Emilio Magni

Emilio Díaz, guitarist, arranger and Argentine composer. From an open and versatile musical style in genres, jazz, funk and blues, Latin jazz, Argentine music, candombe, bossa nova, samba and African rhythms are mixed in a unique style of guitar and electric guitar playing. It reached an exceptional musical level, like composer and arranger. It was an early child who started playing the guitar at the age of 4 in an autodidact manner; Since then it showed a great natural talent, and at 14 it played with soloists and bands of its city. Born in the province of Jujuy, northern Argentina, then in 2006 he settled in the city of Tucumán. In 2013, he auditioned for Berkle College of Music with Oscar Stagnaro, an outstanding musician. Accepted to the institution. His artistic activity as sideman was varied, of flamenco, Argentine folklore, tango, rock and Latin music, recording and directing several musical projects.

Emílio Santiago, an excellent interpreter of sambas and other swinging musics, finally found his way to a massive popularity as a romantic singer: the Aquarelas Brasileiras project, coordinated by Roberto Menescal at Som Livre, brought Santiago seven LPs, national and international projection, and the sum of four million copies sold, along with six platinum records, seven gold ones, and the Sharp prize.

Emilio de' Cavalieri - Rappresentatione di Anima e di Corpo - René Jacobs (2015) {Harmonia Mundi}
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© 2015 Harmonia Mundi | HMC 902200.01
Classical / Vocal Music / Renaissance / Opera / Oratorio

Composed at a time when neither oratorio nor opera existed, Emilio de' Cavalieri's musical drama Rappresentatione di anima et di corpo combines song, stage action, dance, and instrumental music in perfect harmony. The work's libretto, attributed to Agostino Manni, presents a musical morality play in which soul and body dispute, with the participation of other allegorical characters and angels and souls both in heaven and hell. On this new recording, maestro Rene Jacobs illuminates this key work, which was written at the dawn of the Baroque revolution.

Emilio Aragón conducts the Tenerife Symphony Orchestra (performing the classical part) together with three Cuban percussionists and Alain Pérez on the double bass. The challenge is to integrate Afro-Cuban rhythms into a classical context such as the Brandenburg concerts, for which Alain Pérez replaces the Bach basso continuo, typical of the Baroque, with the Cuban tumbao bassoon, giving adequate space for percussion, such as the guaguancó, conga, danzón, contradanza, son, bolero… and which could feel comfortable around violins.