Sandra Rehder y Euclydes Mattos viajaron de Argentina a Brasil en Almazén.Argentina y Brasil, tan cerca y tan lejos. Fundir en un mismo espectáculo el arrebato tanguero y la sutileza de la bossa nova requiere o bien una hoja de ruta sofisticada o un carácter un poco temerario.

Quizá Sandra Rehder y Euclydes Mattos, argentina y brasileño afincados en Barcelona, dispongan de ambas cosas, porque, el miércoles en la sala Almazén, del Raval, se las arreglaron para coser con hilo fino tradiciones poéticas y musicales que tendemos a clasificar en casillas separadas. Así lo manifiesta en su edición digital »» de la prensa española en su nota, sobre la última actuación de Sandra Rehder, cantante sanrafaelina radicada en España. En verdad una buena embajadora de nuestra tierra.

Más que fusión, el recital, titulado Smile, fue un encuentro entre dos sensibilidades que transmiten valores, miradas e hilos históricos distintos. El tango es un género de raíz portuaria, desarrollado con la inmigración. La bossa nova tiene un origen elitista en la clase acomodada de Río de Janeiro. Ambos géneros expresan emociones de maneras diferentes, pero Rehder y Mattos las hicieron confluir en un recital donde el protagonismo recayó en la palabra poética y una guitarra iluminada. Facilitando el diálogo, el muy oportuno percusionista Daniel Levy, que, como uruguayo, estará acostumbrado a mediar entre ambos gigantes sudamericanos.


JOBIM Y VELOSO / Rehder comenzó citando a su paisano Conrado Nalé Roxlo, y Mattos le dio la réplica con una refinada pieza instrumental. Rehder se adentró con sentimiento, sin afectación, en el terreno de la canción popular con composiciones de María Elena Walsh y el mexicano Álvaro Carrillo, y el guitarrista aportó un flujo instrumental técnico y genuino. Este asumió el protagonismo en revisiones ricas en relieves de Desafinado (Jobim), Tren de colores (Veloso) y una emotiva Manhã de carnaval (Bonfá).


Recital entre dos orillas, con cuotas amplias de generosidad entre ambos artistas y algunas sorpresas: Rehder dio un perfil sinuoso a una pieza de Serrat en catalán, Per què la gent s’avorreix tant?, y se acercó al mundo del bolero a través de una vía heterodoxa, el atril de Homero y Virgilio Expósito. Se permitieron un divertimento, retocar Garota de Ipanema con un texto con guiños a Buenos Aires, y desviaron el guión hacia el tango en la recta final. Allí vimos a una Rehder más desatada, con Vuelvo al sur y las desesperadas estrofas de Nada, que alimentaron el bis. Noche de textos angulosos compensados por una guitarra de tacto fino y una voz con instinto para expresar emociones de amplia gama. A Smile se le adivina un recorrido en nuestra agenda.

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