Four decades after the publication of Tiempos Difficult, an album embodying a unique aesthetic movement born from a group of young people from Rosario, several of them – led by Juan Carlos Baglietto who was the voice and signature of this album – the celebrated together with an exultant audience that filled the first of two recitals at the Teatro Ópera in Buenos Aires.
Now formally reunited in a sextet under the name La Trova Rosarina, a nickname popular since then but which for years seemed to be a burden or a stigma for those who had been part of it, the celebration staged with a resounding spectacle the weight of a work that continues to expand and influence beyond the anniversary.
“That you continue to respond in this way will be partly merit, but partly it is also complicity,” Baglietto wisely summed up towards the end of a show lasting just over two hours where the group formed in early 2019 was deployed and completed by Silvina Garré, Jorge Fandermole, Adrián Abonizio, Rubén Goldín and Fabián Gallardo.
Although on this joyful, public and current collusion the question remains floating on the ways of approaching it: if to drink in its original and unpublished mixture between song and elements of rock, folklore and tango (“La Trova was a mixture, fusion, transit “What was not there. The trova was also the cry. And the cry of fatigue”, according to the words of the late Gerardo Rozín stamped in the virtual program of this meeting) or matching these nuances in a rhythmic and pop proposal.
Both aspects – with a predominance of the second to the detriment of the invention that burst – were present in the soundtrack under the musical direction of keyboardist Adrián Charras, which began just seven minutes after the announced time with Baglietto singing “Mirta de comeback” on guitar and vocals. , a jewel composed by Adrián Abonizio which opened the list of songs of “Difficult Times” while a vertical screen located on a wall of lights at the back of the stage replaced its Chaplinesque cover with the singer seated next to “El Pibe”, which in reality was Inés, the daughter of the producer of the plate, Juan Carlos Portunato.
Summoning Silvina Garré, they shared the heartbreaking “Era en abril”, by Jorge Fandermole, and the host underlined: “What a luxury to come back to this theater and to share 40 years of this first album, to share it with you who allowed us to get here. Thank you”.
With the presence of Rubén Goldín on electric guitar and special guests Sergio Sainz on bass and double bass and Marco Tulio Pusineri on drums, also from Rosario and who recorded the album in question, “Even if you don’t you’re not tomorrow”, “Puñal after dagger” follow one another and “Sobre la cuerda floja”, three marvels that Fito Páez (“present in his music”, as Juan indicates) illuminate when he has not yet two decades.
After an exchange with the public (“You’re the same !! Yes !! We’re all better”, jokes the singer), a trilogy of act to live, another Baglietto album also released in 1982: the prodigious “One more turn”, by Rubén Goldín; “What are these words”; and “Río Marron”, the second work by Jorge Fandermole which brought him to the stage, and the segment ended with “Dormite Patria”, by Abonizio, which lifted the audience from the abundant succession of images of veterans of the Falklands War.
Already with the complete sextet (Adrián Abonizio and Fabián Gallardo mentioned above) and their backing band also complete (Guido Martínez on bass and double bass, Julián Baglietto on drums and Juancho Perone on percussion), “Actuar para vivir” was heard and the standing room applauded the steady cast.
The passage dedicated to more recent creations and far from this first impetus, chained “Sueños de valeriana” by Goldín; “In black and white (Buenos Aires)”, by Garré; “The Tree”, by Gallardo; “I come to offer my heart” by Páez; “When” and “I sing verses” from Fandermole; and “Cosido Mate” by Abonizio.
“This song is about a character who did the opposite of ministers of economy: he stole from the rich to give to the poor and we want to dedicate it as a tribute to all the people unjustly persecuted by justice like Milagro Sala “, says its author about the article on the rural bandit Segundo David Peralta.
The formal closing of the repertoire brought together almost without respite and with an always joyful imprint, two other creations by Fito (“growing up” and “Life is a currency”) and “El émpano”, where Abonizio captured the poetic phrase: ” I’m going to the fire like a butterfly / and there’s no rhyme that rhymes with living / don’t stop don’t kill yourself / it’s just one more way to delay you”.
For reminders, there was a place to honor Lalo de los Santos (who died 21 years ago) with a version of “Tema de Rosario” which won a standing ovation for his on-screen figure, visit the folkloric “Prayer of the Backwater” by Fandermole, deliver a superb version of “Un loco en la merry-go-round” and say goodbye with “Las cosas tiene movimento”, another pair of compositions by Páez.
The anniversary saga of hard times, which began in March in this city of Santa Fe, continued this Saturday at the Opera and will return on May 1 at noon in a free concert in Plaza San Martín de Cañada de Gómez. On the 7th it will arrive at the Espacio Quality in Cordoba.