Ligia Amadio / REVIEWS
“Un concierto inolvidable brindó la talentosa brasileña Ligia Amadio en su primera noche como directora de la Filarmónica de Mendoza. Palabras cálidas, gran entusiasmo y una firme personalidad constituyeron el distintivo de esta gran artista.”
“La garra y el lirismo del gran lenguaje pianístico ruso se hicieron presentes en el Concierto Nº1 de Chaikovsky. Sin duda el conjunto ofreció una excelente interpretación. (...) Toda una prueba de fuego, tanto expresiva como técnica, resuelta con maestría por Amadio y sus intérpretes.”
“La Sinfonía en re menor (1888) es la obra orquestal más famosa del compositor belga César Franck, y su única sinfonía. Para Amadio, es una pieza emblemática que la acompaña en los momentos importantes. El “Allegretto” se impuso con la notable sonoridad de las cuerdas en pizzicato, acompañadas por el arpa y el expresivo corno inglés. Ante todo hay que aplaudir la calidad de la orquesta, que en manos de esta gran música supo brindar lo mejor.
El sonido fue espléndido y se adecuó a los compositores propuestos. Texturas tersas y elegantes contrastaron con la expresión enérgica de las cuerdas bien afinadas, con el buen ataque y proyección de los vientos y con el sonido envolvente de la percusión, ubicada en esta oportunidad, atrás y en lo alto del cuerpo orquestal. El numeroso público reunido en el teatro Independencia quedó altamente reconfortado por la labor de Amadio, quien aunó a su conocimiento profundo de la partitura, su vigor y musicalidad, en un todo con gran personalidad: con personalidad alegre “con fuoco”.”
Cristina Alfonso, Diario UNO (Mendoza, Argentina), “El fuego de una directora" 18.04.2010.
“Varios motivos importantes convocaron a un numeroso público, el sábado pasado, en el Teatro Independencia. El bicentenario del nacimiento de Robert Schumann (1810- 1849) y el de Frédéric Chopin (1810- 1856) fueron el punto de partida de un programa que reunió al eximio pianista Bruno Gelber y a la talentosísima Ligia Amadio frente a la Orquesta Filarmónica de Mendoza, reforzada con músicos invitados.”
“La orquesta, en general, mostró notable cohesión orgánica y elevada dosis de vitalidad rítmica, gracias a su conductora Amadio, quien recorrió toda la partitura con una dirección brillante y optimista. Su línea amplia y ondulante y por sobre todo musical, resaltó el carácter melódico y cuasi folclórico de la rica escritura sinfónica.
El Concierto para piano n. º 1 en mi menor, op. 11, de Chopin fue compuesto en el año 1830, en Varsovia. Apoyado, como siempre, en su perfección técnica y en su refinamiento estilístico, la calidez interpretativa de Gelber se movió entre la pasión controlada y la serenidad cantabile. Por su parte, Amadio supo cuándo acompañar y cuándo "dejar hacer", con una claridad impecable.”
Cristina Alfonso, Diario UNO (Mendoza, Argentina), Entre la pasión y la serenidad" 30.08.2010
Ligia Amadio is a highly gifted conductor in my opinion. I have played under her baton and I noticed how well prepared the orchestra was and every detail taken care of. During the performance she is extraordinarily inspiring and reliable. Her musicality is outstanding and her temperament fiery and lyrical.
Martha Argerich, September 28th, 2003. Buenos Aires, Argentina
“This is not the first time that Ligia Amadio has exhibited her amazing talent for orchestral direction. From the precise moment the “Egmont” overture began, the expressive force and vitality of this Brazilian artist perfectly adapted with the luminous spirit that determined the author in the musical introduction of the tragedy of Goethe…furthermore, with Amadio, the orchestra rediscovered the characteristics of its habitual vibrancy and level of execution absent in their last performances. In lieu of this, one heard a better amalgam of chords, the solvency of the woods and brass and one balanced and musical kettle drum… Clearly, the version had its anthological moments of slow movement as well…that Martha Argerich and Ligia Amadio managed to develop with a gesture of emotion and contained placidness… the Double Concerto by Brahms was reason for a superlative version. The criterion of Amadio was confirmed by encapsulating the work in her style and accomplishing the great density of sound demanded by he author while respecting the design and intense variables of maintaining the presence of the soloists.”
Juan Carlos Montero, La Nacción (Buenos Aires, Argentina) “Argerich siempre brillante”, 10.09.2004.
“The opening reunited the energy and heat of Brazilian conductor, Ligia Amadio…in front of the Buenos Aires Philharmonic…and from her own Argerich, in the interpretation of Concerto No. 3 in D minor, op. 37 by Beethoven. The deep introspection in which the piano of Argerich submerged in its entrance into the second movement made the eruption of any other voice practically inconceivable. With a delicate gesture of suspense, Amadio proved that the orchestra could be introduced without harming the particular spirit of the soloist. A vaporous breath was the dialogue between piano and orchestra throughout the second movement.”
Sandra de la Fuente, El Clarin (Buenos Aires, Argentina), “Largó el Festivel Martha Argerich”, 10.09.2004.
“Martha Argerich had finished playing with the Buenos Aires Philharmonic its version of Concerto No. 3 in D minor by Beethoven. Brazilian conductor Ligia Amadio had first lead a determined version of the Elmont Overture, also Beethoven, and , in the Concerto the orchestra had been vigorously guided with respect for the different instrumental planes…The brothers Renaud and Gautier Capuçon – 28 and 23 years old, respectively – were the overwhelming soloists of the second part, in the Concerto for violin, cello and orchestra in Minor, Op. 102 by Brahms…the interpretation was forceful and the talented Ligia Amadio managed to maintain the lineage of the great story throughout the work.”
Diego Fischerman, Caderno 12 (Buenos Aires, Argentina), “El paisaje de la musica, desde la explosión hasta el susurro”, 10.09.2004.
“Admirably transmitted through Brazilian conductor Ligia Amadio in front of the Orquestra Estable, the cadencial music of Nino Rota does not look for an original form, rather, one that agitates with mastery and finesse in the tradition of the Italian melodrama, especially in Puccini.”
Federico Monjeau, El Clarin (Buenos Aires, Argentina), “La passión de los tímidos”, 09.27.2004.
“The Orquestra Estable del Colón performed on its part an irreproachable assignment, under the orders of Ligia Amadio, who conducts with confidence, resonance and an emphasis on suitable balance.”
Carlos Ernesto Ure, La Prensa (Buenos Aires, Argentina), “Uma atrayente ópera de Nino Rota”, 09.26.2004
“Los dos Tímidos was released on the radio in 1950. In this version, directed by Ligia Amadio, the music was in its first plane. The orchestra…evolved with adjustments and expressiveness, and was lead with a clarity of approach – and respect for its depth in sound – by Brazilian director Ligia Amadio.”
Diego Fischerman, Caderno 12 (Buenos Aires, Argentina), “Trágica y desesperanzada” 09.29.2004.
“That the turnout was so great? The impulsiveness that infected the orchestra with impressive feedback? The passion that overshadowed the preconceptions that impose the mandate that classis tradition is irremovable? The looks of accomplishment in the heat of performance of the nothing less than brilliant Ligia Amadio, who harnessed an explosive cocktail of expressivity? Or the combination of so many factors that ended in a standing ovation, full, with the director returning to the stage 8 times to thank the audience for their appreciation?”...
“Amadio was a song of expressivity…The Brazilian aims at a more and more fertile career on and international level. From the opening, with Schumann potential to the end, she left the audience captivated and at the limit of passionate overflow.”
Fabian Galdi, Los Andes (Mendoza, Argentina), “Martha Argerich deslumbro a Mendoza”, 09.14.2003.
“...applause that lasted more than tem minutes. Applause, also, for the orchestra, for the talon of their music and, principally, for the perfect regency of Ligia Amadio.”
SM, Pasquim (Rio de Janeiro), Junho, 2003.
“The visiting conductor knew to imprint vitality and brightness on the orchestra and to accurately accompany the brilliant Peruvian concertist, achieving together a remarkable union of concept…The Brazilian director achieved a substantially transparent version of the Rhenish Symphony and maintained the interest of the audience thanks to the expressive intensity that she shaped in the execution, her precise technique and, of course, her evident knowledge of the score. Elegant, expressive in her gestures and with a great capacity for communication, Ligia Amadio transmits a very intense vitality that, without obstruction, can be perceived as distinctively feminine.”
José Quezeda Macchiavello, El Comercio (Lima, Peru), “Una Sinfônica bien afinada”, 07.01.2004.
’The safe regency of Ligia Amadio guaranteed fluency to the first Brazilian presentation of Magdalena, Sunday night, in Manaus... Ligia Amadio – who directed with her back to the actors – directed them with vigor, giving firm support to a quality cast... The inadequate location did not hinder Ligia Amadio and her cast in presenting a convincing spectacle."
Lauro Machado Coelho, O Estado de São Paulo (São Paulo, Brazil) “Magdalena estréia, enfim, no Brasil”, 04.29.2003
“In the aforementioned work and the Bachianas Brasileiras No. 4 of Heitor Villa – Lobos, The director received enthusiastic applause after a full delivery of warm and communicative expressivity. At the end of the performance, musicians came forward to applaud their director.”
Daniel Quiroga, El Mercúrio (Santiago do Chile), “Emotivo concierto”, 10.21.2002.
“In the conclusion of the program the masterful visitor led an impeccable interpretation of the Bachianas Brasileiras No. 4 of Heitor Villa – Lobos.”
Mário Córdova, Las Últimas Notícias (Santiago, Chile), 10.21.2002
“The program finished with a notable version of the Bachianas Brasilieras No. 4 from Hector Villa – Lobos, where the master obtained a caliber of expressivity and an exemplary answer from the orchestra. Important moments where appreciated in the dear Prelude, within an effectively constructed atmosphere. The chorus projected an enveloped contrasting sound, continuing through the Aria with an acquired native accent of the inspirational theme and electrified the Danza with eloquent clarity of timbre in all families of instruments.”
Jaime Torres Gómez, Expreso (Santiago, Chile), “Una lección musical”, 10.21.2002.
"Ligia Amadio set her sights. She took the baton and then the magic happened: a harmonious discourse in which strings and winds, guided by the enthusiastic bearing of their director, they let flow the vigor of the storm; the smooth pilgrimage of the breeze; the fresh song of the birds (clipped by the silences that Amadio marked in the orchestra, like sighs of emotion), and the commotional force, like sharpening a pain in your skin, that emulate the chords of the composition of Antonin Dvorák."
Patricia Slukich, Los Andes (Mendoza, Argentina), “Bruno Guelber mostró su magia”, 09.02.2002.
"... But the Luso-Brazilian Ligia Amadio does not need feminists contexts to affirm herself in a traditionally dominated by men. With a secure and very expressive direction, flexible and dance-like gesture, she deserved the warm applauses that the public offered."
Fernando C. Lapa, Publico (Lisboa, Portugal), “A Histórica da Música em dois concertos”, 07.17.2002.
“In addition, from the hand of Ligia Amadio it sounds fantastic. All the music that she does sounds great. She has a magic for directing."
Daniel Binelli, Los Andes (Mendoza, Argentina), “Piazolla revive”, 06.22.2002.
"To a full room, Beethoven’s 9th Symphony sounded forceful with a clean musical absolution. The direction of Ligia Amadio shined through the harmonizing that she returned to shape in the set and through a captivating force that managed to mobilize the emotion in exact moments."
Alejandro Ortega, Los Andes (Mendoza, Argentina), “Vibrante versión de la Novena de Beethoven”, 12.03.2001.
"Ligia Amadio and the Osesp made a clean reading of these "symphonic impressions" (Afrescos de Piero della Francesca, Martinu). (...) Ligia was very happy to trace the arc that, from the first phrases, dark and tormented, leads to the luminous final phrases in hymn tone (...) Although it carries on, the end of No. 2 (Tchaikovsky), based in the subject of the Ukrainian song the Stork, are contagious in their jumping rhythms and offer, here and there, sufficiently bold harmonic changes. It was with this, leading in an energetic way, tracing with clearness its contours, that Ligia Amadio took to an extroverted closing a concert of original programming and vigorously communicative accomplishment."
Lauro Machado Coelho, O Estado de São Paulo (São Paulo, Brazil), “Leitura magistral para Hindemith”, 04.24.2001.
"The Brazilian master not only possesses professional qualities, but also human qualities, which assure the communication with the orchestral set. With energy and subtlety, Mozart’s Requiem A was executed with solemnity, the expressive vigor of the voices and instruments and with confidence and precision was lead by the Brazilian master in an extraordinary accomplishment."
Daniel Quiroga – El Mercurio (Santiago, Chile), 01.30.2001.
"Other high points: Antonio Meneses with the Rhenish Orchestra – the unforgettable version of the Concert of Elgar for violoncello - and the world-wide star of Almeida Prado’s Cartas Celestes No.8 - concert for violin where Ligia Amadio shined conducting the OSB".
Luiz Paulo Horta, O Globo (Rio de Janeiro, Brasil), “Rio assiste às melhores orquestras do mundo”, 12.26.2000.
"It is important to note that the Brazilian Symphony, under the regency of Ligia Amadio, behaved brilliantly, transmitting `com amore' an exclusive way to make music and to think about sound".
Luiz Paulo Horta, O Globo (Rio de Janeiro, Brazil) 09.18.2000.
"The main attraction was the appearance in the podium of the Brazilian master Ligia Amadio, whose prizes in the international competitions of Tokyo and Santiago, Chile had opened the doors for a prestigious international career. The master Ligia Amadio, beyond elegance, showed determination, energy and an excellent technique, qualities that associate the fully functional movements with a manifesto and solid knowledge of literature, with musicality and temperament, she obtained a successful contribution of the orchestra, resulting in the reward of warm applause of the delighted audience."
Visnja Pozgaj – Messenger (Zagreb, Croatia) / Croatian Political Daily, 06.13.2000.
"Sumptuous Latin American rhythms with fragrant melodies of the Pyrenee, filled the program of closing of this season of the Radio and Television of Zagreb, with the participation of the Symphonic Orchestra RTV of The Republic of Slovenia, under the regency of the impressive baton of the Brazilian Ligia Amadio, whom with movements of feminine sensitivity, disciplined, with perfection, the orchestral set."
B. Magdic – Zagreb Evening Paper (Zagreb, Croatia), 06.13.2000.
