Carlos Perez, guitar
Weill Recital Hall at
Carnegie Hall, New York, NY
March 18, 2010
Carlos Perez, a native of Chile, presented a potpourri of
composers from Bach to Rodrigo on his recital. He performed
entirely from memory. Rodrigo’s Elogio de la Guitarra is
wonderfully inventive, and Perez played it with much flavor and
zest¸ and with spontaneity of tempo and spirit. Another
highlight of the program was the inventive, captivating and
technically demanding Tarentella by David Pavlovits.
Pavlovitz is a young Hungarian composer and guitarist (one can
tell he plays guitar because his work is so idiomatic for the
instrument) whose work is inspired by the folklore of
South-Eastern Europe. Perez played the piece with both depth of
character and technical accomplishment.
Deux Andantes (No. 1 and 3), Op. 320, Perez showed a wide
variety of color, and the pieces were exquisitely rendered.
Bach’s Cello Suite No. 4 in E-flat is not really suited to
guitar, as one misses the sustained sound of the cello and its
dynamic range. Antonio Lauro’s Three Pieces could have
used more contrast as well, although the Romanza was
perfect in its detail. Four Chilean Folk Songs could not have
been played with a more natural affinity for the style. Earlier
in the program, I occasionally wished for more definition in the
phrasing, but here, Perez brought a lovely shape to all of them,
especially to Parabienes—Ya se casaron los novios, where
a captivating, gradual decrescendo had me searching for the
fading sonorities at the edge of my seat.
issued ten CDs, two DVDs, and recorded at several European
radios, and he has given recitals in over thirty countries in
North, Central, and South America as well as Europe. He has
played at the Berlin Philarmonie, the Auditorio Nacional in
Spain, and England’s Royal Festival Hall among others. We look
forward to his next recital here in New York. No doubt, he has
much to offer the guitar community.
for New York
Concert Review; New York, NY