By David R. Parvo
Omara Portuondo and Barbarito Torres
Bass Concert Hall, September 19
Austin, Texas
On Tuesday night, Omara Portuondo and Barbarito Torres, both of whom emerged from Cuba’s long isolation with the acclaimed Buena Vista Social Club album to achieve the international acclaim they so richly deserve, graced the stage of Bass Concert Hall on the University of Texas’ campus. I did have some
reservations about going, though, mainly because I was leery of seeing such an intimate show in a largely cheerless and expansive venue. But the opportunity to see such talented and well-respected musicians is few and far between, so I shook off my trepidation and went. Torres, who was more than ably backed by a seven-piece band, opened the show.
Torres is widely regarded as Cuba’s greatest lute player, if not the world’s. Over the years, he has remained true to his roots in musica guajira, which is essentially the blues of the Cuban countryside. He faithfully captures the genre’s essence and richness while allowing his inspiration to flourish, adding modern sophistication and current innovative influences to create a familiar but excitingly fresh musical form. Unfortunately, the lute produces a distinctively subtle sound better suited to smaller, more intimate audiences, and my worst fears were realized: The lively elaborate sounds Torres spun died in the cavernous confines of Bass Hall. This fortunately didn’t prove to be a problem for Portuondo.
If some people have pipes, Omara Portuondo has Pipes with a capital “P.” Often dubbed Cuba’s very own Edith Piaf, this great diva can flat-out sing. With the passionate and moving honesty of her voice, Portuondo was one of the innovators of “filin,” which is a Cubanized version of the bossa nova steeped with American jazz influences. And tonight, she was backed by a big band (thirteen pieces), which was so good that it almost stole the show from her. It was a funny sight to see the crowd get to its feet and try to dance in the narrow aisles, but while only a few could work up a good sweat, everyone had a wonderful time. Half way through her set, Torres joined her on stage and, apparently having made some adjustments to the amplification of his lute, truly shined.
Together, this fine combination of Cuban musicians vented the idle tension that builds up in places where men sweat twenty-four hours a day. And that’s quite a feat in the cheerlessly expansive air-conditioned confines of Bass Concert Hall.
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