“The silence of sound”: the magic of audio and the clown

Yesterday, Saturday, the tale was unveiled in the Sala Plácido Domingo of the Santander Group with the demonstrate “The Silence of Sound”, an celebration that introduced together 1,600 people, in the next of a few performances made available on 9 and 10 September.

All through the presentation, the musical genius of Alondra de la Parra was joined by the talent of Gabriel Muñoz (Chula The Clown), which took the audience on a dream journey each accompanied by the Minería Symphony Orchestra.

As a result of symphonic items by Debussy and Brahms – amongst the other composers -, as properly as a fabulous visual composition, Chula The Clown shared his journey into the earth of audio with the outstanding Mexican conductor, constantly continually browsing, risking and pushing the emotions of the spectators to the limit.

The display tells the story of a character: Chula The Clown-, whose existence is remodeled when he discovers the attractiveness of songs and, after years of silence and solitude, awakens from his aspiration.

coordination magic

A recognition to the Minería Symphony Orchestra for the significant degree of scenic collaboration, which qualified prospects Chula The Clown by the hand on a journey comprehensive of lights that merge with a starry sky, and then immerse the character between the fish and jellyfish that are projected on a monitor at the edge of the stage.

In this way the h2o is the surroundings and is contaminated, the mild allows the clown to physically dialogue with the light and the cellular screens. The songs, in this article, is a flowing discourse and its pauses obey what is contemplated, they do not move from one to the other in sequence, they are alternatively a collection of parts that intertwine to give an impact of unity, even if from the brilliance it passes to the unfortunate tone and from there to the hardness that goes with the percussion.

Occasionally the light-weight resembles a flash that accompanies the character, ahead of the orchestra returns to the foreground, and the silence of the clown presents way to guttural shock, to the border that tries to crack by way of the fourth wall and will make the protagonist slide into the hell of the spectators seeking for their very own improvised orchestra of four Orpheus, silent but lively.

shut circle

The director’s obvious enthusiasm is deserving of praise, considering that it is she who prints the rhythmic accent to what is happening while the numerous sign up of the clown is a lot more than laughter, ironic gesture, rudeness and shrewd imitation, though it also multiplies his facial area in flags that are also screens where the colour is distinct and provides way to smoke.

Every thing transpired as in a sigh. The fruit is the outcome of collective effort and hard work and cooperation. Listed here the character is transit and emotion, toward the stop of the clearly show the audio is untimely (the strings are torn, the horn seems and the eardrums shine). If there is silence in the sounds, it is that now the clown finds Alondra de la Parra in an embrace that he announces directing in unison, the roles are exchanged. The circle closes with applause.

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