When one enters a field that is not his and does not know perfectly, it can be for two reasons, either he is reckless or he is very brave. And to be brave you have to have, Besides, other qualities.
The recital of Sonya Yoncheva at Teatro de la Zarzuela this past 29 of April, is a clear example of courage, among other things. You have to be brave to appear in the Theater of the genre with a zarzuela recital and you have to be even more so, to do it without knowing much about this genre.
Despite having to use the scores and having a somewhat insecure start, Sonya Yoncheva ha demostrado, not only have an instrument of indisputable quality, a bright voice, sunny, that filled the harmonics room, with a powerful central register and remarkable Spanish phrasing, but he also showed tremendous courage when interpreting with extraordinary success a repertoire of romances that made the audience vibrate. An audience that always knows how to thank and reward those who approach this genre with respect and dedication.
Yoncheva began the recital with the romance "Beautiful Night", de Katiuska de Sorozábal, as I say, something cold. But it was warming up as the recital progressed. He continued with "Three hours before the day", of the Machenera of the teacher Moreno Torroba, his favorite piece, as she herself indicated, and that he also offered as a first tip. He continued with three other romances, "My tears, where are you?", of the Iron Ring of Miquel Marqués, "The evening light is leaving", del Pájaro azul by Rafael Millán and ended this first part with "I saw myself in the world forsaken", from The Oath, Joaquín Gaztambide.
The second part began with the duet “What a beautiful night!”Of the wild cat, Manuel Penella. Here she was accompanied in the replica by an energetic Alejandro del Cerro. With a ravishing voice and a beautiful metallic timbre, put his two cents, next to the vibrant direction of Miquel Ortega, so that the public would definitely indulge in enjoyment.
He continued with "I did not cut more than a rose", by La with the bunch of roses by P. Sorozábal and “From Spain I Come” from the Jewish Child by Pablo Luna, already delivered from the stage and full of voice. He ended with "When I think about the duel of my loves", from La hija del cebedeo, by Ruperto Chapí and “I am Cecilia!”, by Cecilia Valdés de Gonzalo Roig, where he wasted great sympathy and ability to enjoy on stage. The second encore he offered, after the repetition of the Machenera, It was Carmen's habanera. Going all over the stage, including director's podium, who accompanied her to the piano. At that time the theater was surrendered to his bare feet.
Very outstanding was the work of the teacher Miquel Ortega leading the Orchestra of the Community of Madrid. Not only always attentive to Yoncheva's needs, giving you security, his direction at all times was especially outstanding and the interventions of the orchestral works raised the audience that at that time had been abandoned to the good work of the orchestra. They began with the prelude to La joy de la huerta, of Chueca, to later offer the Intermission of Los Burladores, of P. Sorozábal, The Prelude to Los Borrachos, by Gregorio Giménez and end with a masterful and electrifying interpretation of the Intermission of La Leyenda del beso by Reveriano Soutullo and Juan Vert.
A night to remember, next to the recital in this same room by Elyna Garanca, of those who come to our lyrical genre to know it, spread it out and make it even bigger.