Baroque and rock come together in a Vivaldi Elétrico show at Theatro São Pedro
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“If Vivaldi had an electric guitar back in his day, he would have used it in his music”, guarantees maestro Tiago Flores. Capable of translating the seasons of the year, the emotions of nature and life itself into a violin concerto, Antonio Vivaldi (1678 -1741) was one of the more daring and experimental composers of its time. He left behind a work that is still recognized today as canon of baroque music and appears as reference for compositions current. Loaded with energy and vitality, the music of the Italian composer was chosen for this unprecedented show. Accustomed to transforming rock into classical music — because of the Classic rock —, the Orchestra and conductor now have the challenge of convert the scholar to rock. “We play a lot of baroque music with the Orchestra and I see that Vivaldi, of the composers we play, is the one that comes closest to rock”, he explains.
From violin strings to guitar strings, the process of adapting concert to rock tone keeps all orchestra instrumentation and adds guitar and drums. A score is kept original, and the translation is done by Frank Solari and Kiko Freitas for their respective instruments. Between violin solos and guitar solos, the drums fit harmoniously, at times electrifying rock, at times suiting the age of the concert. “We were composing so that we could hear Vivaldi’s music without being drowned out by the drums, nor being drowned out by the guitar, but to make a set, where you can hear everything and enjoy the different timbres.”
Translating a song made in 1723 onto the guitar, a daughter of the 20th century, is not an easy task. The score, written for the violin, demands notes that the guitar is not capable of covering. For this, Solari ordered a adapted guitar, which manages to achieve the sound of the violin. “It is a special guitar that reaches the notes of the violin, beyond the traditional notes. A guitar tailored especially to do this show,” she says. In addition to the instrument, Solari also focused on the score, studying hours and hours a day, in order to be able to translate the language of the erudite into that of rock.
Inserted in the culture of classical music since childhood, Frank Solariat 13, fell in love with the electric and distorted sounds of rock and bought a guitar: wanted to play rock. And she played, a lot. But the classical roots have always been close by, including receiving several invitations to play with orchestras. Now, the two themes come together, or show that they were never apart. “I I don’t see much separationsays Frank.
“We are used, historically, to divide into genres. But world music uses only 12 sounds. And they go: octave up, octave down. Those same notes every time… so mathematically the combinations are limited. What contributed to rock was the attitude. And this attitude I see in The four Seasons. The heaviest moments, I would even say they are heavy metal, if we are going to use the term literally. It’s heavy and the strings are metal, so: heavy metal”, explains the guitarist.
The four Seasons It is a work that demands a lot from the soloist. Extremely complex, it requires great virtuosity from whoever is going to interpret the solos, even more so if reproduced on another instrument. But the Italian priest’s concert is in good hands: “Frank is sensational, he’s a great guitarist recognized all over Brazil for his technique, for his virtuosity. And Kiko Freitas is also considered one of the greatest drummers in Brazil. His resume is absurd. Together with the Orchestra, it just adds up”, concludes the maestro.
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