The Manhattan Camerata Bring Their Lush, Stormy Tango-Fado Project to Lincoln Center Out of Doors

by delarue

If you can’t resist epic string charts, stormy neoromantic minor-key melodies and elegantly angst-ridden female vocals, you will love the Manhattan Camerata‘s Tango-Fado Project, streaming at their music page. The premise is to connect the dots between Argentine tango and Portuguese fado music. Which makes sense, considering that tango was originally guitar music, just like fado, and how much the two styles have been transformed over the years – and how much sadness and drama and smoldering fire that each still channels. The Manhattan Camerata, with singer Nathalie Pires, are opening the night at Lincoln Center Out of Doors on August 3 at 7 PM, followed by Soledad Barrio & Noche Flamenca. If you don’t want to take chances and need a seat, you can join the line that will undoubtedly snake around the park before the show; doors are at six. However, considering that throughout the festival so far there’s been plenty of room, at least in the rear of the park behind the arena, it’s pretty safe to say that you’ll be able to get in if you can’t arrive early or don’t want to wait in the blazing sun.

The album’s opening track, Fado Magala, Mas Importante sets the stage, the vivid woundedness in Pires’ voice rising with the towering waves of the orchestra: fado tune, fango beat and arrangement, Pedro H. da Silva’s spiky Portuguese guitar trading with incisive piano. An achingly crystalline violin solo kicks off the jaunty, balmy Tango Abril En Portugal, Daniel Binelli’s bandoneon mingling with the orchestra and piano amid the ensemble’s mighty swells.

The group does Minha Lisboa Querida as a bouncy, strummy folk tune. 1=3=7 rises out of an uneasy bell-like guitar intro, bandoneon spiraling overhead, then picks up steam with a fiery flamenco edge that builds to fullscale orchestral grandeur. The brittle vibrato in Pires’ voice matches the stately, haunting guitar-and-string cadences of Amor E’Fogo: if Jeff Lynne was Portuguese, he might have written something like this.

Viejo Buenos Aires has titanic orchestration elevating it above the level of generic sentimentality. Fado Tango Cansaco sets Pires’ full-throttle vocals and fluttery melismas against a starkly pulsing guitar/bass/bandoneon backdrop. Tanguito Cordobes has intricate counterpoint and dynamics worthy of a Carl Nielson symphony, while the da Silva’s Non-Absolutist Universal Anthem comes across as the missing link between Syd Barrett and Astor Piazzolla, packed with snazzy piano and bandoneon flourishes and sizzling tremolo-picked guitar.

The album winds up with Piazolla’s four-part Suite Troileana. Part 1, simply titled Bandoneon opens with a dramatically suspenseful Binelli solo, the piano and strings sweep in with a more enigmatic wistfulness and then rise with hard-hitting piano to even greater heights. Parrt two, Zita has a more stripped-down, puckish, Gershwinesque charm, up to an uneasily atmospheric bandoneon break and then the orchestra cuts loose again. The third segment, Whisky has jazz flair, and humor – both the upbeat and grim kind – to match its title. The suite concludes with Escolaso, building out of a precise, balletesque theme to a phantasmagorical intensity. that borders on the macabre. It’s a triumph for Binelli, da Silva, pianists Polly Ferman and Lucia Caruso, and the rest of the orchestra. As musical cross-pollination goes in 2016, it doesn’t get any more ambitiously successful, dramatic, or passionate than this.