Eva Ayllon, performed at the Sydney Opera House on September 25.
Her concert was the sort of event that takes you out of yourself and leaves you in a better place:
Eva’s six-piece band — piano, cajon (“wooden box”, originally an upturned fruit box), bass, Spanish guitar, congas and backing vocals — took the stage. A momentary hush settled over the auditorium, then Eva herself appeared and the audience erupted with wild cheering, whistling and applause.
Like a charismatic curandera (folk healer), she doused the already-charged atmosphere with torrents of positive energy.
Eva’s 90-minute set was a glorious musical statement celebrating Peru’s egalitarian multicultural ideal of — many races and cultures, one shared destiny.
The phrase “magnificent stage presence” hardly does justice to such an incandescent talent.
Her concert was the sort of event that takes you out of yourself and leaves you in a better place:
Eva’s six-piece band — piano, cajon (“wooden box”, originally an upturned fruit box), bass, Spanish guitar, congas and backing vocals — took the stage. A momentary hush settled over the auditorium, then Eva herself appeared and the audience erupted with wild cheering, whistling and applause.
Like a charismatic curandera (folk healer), she doused the already-charged atmosphere with torrents of positive energy.
Eva’s 90-minute set was a glorious musical statement celebrating Peru’s egalitarian multicultural ideal of — many races and cultures, one shared destiny.
The phrase “magnificent stage presence” hardly does justice to such an incandescent talent.
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