‘'Ciao & Buenos Dios,' the season finale of BeLLISSAma '25-'26, was a smashing success. Following the overwhelming triumph of his first appearance, baritone Alberto Martinez's return was written in the stars. Never change a winning team—with pianist Mario Maiguel at the keys. Martinez is a gentleman who takes great pride in his roots. He has found a second home in Antwerp, but with pride and flair he champions the richness of Spanish musical history.
These three top-tier musicians joined forces and treated us to a lively, passionate, and humorous Spanish and Italian musical bath. In the first half, Alberto Martinez had free rein to spotlight composers he admires or has a soft spot for. Songs in an impressive landscape of sound and resonance.
Intricate Weaving
The whole thing is cleverly woven together like intricate tapestry. Pianist Mario Maiguel opens with a work by Isaac Albéniz, the beautiful 'Prelude, Suite España', an evocative musical reverie full of color and nuance. Then Lissa Meyvis appears on stage like a true Spanish beauty in a sleek, floral dress—a sight to behold! She fills the space with her lovely, agile voice and range, and shortly after, Alberto Martinez joins her. Everything fits together seamlessly. Together they deliver an expressive interpretation of 'Jota from Suite canciones' by Manuel th Falla. With sophistication, they capture all the elements of this work.
Alberto Martinez declares his love for 'zarzuela,' a traditional Spanish musical genre in which spoken word, music, and dance alternate with each other. In the second half of the seventeenth century, the term was used for comic musical theater pieces, performed to entertain the king in his Palacio de la Zarzuela. He performs 'Ya mis horas felices from La del Soto del Parral' by Reveriano Soutullo & Juan Vert and brings the charm and power of old songs back to life. He may be a slender man, but the decibels he produces are impressive. This composition also contains a beautiful piano part woven throughout. Next, he introduces one of his favorites: the influential Spanish composer and conductor from the 19th century Francisco Asenjo Barbieri especially renowned as the founder of modern zarzuela. Lissa opens with 'Song of the Dove from The Little Barber of Lavapié with the ensuing 'Duet Paloma Lamparilla' a famous Spanish zarzuela. The piece premiered in 1874 and combines cheerful romance with political intrigue. A perfect vehicle for two expressive performers, challenging and evenly matched. Who can hold a note the longest?! When it comes to emotional depth, they both have a wealth of experience to draw from.
To give both soloists a moment's rest, pianist Mario Maiguel performs the well-known 'Tango, Sfrome Spain' by Isaac Albéniz. Lissa performs a lullaby by Manuel th Falla ‘Nana' from Seven Songs. The zarzuela genre is explored further with two songs by Fethrico Moreno Torroba : a solo part by Alberto. 'The Faith Fights' from Louisa Fernanda. He delivers the love song with appropriate pathos and in the duet with Lissa 'The Parasols' Mazurka' two lovers become completely absorbed in each other: neither sun nor rain can dampen their spirits. Then it's Lissa's turn with 'More Subtle Than Hair' by Fernando J. Obradors. A tender, playful and romantic love song in which she fantasizes about braiding a chain from her beloved's hair to bind him to her. Alberto Martinez performs the magnificent 'Granada' by Agustín LaraHer singing and storytelling ability is immense, giving you goosebumps.
The program flows from classical to popular. The first half concludes with a sultry, melancholic love ballad,'Bésame mucho,' a world-famous Spanish song by Mexican composer Consuela Velasquez The atmosphere evokes WWII. The composer reportedly wrote the song when her beloved had to leave, making it a symbol of farewell between two lovers in uncertain times. Lissa sculpts the song with words, melodies, and physical expression.
After intermission, the Italian repertoire takes center stage, beginning with a duet from Mozart's Le nozze di Figaro, W.A. Mozart ‘'Crudel perché finora.' A musical duel between the powerful Count Almaviva and clever maid Susanna. Comic tension and dynamism guaranteed. The ultimate recipe for successful comedy.Lissa plunges from one emotion to another with the song 'Quando m'en vo'from Puccini's from La Bohème. Musetta sings of her beauty to make her ex-lover Marcello jealous. Lissa displays her flirtatious character without restraint. Baritone Alberto then sings 'Ah per sempre, i Puritani'by Vincenzo Bellini by . The aria is one of the highlights of the romantic bel canto repertoire. A portrait of a rejected lover. This aria demands enormous vocal control from the performer.In 'O mio babbino caro'by Giacomo Puccini by breathes lightness and humor. The performer manipulates her papa to allow her to marry the prince of her dreams, throwing all her charms into the fray. An unsuspecting audience member receives her plea projected upon them. Lissa even goes down on her knees. She makes the audience smile with the kind of restrained humor she employs and truly excels at. Next, two songs from Mozart's Don Giovanni,
W.A. Mozart. Alberto, in turn, displays all his charms in the intimately seductive song Alberto in turn deploys all his charms in the intimately seductive song 'Come to the windowThe duetThere we'll give each other our hand is a masterful piece of music in which the charming ladies' man Don Giovanni tries to seduce the innocent peasant girl Zerlina. The chemistry sparks between both performers in dynamic musicality. She wants to go with him, then she doesn't, but eventually she lets herself be swept away. Result: an empty stage! Pianist Mario sits without singers, waits and waits... and then decides to play something himself. Top-notch trickery. It becomes theSonata K27 by by Domenico Scarlatti. Lissa Meyvis also has a program in which she dives into the repertoire of Charles Aznavour together with Hans Peter Janssens. As a teaser, she performs an Italian translation of one of his hit songs 'How sad is Venice'.How sad is Venice
As the penultimate number and show-stopper, Alberto Martinez brings down the house with the most famous aria from Il barbiere di Siviglia by Gioachino Rossini 'Largo al Factotum'. The articulation is lightning-fast. Alberto is completely in his element and treats the audience to his impressive performance and vocal abilities. As a finale, the trio performsWith You I'll Go from The Count of Monte Cristo. The song became world-famous in the version by Andrea Bocelli and Sarah Brightman. In this number too, perfect voice projection and blending of both voices. Both Lissa and Alberto manage to evoke a broad emotional spectrum that leaves room for rhetoric, playfulness and emotion. A rich feast you'll keep coming back to. ‘With You I'll Go could hardly be more symbolic. Farewell to a brilliant season and hope and anticipation for what the future will bring.
The trio received a long standing ovation. The conclusion is obvious: this was undeniably a fantastic concert. Artists who have such joy and pleasure in their craft—it's wonderful to experience.
