to see him perform so I cried out of sheer happiness to be there. Now I just wonder what it would have been like with Freddie himself on stage.

At least we have all inherited his amazing songs and memorable live performances. They are the long-lasting legacy he left us. Freddie died but his songs will never do.

Thanks Sara! I almost forgot it was Freddie's death anniversary, which is unforgivable being myself a lifelong fan of the band (and Freddie indeed!). I sometimes can't believe what a major crush I had on them as a rock-oriented teenager in secondary school. I would spend all day long listening to their songs, learning their lyrics by heart (I guess it helped my English a lot at the time!) and finding out as much as I could about the band's members' personal lives. Then I must admit I sort of almost hated Queen when in 1980 they released "Hot Space", their tenth studio album, which I found so so naff and tacky! (and still do today, I just can't help it however much I love their music!). 

I mean, I was a staunch follower of their classic albums, you know, "Queen II","A Night at the Opera" and stuff, and I admit I was even more outraged to watch their provocative, humorous clip of "I want to break free", featuring good old Freddie and the rest of the band in women's gear, with the lead singer infamously dressed as a moustached housewife doing the hoover. "These are not my Queen, no way!", I thought then. From that moment on I stubbornly kept listening to their classic albums - the earlier the better - and only when they recorded "A kind of Magic" and above all, "Innuendo" did I agree to listen to their new productions.

Actually, Sara has sent me the link to the video of a relatively late song by Queen, from their 1989 album The Miracle called "Breakthru". I guess it is a perfect example of the band juggled the old style (the operatic feel of the intro - those great voices!) with a more modern, late 80s sound. Enjoy:

Freddie's sad untimely death was a huge, devastating blow to me. It's amazing how time flies, I can't believe twenty-two long years have gone by. I just wish I could have seen them perform live just the one time, but it wasn't to be. Dear Freddie, may you rest in peace wherever you are ...

Van Dyck's 33rd ciclo's opening film: "A late quartet"

Yesterday I was lucky to watch a great film - at least to my mind -, the first of the “Ciclo de Cine e Idiomas” in Van Dyck: A late Quartet. Despite a modest commercial success, both my son and a few colleagues had recommended it to me, so I willingly went to see it with my wife.

Directed by Israeli-American filmmaker Yaron Zilberman, the story the movie tells is pretty straightforward: the seasoned cellist of a world-class string quartet is diagnosed with the Parkinson’s disease, which triggers off a chain of startling events and a flow of emotions within the group of fine musicians after 25 years of a successful, harmonious career. 

I have always believed that professional interpreters at the highest level have egos as big as the auditoriums they sometimes perform in, as well as a demanding life, rife with the pressures and demands of being in the public eye all day, going on long tiring tours, often giving up a lot on family life and stuff. And this is all very effectively portrayed in A late Quartet through the truly extraordinary performances of a brilliant cast, led by - arguably one of my fave actors nowadays - the awesome Philip Seymour Hoffman and indeed a great veteran of the screeen, Christopher Walken, who really steals the show with his memorable role as the illness-struck cellist Peter Mitchell. Apparently the film is loosely based on the autobiography of Gregor Piatigorsky, who, like Peter recounting an anecdote to his devoted pupils (possibly my favourite scene of the movie in the movie), once met Spanish legendary cellist Pau Casals.

The great Christopher Walken plays the role of a lifetime. Worthy of an Oscar?

To me, A late Quartet is a fine example of what intelligent film-making is all about: the drama is skilfully constructed and, first and foremost, accurately performed; the icing on the cake is the brilliant music, namely Beethoven’s superb, powerful string quartet opus 131 (which I’m listening to as I write these lines), the fitting background against which the moving stories of jealousy, ambition and family tensions unfold.

The troubled marriage within the quartet

It was only coincidence that barely an hour after the end of the film I was comfortably sitting at the Teatro Liceo relishing the delightful music of Schubert’s Octet in F major, performed by the “Octeto de la OSCyL”. As I was watching the very talented musicians play the piece, I couldn’t help thinking, obviously affected by what I had just seen on the screen, what their personal relationships might be like, you know,  their feelings towards each other, as well as the enormous strain they must be under whenever they perform in front of an audience. Being the father of an aspiring musician myself, I find this world totally fascinating - yet somewhat disturbing, I must admit!

From the point of view of English, I was glad to see some of my students (not as many as I'd wished, though) around in the stalls, thinking they surely understood a good deal of the words and expressions the fine actors uttered, since they all spoke mildly standard American accents.

If, like me, you enjoy a film featuring strong performances within a simple story devoid of gratuitous ingredients (you know, no special effects, no car chases or mindless violence), just a beautiful drama focusing on human passion, punctuated by a brilliant classical music soundtrack, A Late Quartet is a great joy. Watch the trailer and judge for yourselves.

Maite Garcia: Nosferatu, a film by Murnau

Photography revolutionized the world of art owing to its characteristics: veracity, instantaneous results, etc. This amazing medium promoted the emergence of the cinema, whose essential base is the image in movement. Cinema has become a kind of art which is so typical at present. 

I declare myself as a cinema lover. Not only do I like a good script or moving performances but also I am very interested in the esthetic resources the cinema uses to tell us a story (its shots, frames or camera movements). So for that reason, I wish to talk about Nosferatu, a silent film directed by German filmmaker F. Murnau in the 1920s which I saw this weekend and really surprised me. Despite the fact that the movie is so old, it established a lot of keys in relation to horror movies. 

It is not the first film in which a vampire appears. However, it was the first one to be inspired by “Dracula”, whose author is Bram Stoker. In spite of changing the names of both the main characters and places, the story was suspiciously similar to Stoker's novel; that's why the widow's writer won a lawsuit to destroy all the copies. Fortunately, the destruction was not complete and nowadays we can still enjoy this masterpiece. 

Though Nosferatu belongs to German expressionism, this film introduces a few changes in this movement. Pictorial scenographies (which we could also see in “The Cabinet of Doctor Caligari”) were abandoned so as to use scenes shot oudoors to evoke reality. Nowadays, horror films (“The Blair witch project”, “Rec”, “Paranormal activity”) use that resource to achieve more effectiveness. At an esthetic level, the carriage's scene must be mentioned, shot at a fast pace as a photo negative in order to announce that something terrible is going to happen. In fact, Stanley Kubrick included a similar sequence in “The clockwork orange” (Kubrick used a Durango 95 car instead of a carriage). It is important to analyze the illumination, because if someone is savage like Nosferatu, the light will be rough and dark. In contrast, victims and innocent people will appear against a soft light. Moreover, the shadows suggest the presence of the vampire, and also his death when they are destroyed. The use of a low angle is also remarkable in order to emphasize Nosferatu as the most evil paradigm.

Issues like the conflict between good and evil, and love as the only salvation are constants in this film. A great deal of the critics believe that these values are used in a metaphoric sense to reflect the fear Europe felt about the Nazi threat. We can relate this feeling to a dramatic scene where we can see a huge outburst of rats jumping off a ship to spread diseases. In this way, rats “prepare” the reign of Nosferatu. The vampire represents the darkest part of human heart as well; in fact, that reason leads him to his own destruction, when he stays / is staying with Ellen (his victim) and the sun is rising. This feeling has nothing to do with the desire associated with love, which is the main difference between Nosferatu and subsequent works by Tod Browning (“The mark of the vampire”) and F. F. Coppola (“Bram Stoker’s Dracula”). 

This movie is a great example of a horror tale but maybe it is also a journey into our evil, dark side personified by Nosferatu, the vampire. This monstrosity represents an interruption of the concept of “sublime”, which is defined as the observation of fear from a safety position, from a distance that allows our enjoyment. I believe Murnau breaks the distance and limits in quite an innovative, suggestive way so that his resources or techniques remain in modern films.

Thanks Maite, well done! I admit I have vague memories of Nosferatu, which I must have seen years ago. Perhaps I should have a go at it again after reading your post! In any case, I've found this clip of the film, actually the very beginning of it, so that your classmates get a taste of what this old movie looks like.

Chani: a spectacular landscape in Spain

Spain is an incredible country which surprises people everywhere. Undoubtedly, it boasts fascinating landscapes with wonderful, breathtaking views. One of these marvellous sceneries is located in Navarra: The source of the River Urederra is a clear example. We can admire this beautiful place in all its splendour all year round, especially in autumn.

This kaleidoscopic view offers a wide spectrum of colours, which delight our eyes in perfect harmony with a feeling of profound peace. It seems to be an otherworldly image that is reflected even more in the following photograph.

This huge variety of multi-coloured leaves which fall off the trees during the autumn creates a striking carpet. The crystal-clear waters carry them on a long trip slowly and smoothly. In addition, the vegetation which surrounds the river is worth seeing since it will astonish us with its beauty. 

I strongly recommend you to visit this magnificent area in which you can walk and enjoy nature.

Ana Garcia 1º NI: "The Last king of Scotland"

Last weekend I watched “The last king of Scotland”, a British film of 2006 directed by Kevin Macdonald and based on the novel by Giles Foden. It tells the story of Ugandan dictator Idi Amin (Forrest Whitaker) through his personal doctor, Dr. Nicholas Garrigan (James McAvoy)

The film is a sketch of the African dictator’s life. Garrigan begins his relationship with Idi Amin admiring him and believing in his future projects, but quickly he realizes the cruelties for which the dictator’s regime is responsible, and the terror that reigns in the country.

This fantastic movie focuses on the close relationship between the two men, without going too deep into the dictator’s political atrocities. It moves from a more fraternal relationship between the patient and his doctor to the doctor’s persecution and martyrdom, which is due to his supposed treason.

Amin’s men torture Nicholas, but, thanks to the sacrifice of one of his fellow doctors, he manages to catch a plane on which there are hostages who live in Uganda. After learning of Nicholas’s escape, Amin goes to the airport, where he finds out that the plane has already taken off.

I really liked the film, but I don’t think the crudeness of some images is necessary.


Thanks Ana, well done! Let me just round off this lovely review by inserting the movie's official trailer (with subtitles in Spanish)