Classical Guitar,
Dagoberto Linhares
Purcell Room, London.

The "Suite in D major" by Praetorius was the item chosen by the Brazilian guitarist Dagoberto Linhares to open his recital before a large and responsive Purcell Room audience. Right from this start, by careful use of tone echoes, a quickly established dynamic range, and evident technical security, the perforrner was able to communicate the level of listening and concentration which he required. Cross rhythms were fully exploited in the " Ballet " with great effect with the whole suite presented in an unashamed Latin-American style which was certainty vibrant .

"Elogio de la danza" by Brouwer followed and here a powerful performance of technical ability and expressive wisdom was given; this was a stunning présentation with texture and timbre orchestrated against a backdrop of controlled silence. Within this, a wide range of tone quality, and precision of dynarnics, were woven into a highly intelligent interpretation. After this emotional tour de force, six of the "Etudes Simples" were selected from both series, each played with skill and finesse of phrasing. The study entit "Coral" was beautifully controlled and evocative.

Dagoberto Linhares chose to end the first half with "Romance" and "Andantino Variato" by Paganini. This was presented in a appropriately whimsical way, without downgrading the music, and rubato was used yery stylistically without it becorning an excuse for any lack of technical control."Dagoberto's Portrait" by Almeida Prado followed the interval. It is divised into two parts, "Inner Picture" and "Outer Picture", and within these a large range of dynarnic and expressive gestures was demanded, as well as various ways of bending a note. Hopefully, the title will not inhibit other performers from presenting this technically challenging, well structured composition.

"Mazurka, Gavotte" and "Chorinho" by Villa-Lobos, "Rafaga" by Turina, and "Danza Espanola No 10" by Granados were the concluding items, ail presented with great maturity of interprétation. In the "Mazurka" and "Gavotte" the perforrner sets himself an extremely difficult phrasing task by using rubato and dotted rhythms; it is a measure of his ability that this task was well met.
Dagoberto Linhares is a musician who combines a powerful technique with the rare wisdom of being able to use this skill with great intelligence. He was able, by impeccable stage manners and stage presence, to perfectly control both the nature of his expressive interpretations and the exact silence he required between pieces, and is one of few guitariste able to give a concert worthy of any performer. Gareth Balch

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