“Dos talentos, un mensaje de paz”. Dúo Amal (Palestina-Israel). Obras de F. Schubert, A. Dorman, S. Prokofiev, D. Shostakovich y S. Rachmaninov (Teatro Coliseo, 14 de julio).
Bishara Haroni es palestino, Yaron Kohlberg israelí. Un concierto por la paz los
reunió en Oslo, y la conexión que experimentaron los decidió más tarde a conformar este dúo, al que no casualmente denominaron Amal, que en árabe significa “esperanza”. Pero más allá de esta carga simbólica, lo fundamentales que sus integrantes son pianistas de excepción, y que a lo largo de estos años de colaboración han conformado casi una sola mente musical, una dupla de una uniformidad de pensamiento y toque pocas veces vista y oída.La presentación del dúo comenzó con discursos alusivos a cargo de representantes de la iglesia católica (padre Fernando Giannetti), de la comunidad judía (rabino Abraham Skorka) y musulmana (Omar Abboud); luego se invitó a Yaron Kohlberg a brindar un testimonio sobre el origen y la significación del dúo, pero problemas con el español le dificultaron la tarea. Kohlberg dio inicio al concierto interpretando codo a codo con Haroni la hermosa y muy conocida “Fantasía en fa menor” para piano a cuatro manos D. 940 de Franz Schubert. Desde ese momento la magia de estos jóvenes y sensibilísimos artistas comenzó a desplegarse. Además de la uniformidad de toque mencionada más arriba, impactó en esta instancia la concepción musical del dúo, que equilibró expresividad, intimismo y sobriedad, sin afectaciones ni vehemencias.Ya a dos pianos, y luego de la encantadora “Karsilama”, escrita para estos pianistas por Avner Dorman, el dúo encaró un repertorio ruso de muy diversas aristas, con idéntica inteligencia. La “Sinfonía n° 1 en re mayor”, llamada “Clásica”, de Sergei Prokofiev, fue vertida con una transparencia y regularidad pianísticas tan grandes que por momentos hizo olvidar que se trataba de la transcripción de una obra orquestal (muy inteligentemente hecha por Rikuya Terashima). El “Concertino para dos pianos en la menor” opus 94 de Shostakovich, escrito en 1953, fue otra demostración de destreza y absoluto dominio por parte de ambos, y la obra elegida para el cierre, la gran “Suite para dos pianos” opus 5 de Sergei Rachmaninov, revivió el clímax de expresividad con el que había dado inicio el concierto, con el remate añadido de una impresionante contundencia y vitalidad sonoras. Fuera de programa, el dúo se despidió con la “Brazileira” de Milhaud (suite “Scaramouche”), previo pedido de disculpas de Kohlberg en virtud del resultado de la final de la Copa del Mundo. Tanto la broma como la deliciosa versión fueron recibidas con la merecida calidez. Por: Margarita Pollini
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