Legends of cuban music in bad kissingen

legends of cuban music in bad kissingen

Cuban joie de vivre was promised by the music and dance formation "pasion de buena vista" in the regentenbau in bad kissing. The special musical style of cuba is essentially influenced by wim wenders’ film "buena vista social club" embossed.

With the promising program title, the nearly 20 actors drew a parallel to the well-known role model, and even the decoration with a huge canvas, which presented the ramshackle charm of a street scene with the typical oldtimers in havana, referred to the latin american origin of the show. Before that, the instrumental line-up presented itself with drums, wind set, guitar, electric bass and keyboard. Bongos and various timbres provide the typical sound that is reflected in music and dance styles. So the formation started full of verve and very swinging into the evening, which went through the whole bandwidth with salsa, mambo, rumba and cha-cha-cha, but also presented the typical music styles like son and danzon.

The 90-minute performance lived from the staging of rhythmic dance elements, which immediately went into the legs, from melancholic solo parts and from the typical alternating singing between soloist and choir. Flexibility was expected from the audience in the moderation, which was sometimes in german, sometimes in spanish and sometimes in english – but that was no problem, because the focus was on the music, which had its basis in the excellent quality of the musicians in the background.

The dance elements, modern and jazzed up for the international market, showcased the latin american lifestyle and enticed some guests to give free rein to their urge to move in the side areas. Evergreens such as "besame mucho" were not to be missed or "guantanamera or "quisas, quisas, quisas" or "chan chan, while soloists like estannslao "augusto" blanco zequeira and lisbet castillo montenegro not only proved their skills, but also invited the audience to join in and clap along – and the audience loved it.

The second half of the cuban night in particular was almost a medley of cuban rhythms, as the performers seamlessly strung one piece of music after another. Thus also the enthusiasm of the public increased, which was reflected horbar in the applause. But the end of the evening came all the more abruptly, because after just over half an hour the last song was announced.

A clapped encore showed once again the rhythmic qualities of cuban music, secondly the ability of the formation and thirdly the enthusiasm of the audience, who had wished for a longer cuban night.