Queensland’s Aurora Guitar Ensemble opened the Guitar Festival with five uplifting pieces composed by their conductor and musical director, Paul Svoboda. The young performers’ evident enjoyment was matched by the vibrant energy of their music.
Paco Peña, who composed the Requiem for the Earth two decades ago, emphasizes the “honesty and sincerity” of flamenco music in conveying the heartfelt message of his work. The Requiem is a direct and powerful call to action aimed at protecting the natural world.
Structurally resembling a traditional requiem mass used in funerals and memorials, Peña’s Requiem spans 12 movements. While it often reflects on loss, it also celebrates the possibility of saving what remains. The composition combines classical Latin pieces, including a hymn inspired by Homer, with modern elements.
Peña’s exceptional guitar performance was complemented by the skilled contributions of Rafael Montilla and Benito Bernal Díaz, with Julio Alcocer’s brilliant percussion providing a strong foundation. The ensemble included a group of four vocalists—Bernardo Miranda, Inmaculada Rivero Cinta, Rafael Plantón Heredia, and Maria de los Angeles Martínez Toledano—who alternated between solo and unified singing.
The performance began with the lyrical “Sentimiento,” which soon evolved into a poignant vocal lament. This was followed by the traditional “Kyrie,” where the 25-member Rising Voices choir, joined by the Adelaide Chamber Singers, added a majestic touch, though their bass-heavy sound mix was occasionally noticeable.
The pace quickened with “Dies Irae,” demanding an answer to the state of the world. Alcocer delivered an impressive percussion solo, with Peña’s dazzling guitar work eliciting numerous cheers.
Subsequent pieces primarily addressed pleas for salvation and mercy, familiar to church-goers as hymns of humility. However, the underlying message seemed to question whether one deserves pardon.
The program also included modern pieces, such as “Alabanza,” which both mourn the destruction of the natural world and celebrate its remaining beauty.
Throughout the performance, Peña shared the spotlight with his fellow guitarists, showcasing a collaborative spirit. The ensemble’s energy was palpable, and the Young Adelaide Voices brought a fresh and vital perspective, especially in the concluding “Esperanza,” which offered an optimistic note. Their participation, guided by conductors Christie Anderson and Stephanie Eaton, was both fitting and delightful.
Ending on a hopeful note, Peña’s Requiem—capped by a stirring encore—asserted that the decline of the natural world can still be reversed. The standing ovation for this five-star performance was well-deserved.
