There are those who consider the endless repetition of the same things to be the greatest cultural event, but luckily there are still those who want to invest in new things and truly enrich the territory with new proposals. This was the case of the Corale Vivaldi, a historic city formation that grew up in the shadow of the Sacred Heart which, thanks to the contribution of the Sardinia Region and the Sardinia Foundation, presented itself in its "home" with an absolute novelty, welcomed by a crowd with very few precedents, but an absolute record by evaluating it from a post-Covid perspective.

The Misa in Buenos Aires, by the Argentine composer Martin Palmeri, is one of the best examples of the musical covering of the Ordinarium in a post-conciliar perspective when, having eliminated the obligation of Latin and the music of the great Vatican tradition, some small masterpieces spread, often based on traditional ethnic rhythms and melodies, but unfortunately we also had a lot of bad taste music.

This is not the case with this "Misatango", which maintains a rare balance between the well-known and fresh characteristics of Argentine dance and a construction solidly anchored in the tradition of the great repertoire. Merit goes to maestro Daniele Manca, artistic director of Vivaldi, for having elaborated the proposal and carefully prepared a production which availed itself of a group of reliable soloists, perfectly in line with the very particular character of the evening and with the indispensable artistic caliber to give a convincing reading of a certain repertoire.

Above all, in this regard, the bandoneon by Daniele Di Bonaventura stood out who, undisputed master of the most famous Argentine instrument, constituted the ideal popular "voice", in dialogue with the rest of the solidly classical instrumental sector: a string quintet and the piano played by the author himself, a Martin Palmeri who also perfectly embodied the delicate balance between the aspects of the popular topos and that of cultured music in the execution. On the contrary, Laura Delogu's beautiful lyrical voice coherently represented the classical tradition , while Corale Vivaldi (the real star of the evening) gave character and color to a complex score full of contrasts, showing surprising ductility and excellent plans dynamic.

Guiding everything by heart, and with great certainty, Daniele Manca has shown perfect adherence to the text, without academicism or folklorism always lurking in such operations ; we also appreciated one of his delicate pieces for the excellent string group, at the opening of the evening, which served as an ideal introduction to two beautiful works by Di Bonaventura and then to the Misa. Enthusiastic success in the end and endless applause, with a customary encore, for a well-conceived and performed concert that was able to demonstrate the spaces that alternative proposals could occupy in the local musical programming.

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