Composer: Fernando J. Obradors () Teresa Berganza, soprano; Felix Lavilla, piano. Aix-en-provence festival 18 July El Vito. El vito is a traditional folk song and dance music of Andalusia whose origins can be traced back to the 16th century. Its name refers to the “disease” known as St. Fernando (Ferran) Jaumandreu Obradors (–) was a Spanish composer . Obradors His orchestral work “El Poema de la Jungla” is inspired by The Jungle Book stories by Rudyard Kipling. Many of his contemporaries left Spain to .

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Berganza has a lovely sense of line, and the soft stacatti sections almost feel like teasing.

Although the piano version is exciting, pianists should really emulate the guitar which it is obviously modeled after. The drama and excitement is gripping and very much sounds like something that would appeal to bull fighters. I want to play this piece now!!

Berganza’s ability to maintain the crisp, piano sections of the vocal line and then sing in full legato later create an exciting performance. All materials found here are kbradors educational purposes only. I enjoyed the rhythmic energy and drive of this music. Emma Lynn April 8, at 5: Teresa Berganza, as always, perfectly exemplifies this style. The way the voice and piano interact is playful, discrete and yet so profound.


She obradods so much nuance to the character, and what a piano part! It was so nice to hear it performed by such an expert vocalist. The piano part somehow reminds me of Falla’s “Polo” the repeated notes.

Vincent April 10, at 8: She communicates so much with just her eyes. Newer Post Older Post Home.

Fernando Obradors

I love this piece!!! Katherine Curtis April 10, at 8: Con el vito, vito, vito, con el vito, vito, va. The pianist in the performance did an excellent job of emulating a guitar with rhythmic clarity and precision.

The introduction reminds me of Albeniz’s Leyenda.

El vito – Wikipedia

Another example of a translation from guitar to piano. It was also nice to hear a performance with a different dialect than Spanish from Spain or Mexico, which is what I’ve typically heard this piece performance. Andrew April 5, at Another thrilling piece that keeps you on the edge of your seat! It is such an effective performance. Sunday, March 22, “El vito” by Obradors. It reminds me of Flamenco music, and I can see her move her shoulders slightly as if she’s controlling herself from breaking into Flamenco dancing.

Ashleigh April 9, at 2: What a sensual piece. I can really hear the inspiration from the guitar. The guitar figures are apparent in the piano accompaniment. I really can imagine a woman in a sea of bullfighters.

Canciones Clásicas Españolas, Vol.3 (Obradors, Fernando)

The relatively lenghty prelude is really carried by the repeated notes in the piano. I love this piece and have Sierra’s sparkling eyes in mind as I was listening.


Shannon McAleb April 5, at Again, the dance begins when Berganza comes in. The Links and Labels below should be helpful in finding what you are looking for. The rhythmic intensity paired with the ease and improvisatory nature of this song create an atmosphere of unpredictability.

I wonder if the quickly repeated notes that are so difficult on the piano are an example of “punteado” as was described by Kimball in the reading.

Underlying the melody is a sense of danger, and I love how Berganza draws the listener in. From the “no, no” to the fiesty “Ay! I want to learn this piece! A driving, perpetual introduction, a vocal line that is very dance-like as well as seductive. That was immediate impression I got after hearing this recording. I love the piano’s role with the repeated notes.

Yoshi April 10, at 9: Teresa Berganza does this perfectly, beautifully, and with dramatic intent. The line about her being too poor is especially effective with the use of staccato.