At eight o’clock, as the Seville night began to temper its cold breath, the hall of ambassadors of the Alcazar opened its doors. to a handful of lucky people. There were no stars above us, but the centuries-old coffered ceiling shone brightly enough to … remember that art also enlightens. There, in a space arranged almost like a secret, a piano and a tenor were about to transform the evening into something more than a concert: a small miracle.
Without microphones, without artifice, without more adornment than the mastery of Rubén Fernández on the piano and the clear, firm and exciting voice of Ismael Jordi, a night began to unfold that would demand to be told. No sooner had the first bars of Anhelos sounded than the audience was suspended, as if someone had lowered the timer. He block dedicated to Joaquín Turina He moved forward with intimate aplomb, crowned by the intensity of the “Saetas” – which attracted attention and memories – and sealed by the “Songs”, which closed this first part with the same delicacy with which one turns a precious page.
A sip of water, a knowing smile and the native of Jerez returns to pay tribute to Luis Mariano through Francis López. First “Acapulco”, then “Le chant du Sereno” and “Chanson Basque”. Between songs, Ismael didn’t just sing: he spoke. He joked about the coldness of the room, winked at those present, This broke the subtle barrier between artist and audience. And the audience, delighted, responded to each gesture with warm, almost protective applause. Then came zarzuela territory. Rubén Fernández took center stage with a delicate solo of “El Caserío,” provoking sighs, and soon Ismael returned to display a torrent of emotion with “Doña Francisquita,” “La Pícara Molinera” and “El Último Romántico.” There was something about this section – perhaps the perfect acoustics, perhaps the tenor’s delivery – that transformed the piece into a little sentimental wave.
After a longer break, the journey to Christmas began. “Song of Divine Poverty”, “December Morning”, “Romance of the Pilgrims”. And then came the Christmas carols which, more than performed, were celebrated: “Adeste Fideles”, “Silent Night”, “Cantique de Noël”. The audience, moved, seemed to breathe in unison. When ‘The Drummer’ played, something in the atmosphere ended up melting into emotion. And with “Come to My House for Christmas,” the room burst into shared song, spontaneous and joyful. The closing of this block was done with “Sowing at Christmas”, which left everyone standingasking for more, clapping like someone who doesn’t want the magic to end.
Ishmael returned – of course – to offer “Tell me, whose child are you”, once again in communion with the audience. And when it seemed that now the night had an owner and an end, a voice among the participants asked for one last. Ismael smiled, agreed and said “That’s not possible.” With a message of love, health and heartfelt wishes for the coming year, the tenor said goodbye. While the music had already evaporated, there was still floating in the Ambassadors’ room the feeling of having experienced something unrepeatable: an intimate and luminous little night.
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