What is it like to listen to Martha Argerich for a neophyte

If you are one of those types who have no interest in the Seven Wonders of the World, you can probably sleep soundly without ever seeing a concert. Marta Argerich.

One of those guys, let’s say, who can easily confuse Martha’s piano with Barenboim’s and, if you’re not careful, with Charly’s or Charly’s. phyto.

Of those people who do not understand why they are called Brahms, Schubert, Mozart, Chopin instead of being called, all together, “classical music”. The well-known critic and specialized essayist Federico Monjeau (RIP) listened to it and had a similar opinion, but in relation to rock chabón. “Who the lame?” churches.

On the way to Colombo

We are on the subway heading to Colón. Objective: one of the dates marthapalooza. We know that she is doing several shows, but not much else. What will we see? We haven’t been able to explain it correctly yet.

Plan A: Mrs. Martha often plays the piano. Plan B: the lady plays and, as will happen shortly, leaves to start a show as a protagonist Joachim Furriel Y Pietro Lanzani.

On the subway you play to guess who goes to the Colón. “The one with the wet hairstyle and black purse will go for sure.” Hmm, let’s make a bet. “If she comes like this, dressed up for a party, she speaks ill of Colón …” she goes down to the Court. We go down. We follow it. “I told you…”

The indication is to enter through the “foyer” overlooking Via Libertad. “We should google foyer? “. Foyer of a theater, hall. well. Two tickets for the reporter’s man. By the way, thanks in advance for UgoManager to press of the prestigious theater. “These tickets are like two supermarket purchases!” Good calculation.

Teatro Colón, how have you been, for so long? When was the last time? When they took us to see the dancer Maya Plisetskaja?

shocking. We stare at the dome painted by Soldi. Our tourist. We took pictures of the stiff neck. You look up and there are also people looking out onto a balcony. How well located! Thanks Ugo!

Great previous time

The grand piano is similar to the ones he uses Alexander Lerner. Previous climate of emotion, well-being, joy. It’s not cheap, man. Re cute what is generated around such a figure. Let’s read the hand program: Martha Argerich Recital / The story of the soldier. How long will it last? Will there be gaps? Should you go to the bathroom now?

Martha appears and tries the stool she intends to sit on. She is uncomfortable and like in one of the buster keaton start moving the lever to raise the seat. And he loads it and loads it and loads it … The procedure takes forever.

Eventually he comes over and hands us a “from”. Martha Argerich’s right hand makes us a “more or less”, as if to say that she is not entirely satisfied with the position of the seat. That hand that could be yours, anyone’s, a tachero’s, is the hand – one of two – of the celebrity who debuted at the age of four at the Astral Theater.

A hand that, as with Messi’s legs, must be covered with insurance and things like that. “Of”: the same gesture you make when they ask you if it’s cold outside.

“The simplicity of this woman …”, they comment in a low voice as you continue in ecstasy in your limbo of comparisons: The hand of God, the hands of Perón, of Marta, and not many others … “The hands of Philippi?

The gesture of connection will soon embark on a journey of “classical music”. There is always something disturbing, both foreign and natural, in the image of a self-centered person. Martha isolates herself, she seems divided, cut off from reality.

We don’t know what’s playing now. We could check the schedule, but it’s too dark.

A woman wants to cry and yourself you sense it, away from local colorsomething is not happening, in quotes, normal. The “more or less” hand generates 50 percent of the combined sensations that keep you in a state of – write down what happens to us – of sinless man, subject to the will of God.

And yes, Marta, we are a little embarrassed to write ithow embarrassing the partner crying with emotion in public should be.

For some reason beyond all reasonMarta seems to us Excellent. We think exactly like the specialized critics, even if we don’t know very well what we are hearing.

Then we read the journalist Laura Novoa in this newspaper: And so she was heard: very at ease and, at times, as if she were improvising. Her music sparkled every moment of her wonderful playing. As soon as he got on stage, he sat down and without delay played the first chords of the Symphony, and from there to the final Capriccio, it was a non-stop trance.

You see her, you see her gestures. Mind, fingers, heart. the mane a Robert Plant falling in unorthodox locks that cover her face. We are lovingly located in the eye of the king – This is how this privilege of seats is known – but nevertheless we cannot see its face. We don’t know if she has the sweeping gestures of Keith Jarrett or if it is a hermeticism of grimaces.

“The biomechanics of your body”, they point out. Hey?! “Movements, angles. You start looking at it and you don’t even notice the time. “

In a moment Martha is gone and you don’t know if it’s a break or if it’s over. Then comes a sustained applause worthy of Guinness, where you can get the size of each of the working muscles when you hit your palms for five minutes straight.

In rock terms, Martha – amazing but real – is like the “support group”. His performance ends and a play begins Igor Stravinsky. The soldier’s story it gives us back a landscape, let’s say, more everyday. Over Furriel and Pietro Lanzanitwo familiar, familiar faces compared to that woman who received an origami, flowers, greeted and will return to her planet.

“I have more desire for Martha left”, is heard at the exit. And she comes out thinking that Stravinsky must be the same as the soundtrack of Tom and Jerry.

wd