This revolutionary project includes the collaboration of 9 skilled musicians, and features the vocal performance of the talented Peruvian singer Sara Van. In this work, various classics of the opera repertoire have been taken apart and then rebuilt from a completely new perspective in which breakthrough and innovation do not quarrel with the respect inherent in the identity of the original musical pieces. Bruno Tambascio is responsible for the musical arrangement, production, recording, editing and mixing.

REVIEWS:

"(...) One cannot be surprised, especially not these days, when a sense of adventure becomes a reason for creation, that unlikely combination of ultra well known pieces of music from the past is revisited in search of new perspectives, sensations and clarifications (...) This is exactly what Bruno Tambascio has been trying to achieve with undoubted success. He has ingenuously managed to connect the world of opera with that which we might call cabaret, based on the rawness of the vocal interpretation (...)a voice conveying the subtleties of fado, contrite confession, a ballad, or a copla; all are in Sara Van's performance. The musical arrangements (meticulously respectful of the melodic, tempo and phrasing specifications of the originals) clearly serve the original harmony and open new doors to an unexpected universe. To listen to these famous arias in this form, in which the vocal melody appears to be enveloped by a surprising coat of instrumentation, allows us to perceive new and curious effects, colors, articulations and nuances, providing for a wonderful experience."

Arturo Reverter (musical critic for Scherzo magazine and newspapers such as El Mundo, La razón...)

 

"(...)Excellent work full of imagination, made with intelligence and a real sense of drama, but also with historical accuracy. Each aria is crafted in a way that reveals the presence of other musical worlds latent in the text: it is extremely suggestive of how pop and cabaret exhibit their potential presence in Puccini or Strauss, but no less effective in the way the characters are recreated from new perspectives, such as in the case of Violetta Valéry, and the old alcoholic prostitute sort she has become. The treatment's efficiency comes precisely from the deep respect for the original text, which allows under the guise of a more or less trivial metalinguistic game, for the yesterday to reveal, with unusual relevance, the today it's hiding inside. It plays with dramaturgy, but also with the fictional tempos, that is to say, with theatrical and musical reality at its deepest core. Therefore, the singer plays an irreplaceable role; she is far from the operatic world, but knows how to use her vocal limitations to turn them into dazzling expressive possibilities."

José Luis Téllez (musicologist, critic and commentator for national radios such as Radio Clásica, RNE and Spanish National Television RTVE)

 

"An outstanding enterprise. The voice and style of Sara Van are amazing."

​​Juan Ángel Vela del Campo (opera critic for El País National Newspaper)