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Tuesday
March 5, 2002 Beyond
a masterful technique a classical guitarist must have superb delicacy,
style and introspection. At
the launch of his debut CD on Friday at the Waterloo Stage Theatre,
Kevin Ramessar displayed all of these characteristics and more, proving
that he is a force to be reckoned with in his chosen profession. Having
auditioned the CD -- Echoes: The Sacred Dance -- prior to the concert
and hearing near perfection on the disc, I had doubts that what I heard
from the recording studio could be matched on the stage, but I was
wrong. Not only was it matched, in some ways it was better, for Ramessar
drew inspiration from the audience and it translated to his playing. Everything
was performed from memory, and so intense was the bond between them, it
seemed that player and instrument were one. Later I discovered that the
instrument he was playing was not his own but borrowed for the concert
because of its greater sonority. I could only imagine the interpretation
on an instrument which was completely familiar. There
were times that it seemed as though there were two guitars playing, a
mark of the true professional, for when there are separate lines, as in
pieces like Joy, Go With My Love and the Bach prelude, even good players
often have a homogenous sound. Not
here, for the lines were separate and distinct, even having different
sonic textures. Lecuona's
Malaguena was a delight, the strings singing with a warm vibrato and the
music full of controlled passion. It
was interesting to follow the variations in the Domeniconi, each related
to the theme or the preceding variation by melody, rhythm or harmonic
structure, and El Noi de la Mare was simple and elegant. The
lilt and delicacy of the Vals, the evocative melody of Julia Florida,
the 6/8 rush of Canarios, the emotion of Flight of the Lovers and the
African influence of O Sifuni Mungo -- it was one of the most
captivating evenings I can remember. Surprisingly,
Ramessar had no encore prepared, but with the demands of the audience
ringing through the theatre he came back, apologized, and then played an
improvised piece which had structure, logic, melodic and harmonic
integrity. This
young man is one to watch as his career soars. A
word about the acoustics in the Waterloo Stage Theatre. Rob McConnell
said it about jazz in the venue -- the best room he has ever played in
for small group jazz. Friday night proved that it is superb for chamber
music and solo performance, something that should be examined by every
small classical group in the region. Not
one note was lost, no matter how gentle or delicate the touch, and the
reverberation rate is just enough to enhance the sound naturally. More classics here, please.
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