Leo de María, an excellent pianist2022-08-29T11:17:43+00:00

Theater of La Maestranza

Young Interpreters Cycle

Juan José Roldán 

Manuel García Concert Hall.
Monday, December 4th of 2018.
El Correo

José Amador Morales

The traditional cycle of the Teatro de la Maestranza dedicated to young performers has begun this season with the presence of Leo de María and will conclude shortly with two appointments by the pianist Álvaro Campos (with an interesting «all Debussy») as well as the SQ4 Quartet. Also known as Leonel Morales Herrero, Leo de María is the son of the Cuban pianist Leonel Morales, also present in the Manuel García Hall accompanied by Pedro Halffter, who has evidently guided his first steps as a soloist, although he currently follows the instructions of Pavel Gililov. .

On this occasion, although the program was extremely demanding, almost daring, and intense like few others, the small venue of the Sevillian theater presented a rather mediocre entrance. A pity because the recital undoubtedly provided a pleasant surprise given the courage and audacity of the Madrid pianist’s performance.

After addressing the public to inform about the modification of the program and readjusting it with a chronological order, a forceful –due to its sonority– and not at all light, Humoreske by Schumann, was the work with which Leo de María assumed the challenge of beginning the recital and that already It earned him, among others, the first prize in the latest edition of the El Ferrol piano competition. If it was a little new to him in the expression of the convulsive and romantic Schumannian inner world (“I have spent the whole week at the piano, composing, writing, laughing and crying, all at the same time.: you will find all this carefully written in my opus 20 », he came to write to Clara) and something formally academic, it was more by contrast because of what he later demonstrated. It was the case of the closing of the first part, with the convenient virtuoso debauchery in Fanz Liszt’s Faust Waltz, his brilliant paraphrase of the scene from the first act of Gounod’s opera Faust as well as with its extreme registers and dynamics, in which Leo de María showed off his important technique, not exempt from musicality.

The return of the break provided, however, the best of the evening. “I finally found my personality: I fell in love with the psychology of Goya and his palette” Enrique Granados once pointed out about his Goyescas, a piano work whose success led him to turn it into an opera that would be premiered at the Metropolitan in New York itself and on whose return he would drown trying to save his beloved Amparo. Precisely palette –in this case piano- and a subtle sense of color De María did not lack in Love and death of the Catalan composer, giving the piece a wise castizo flavor within a careful emotional sobriety. But what was truly extraordinary came with an expressive high-voltage La valse based on its successful chiaroscuro and diaphanous textures. With this score by Ravel, the twenty-three-year-old pianist finished off a recital to which he added two tips (among which he highlighted the famous Malagueña by Lecuona, here inevitably idiomatic) given the enthusiastic response of the public.

Manuel García Concert Hall.
Monday, December 4th of 2018.
Codalario. La Revista de Música


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