It is difficult to find a more appropriate way to inaugurate a new (and very extensive) edition of the Inverfest Madrid – already the tenth of the festival that celebrates the height of winter with live music – that with the performance of Christina Rosenvinge presenting live the songs from her latest album, Los Versos Sáficos (Primavera Labels, 23). An album that had its origin in the theatrical project “Sappho”, an ambitious adventure in which the artist adapted verses from the Greek poet that she later turned into an album and, now, into an impressive and exciting live performance.
They were the main sensations left by the passage of the vocalist and her worthy companions (Irene Novoa on bass, Amaia Miranda on guitar, keyboards and choirs, and Xerach Peñate on drums) through The Music Station Príncipe Pío. The veteran artist has known how to surround herself with a magnificent band to function precisely as such, thus betting on a necessary packaging when it comes to Christianizing songs with such a specific theme. A skillful maneuver that catches contact with the stage, between a strong poetic presence, stylistic diversity and punk soul.
The juicy mix of elements, sensations and genres vertically feeds the show itself, thus enhancing the virtues and intrinsic strength of songs that are already so inspired such as “Hoy Duermo Sola”, the anarchic “Fragmentos”, “Poema de la Passion”, the catchy pop of “Pajarita”, the traditional airs of “Wedding Song”, “Hymn to Aphrodite” or the latent darkness in “Against the Epic”. A repertoire completed with pieces recovered from other works such as “Ana and the Birds”, “La Tejedora”, the splendid “Ese Chico” or “Muertos o algo mejor”, all of them consistent and well brought to the evening in question.
With the palpable support of her companions, Christina Rosenvinge once again demonstrated that she is that plural artist without apparent limits, who has spent decades following different paths to avoid falling into ostracism or artistic accommodation. And, incidentally, the magnetism, charisma and scenic appeal of the Madrid woman remains impermeable (if not growing) to the passage of time. Continuing with the matter of Greek mythology, no one would be surprised if the composer herself was an authentic fallen classical goddess at the time of her coming to Earth. That, of course, would explain a lot of things.
Photos Christina Rosenvinge: Adolfo Añino.
2024-01-11 10:56:56
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