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Last night, in front of a Movistar Arena almost half of his usual capacity, Rick Wakeman (with a symphony orchestra and a choir specially formed for the occasion) made his return to the country in showing part of his solo canonical repertoire, rooted in clbadical music and in albums that are now the object of worship around the world. Here, five moments of the intimate meeting between the historical keyboardist of Yes and his Chilean disciples.
Arthur
Nine thirty at night and shy glitches are heard at the Movistar arena. With notorious gaps in the box and the gallery, Rick Wakeman appeared in front of a transversal public and notoriously adult, aware of the creative world of Yes but also of the nomenclature of the composer.
That is why, when the Briton sat in front of a beautiful black grand piano and played the first notes of Arthur the song that opens the disc The myths and legends of King Arthur and The Knights of the Round Table not a few took their heads in a gesture of simultaneous desperation and adrenaline. It was the first time that Wakeman was presented in Chile with one of the costumes that best summed it up: that of symphonic musician.
Looking at Yes
Those who went in search of a memory related to Yes, Wakeman's alma mater, found their reward in advance of the first part of the show, when he was playing ] in front of the absorbed complicity of the spectators.
The play was followed by an attentive audience at the fast fingers of one of the pianists and leading progressive rock actors. A witness of popular music that he recorded in the studio with characters such as John Williams, Marc Blan, Cat Stevens and Lou Reed among others.
The song came to close the first part of the setlist, in which Wakeman appealed to his story as a soloist soon to return to Yes in the unique composition that the band was performing.
Beatle Sequence
One of the most anticipated moments of the night was devoted to blankets. In the case of the pianist, it is not possible to interpret topics unrelated to his or her personal story, but to remember friends, young people, recording sessions, and A past of glory.
For the same reasons, two "completely different" versions of the catalog: Help and Eleanor Rigby this last inspired Russian composers of scholarly music who relive in a English frenzy meticulously calculated and epic.
The closing was marked by dry applause at the end of the galloping rhythm of Eleanor Rigby which in the version of Wakeman (and as it often happens with its covers) moves to a fresh and even original work it does not make sense.
"To My Friend"
This is a characteristic postcard of each Wakeman recital, when he changes face, he speaks seriously and presents with sadness Life On Mars? : David Bowie's song that he recorded with him and where he captured one of the most memorized piano lines in rock
Here, the Musician badumes full responsibility: the choir and the orchestra they surround, they leave their instruments and they look at it in silence. And as it happens every time it sounds somewhere in the world, Wakeman's piano is heard, subtle as well as cosmic and definitive, except that Bowie's voice and the discomfort that results from it absolutely darken the scene.
Natural emotion in the audience but also in Rick, who for a moment misses his ironic interventions ("Am I the only one who has been married four times here"?) To be methodically weak and vulnerable.
Farewell
Rick Wakeman left the scene five times before finally doing it. The first was the most explosive: he said goodbye to Journey to the center of the earth in a synthetic version of his second solo album. An ideal closure for fans who refused to leave the Arena despite the cold still
The jig, the roundabout, the sea horses and Merlin the magician ] preceded Rick in the round trip, until the English took the microphone and pronounced the last words of thanks.
Before the play, he badured that he would return next year, and he immediately played the piano Always With You from the self-titled album released at the beginning of 2010 in another show the validity
After coordinating with imitators and gestures a supposed vinyl signature with the fans of the first rank, and after a warm farewell, the pianist disappeared from the scene leaving behind dozens of musicians and singers who repeat the whole week with him the Magna Aula of the Central University. For them, the second big roar was dedicated. The improvised orchestra fulfilled the mission and inscribed in its personal diaries the fact of having participated in one of this year's most authentic concerts.
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