I rarely write about myself in my blog, but I have a concert coming up on February 12, 2017 in New York City and that’s my focus for the next week. The theme and title is “Amor Latino/Latin Love.” I’m performing this with two other singers, Celia Castro and Anna Tonna, and pianist/composer, Max Lifchitz. Here’s a link to an article about it: http://www.cbs8.com/story/34362238/amor-latino-spice-up-your-valentines-day
This concert is exciting to me for a few reasons. First, the opportunity to work with such engaging and passionate artists, and to explore this theme in Spanish and Latin American music. Some of the works that will be performed come from Spain, but my music this time is all from Latin America. I’ll be singing Claudio Santoro’s Canções de amor (1ra serie) and two of Francisca “Chiquinha” Gonzaga’s songs. Both of these composers are Brazilian and I am looking forward to presenting Brazilian music for the first time in New York.
But this article is supposed to be about Sor Juana set to music. For the third time I’ll be performing the duet “Me acerco y me retiro” which is roughly translated as “I approach and then I back away.” This duet was written for Anna and me by Max Lifchitz. Max is a composer/ pianist originally from Mexico. He’s made his home in the USA for a while now. We first performed the duet in a concert of art songs that we did for Cinco de mayo in New York in 2015, and again in November of 2015 in a retrospective of Lifchitz’ music.
Sor Juana is an interesting historical figure from the 17th century. Born in Mexico, which at the time was still part of Spain, she is probably the most important poet in its history. She was a brilliant woman, born ahead of her time. Too smart when women were not really supposed to be independent or intelligent. Little choices were available to such women, and they usually ended up stifling their intellect or joining a convent. Sor Juana ended up a nun, but was that really her desire?
Recently, channel 11 in Mexico has created a series about Sor Juana Inés, called “Juana Inés.” This series is now being played on Netflix, so there is a much broader audience. Here’s a trailer (in Spanish):
Me acerco y me retiro is an intense piece. As mezzo, contralto, and piano, we intricately weave the verse, mostly about an unrequited love, in melismas, consonant and dissonant harmonies and fierce piano interludes. Her poem ends (translation by Max Lifchitz):
A vivir ignorado
to live unobserved
de tus luces, me ausento
by your eyes, I now go
donde ni aun mi mal sirva
Where never pain of mine
a tu desdén de obsequio.
Need flatter your disdain.
In addition to the duet, Me acerco y me retiro, there will be a premiere of Lifchitz latest composition based on Sor Juana’s poetry, called Rosa divina. This is a solo piece for a soprano with piano, which will be sung by Celia Castro. I am hoping that with time these pieces, and others that Lifchitz might create, will give the world another glance at Sor Juana’s poetry in a different medium, through music.
Join us at the National Opera Center in New York City, February 12, 2017 3:00 pm (FREE!) or LIVE STREAMING online at https://www.youtube.com/user/NatOperaCenterLIVE