NEOJIBA comemora 7 anos em primeiro concerto após Turnê Europa 2014

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A batuta do regente Yuri Azevedo conduziu uma peça pouco comum nos repertórios de música Clássica. Foi o conhecidíssimo “parabéns a você” que encerrou o concerto especial do 7º aniversário do NEOJIBA, cantado por um TCA lotado, na última sexta-feira, dia 17 de outubro. O concerto encerrou o período da Turnê pela Europa 2014 feita pela Orquestra Juvenil da Bahia, levando ao palco do TCA a própria Juvenil, além da Orquestra Castro Alves e membros da Orquestra Pedagógica Experimental e dos Núcleos CESA (Simões Filho), SESI (Itapagipe), Bairro da Paz e Estrelas Musicais (Nordeste de Amaralina). Os músicos executaram peças de Aaron Copland, Jean Sibelius, Johannes Brahms e Gioachino Rossini, destaque nas diversas apresentações da turnê, aplaudidas de pé pelo público presente na Sala Principal do Teatro Castro Alves. O Diretor Fundador, maestro e pianista Ricardo Castro acompanhou como solista a Orquestra Juvenil da Bahia, regida por Yuri no Concerto para piano e orquestra nº1 de Tchaikovsky. Antes, Ricardo Castro pegou o microfone para anunciar a expansão do Programa, sediado desde o início do ano na Secretaria de Desenvolvimento Social e Combate à Pobreza (SEDES) e para anunciar o NEOJIBA nos Bairros, projeto que realiza ações de capacitação e difusão do NEOJIBA em bairros com Bases Comunitárias de Segurança em Salvador e RMS, a saber: Calabar; Santa Cruz; Nordeste; Chapada do Rio Vermelho; Fazenda Coutos; Bairro da Paz; Rio Sena; São Caetano; Itinga; Águas Claras; Uruguai e Liberdade. O Projeto já conta com 17 projetos musicais comunitários apoiados, o que significa 1150 crianças, adolescentes e jovens beneficiados.

Para visualizar todas as fotos do concerto clique aqui.

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YOBA de volta a Salvador.

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Voo da YOBA chegando a Salvador.(foto: Saulo Cunha)

E a Turnê Europa 2014 chega ao fim. Depois de se apresentar em 3 países, realizar 11 concertos em 7 cidades diferentes,  a Orquestra Juvenil da Bahia volta pra casa.

Para os músicos da YOBA, fica a realização de ter dividido palco com nomes consagrados da prática musical de excelência, como Martha Argerich, Corey Cerovsek, Colin Currie e Alexander Gurning. O privilégio que nossos músicos tiveram neste mês de setembro é almejado por instrumentistas de todas as idades em todo o mundo. Levar a mensagem do NEOJIBA para tantas salas de concerto e comover plateias tão exigentes e sérias não é missão das mais fáceis. Parabéns aos integrantes da Juvenil da Bahia! O legado desta turnê permanecerá nas vidas e carreiras de todos, bem como as melhores impressões permanecerão com tantos quantos puderam apreciar os concertos em Montreux, Turim, Milão, Merano, Ravello, Roma e Londres.

É chegado o momento de a Juvenil, como boa filha, voltar à sua casa e prosseguir sua missão de transformação social através da música em terras baianas. Trazendo na mala a certeza de que todos os aprendizados desta experiência serão aqui compartilhados, uma vez que “aprende quem ensina!”.

YOBA back in Salvador

And the European Tour 2014 has come to an end. After 11 concerts in 7 different cities and 3 different countries, the Youth Orchestra of Bahia returns home.

For the YOBA musicians, there is the fulfillment of having shared the stage with renowned musicians such as Martha ArgerichCorey Cerovsek,Colin Currie e Alexander Gurning. What our musicians experienced during this month of September is aimed by musicians of all ages, all over the world. Conveying the NEOJIBA message to so many concert halls and to move such demanding and serious audiences is not the easiest of tasks. Congratulations to the members of the Youth Orchestra! The legacy of this tour will stay in the lives and careers of all of us and the great impressions imprinted will stay with those who could appreciate the concerts in Montreux, Turin, Milan, Merano, Ravello, Rome and London.

 It is the moment of the Youth Orchestra, as a good child, to return home and continue its mission of social transformation through music, in Bahia. Bringing with them the certainty that all the lessons learned from this experience will be herein shared, after all “learns, he who teaches”.

Concerto: Londres

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Em Londres a YOBA e o NEOJIBA tiveram espaços na mídia com  matérias publicadas no Brasil Observer,  que mencionou tanto a apresentação que a Orquestra faria como o programa de integração social pela música que é desenvolvido pelo NEOJIBA  (para ler a matéria completa clique aqui), e um artigo de duas páginas em The Times escrito por Neil Fisher, crítico musical deste importante jornal,  abordando de maneira extremamente positiva os diversos aspectos do NEOJIBA, incluindo inovações como  o projeto da Orquestra de Plástico. (Leia o artigo aqui conteúdo em inglês).

A Orquestra Juvenil da Bahia  realizou seu último concerto da Turnê Europa 2014 no Queen Elizabeth Hall tendo como solista o percussionista virtuose Colin Currie na execução da peça riSE and fLY para percussão e orquestra, de Julia Wolf. Durante o ensaio geral, Colin se referiu à orquestra como” a mais unida e fantástica” que ele poderia encontrar e  doou sua marimba para o Grupo de Percussão do NEOJIBA. A apresentação da peça foi recebida com aplausos de pé pelo público londrino.

Na segunda parte do programa o público ouviu  a Orquestra na execução da grandiosa Sinfonia n.1 “Titan”, de Gustav Mahler, o que mais uma vez levantou o público para uma “standing ovation” e pedidos de bis, levando a orquestra a tocar Tico Tico no Fubá e Aquarela Brasileira em arranjos de Jamberê.

Concert: London

In London, the YOBA and NEOJIBA had great media exposure through published articles in the Brazil Observer, which mentioned not only the performance that the Orchestra would do, but also the project of social integration through music that is developed by NEOJIBA (for the full article click here). In addition, a two page article by Neil Fisher, a music critic of The Times, approached in a very positive way the several aspects of NEOJIBA, including innovations such as the Plastic Orchestra project (read the article in english here).

The Youth Orchestra of Bahia performed its last concert of the European Tour 2014 at the Queen Elizabeth Hall, with the virtuosi percussionist Colin Currie as soloist in the execution of the piece riSE and fLY for percussion and orchestra, by Julia Wolf. During the rehearsals, Colin referred to the orchestra as “the most united and fantastic” he could find and donated his marimba to the Percussion Group of NEOJIBA. The presentation of the piece was applauded by a standing up audience.

In the second part of the program, the audience once again rose in a standing ovation for the execution of the Gustav Mahler Symphony n.1 “Titan”; this was followed by requests for an encore, which led the orchestra to perform Tico Tico no Fuba and Aquarela Brasileira with arrangements by Jamberê.

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Clique aqui para conhecer as fotos do concerto de ontem.

Click here to view the pictures from yesterday’s concert.

NEOJIBA, equivalente brasileiro do “El Sistema”, aterrissa em Londres.

Saiu hoje, no The Times, uma matéria sobre a passagem do NEOJIBA pela Inglaterra e sua apresentação no Queen Elizabeth Hall, em Londres. (Conteúdo em Inglês). 

The Times published an article about the NEOJIBA’s stay in London and its presentation at the Queen Elizabeth Hall.


Neojiba, Brazil’s answer to El Sistema, lands in London

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Children from Neojiba with plastic violins
Matheus Tavares Pirajá

Neil Fisher Deputy arts editor

A pianist is transforming the lives of children in Brazil’s favelas through a music project that began in Venezuela. Neil Fisher reports from Salvador

I have travelled thousands of miles to hear an eccentric performance of the Israeli national anthem — and, for that matter, thousands of miles in the opposite direction from Israel — but this is quite a special rendition. Fabiane, aged ten, is only about twice the size of her instrument, the trumpet.

In a rehearsal room in the Bairro da Paz, a troubled favela on the outskirts of Salvador in Brazil, where the ceiling is far too low to have brass instruments squealing and pealing, she is soulfully pouring out her part in an arrangement of the anthem, known asHatikvah in Hebrew, or The Hope. It is her favourite tune.

No one in the class — not even the teacher, Mr Rocha — actually knows what the piece means. It just happens to be in their songbook for the day, one of many pieces used to teach the children the fundamentals. And yet The Hopeis a pretty perfect encapsulation of what the trumpet is offering Fabiane. Rocha excitedly tells me that, only after a year spent playing the instrument, Fabiane can join the children’s orchestra of Salvador, the lowest tier of the three youth orchestras that now exist in Brazil’s third-largest city.

“And for me,” Rocha confesses, “that was the principal reason why I gave up playing and decided to be a teacher — to see the kids develop.”

A revolution is spreading across the world and Fabiane — too shy to talk to me but not too shy to entertain her friends with an impromptu solo in the sunshine outside — is the evidence. We now know all about the orchestras and conductors that have come from Venezuela in the past decade: chief among them the Simón Bolívar Youth Orchestra and its figurehead, Gustavo Dudamel, now music director of the Los Angeles Philharmonic and classical music’s hottest property.

“The Dude” sprang from a radical music education programme known as El Sistema, spearheaded by an educator called José Antonio Abreu. Now, however, the Sistema is on to phase two — global domination. On Wednesday, London hosts the Youth Orchestra of Bahia, the flagship project of Neojiba, or the Sistema in Salvador, a 140-strong squad of Brazilian talent. “I’ve taken them from nothing,” says the Neojiba founder and director Ricardo Castro, “and now they’re playing Mahler and touring with Martha Argerich. Venezuela did it in 39 years; we’ve done it in seven.”

Though proud of the orchestra he will be conducting in London (sadly without Argerich, but with the virtuosic Scottish percussionist Colin Currie), Castro would be quick to say that he’s not in competition with the Simón Bolivars. It was performing in a competition — the Leeds Piano Competition, which the Brazilian unexpectedly won in 1993 — that made Castro think twice about what he was doing with his career.

“I felt something strange: like I had won the competition, but many had lost it. It was like a war being in a competition like that. And as pianist, I had a strange life. Something was missing.” Castro realised what when he went to Venezuela and met Abreu. “It suddenly all made sense,” he says. “I could see what an amazing result they had in a very similar country — a much smaller one, but with similar problems.”

Castro had the benefit of Abreu’s advice and so could import the existing principles of the Sistema to his home city of Salvador, particularly its teaching method, whereby children who may have only learnt their instruments for one or two years, immediately start passing on what they know to the next rung down. Yet the obstacles he faced were immense.

Where the Sistema in Venezuela is a nationwide social programme that has been shored up by huge investment from the central government, there was no such support forthcoming from the state of Bahia (about the size of Spain) of which Salvador, a sprawling, unwieldy city of around four million people, is the capital. Salvador is renowned for music, but none of it is classical. It is the city of Gilberto Gil and Caetano Veloso and the spiritual home of samba.

When Castro and his old school friend Eduardo Torres began Neojiba in 2007 by setting up the first youth orchestra in the 450-year history of the city, Torres tells me, there were only two bassoonists in the entire state. Perhaps most challenging, however, are the daunting social problems of a city where some 60 per cent of people live in favelas.

Undaunted, Castro set out to make Neojiba an evangelical tool as much as a musical one. As well as a youth orchestra that everyone could aspire to, he set up music education centres (called nucleos, like the Venezuelan model) across the city. A squad of local musicians were sent to Caracas to get an intensive soaking in all things Sistema; and when they came back they passed it all on. The structure of the programme was crystallised four years ago when Neojiba became a private entity, subsidised not by the culture ministry but by the department for social development.

Since then, as the government sees how many children’s lives have been transformed, funding has been almost tripled to seven million Brazilian reals, or just under £2 million, a huge sum in Salvador. There are just under 1,000 children in official Neojiba programmes and that number is rising dramatically. There are the three orchestras — the main youth orchestra, for players up to 29, the Orchestra Castro Alves (OCA) for teenagers and a children’s group — as well as a choir. Enterprisingly, Neojiba has also set up its own version of Classic FM, which plays masterpieces round the clock to Salvadorans stuck in the endless traffic jams that are a feature of city life.

I hear two concerts in Salvador’s main theatre. The first is an education concert featuring the young players of OCA performing to children from some of Salvador’s poorest areas. The second is a farewell to the main youth orchestra before their European tour, a riotous event with plenty of percussion (doffing the cap to Brazil’s long expertise in that department) and the Latin American pizzazz of Ginastera and Villa-Lobos.

Having been to Caracas to see the Sistema in operation, I recognise the same holistic strategy at work: the players hook in friends and family — “audience development” is organic rather than forced. Ticket prices are about £1. I meet Bahia’s answer to Dudamel, 21-year-old percussionist-turned-conductor Yuri Azevedo. He wants to work with the “main orchestras of the world”, he says, “but also to spread all the knowledge to everyone in Bahia — everything I dreamt to become, so that others can have it too.”

There’s also a noticeably more open spirit to innovation here than in socialist Venezuela. Neojiba faces a constant battle to supply children with affordable instruments, so they have also teamed up with Bahia’s biggest company, Braskem, to develop a “plastic orchestra” — a pilot project for now, but one that has implications not just for the Brazilian Sistema but for the Sistema around the world.

These corporate tie-ins, however, ultimately feed into Castro’s vision: that the true message of the Sistema is about social cohesion and equality of opportunity. It’s why he’s more suspicious of Sistema satellites, such as the ones spearheaded by the Los Angeles Philharmonic, that only target the poorest children. “In North America they have 200 youth orchestras with rich kids, and those kids don’t want to mix. So you have to do it deliberately.”

There is another challenge posed by the rise and rise of Brand Sistema. As the scheme is taken up around the world, will audiences continue to fall for the latest flashy package from somewhere glamorous where the teenagers have better suntans than us and a stronger sense of natural rhythm? That’s missing the point, says Marshall Marcus, CEO of the European Union Youth Orchestra and founder and chairman of Sistema Europe.

“The Simón Bolivar Orchestra has been the Trojan Horse — it goes to places, people are knocked out and they say: ‘We should have one of those.’ But it’s when you travel round Venezuela that you see the effect of the Sistema on a local level, with kids who will not be professionals, but who are using music as a way of social development.” For the same reason Marcus says it would be unfair to judge the UK’s own Sistema projects (based in locations as diverse as Norfolk and Stirling) by the standards of Bahia.

Although there may be a funky Brazilian encore after the London concert (Tico-Tico No Fuba, made famous by Carmen Miranda, is a party piece), Castro and his team are wise enough to know that the Youth Orchestra of Bahia needs to prove itself musically.

There will be nowhere to hide with Mahler’s First Symphony, nor with a performance of Julia Wolfe’s 2012 percussion concerto, riSE and flY, with Colin Currie. Currie, who played the piece with the Brazilians last week in Switzerland, was stunned. “What the piece needs above anything is a huge amount of energy and grit and determination and this orchestra has more than any other I’ve encountered.”

Castro still has one foot in the world of elite performance since he maintains a career as a solo pianist. But now that the Sistema has opened his eyes, he says the classical world needs a fundamental overhaul.

“The lesson for Europe is that we should stop putting the artist on a pedestal. The business has taken over too much and we have lost the reason for why we are doing music. Instead, this could be the message: that we can all be musicians. It just depends on what tools you’ve been given and how soon they gave them to you.”

Just ask Fabiane, playing The Hope on her trumpet.
The Youth Orchestra of Bahia is at Queen Elizabeth Hall, London SE1, tonight (0844 8750073)

Depoimento Domenico de Masi

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Domenico de Masi é um sociólogo italiano que ficou muito conhecido pelo seu conceito de “ócio criativo”, em que defende ser um fator que estimula a criatividade pessoal. Chegou a escrever um texto defendendo esta ideia. Domenico, que escreveu diversos livros, se identifica muito com o Brasil, tanto que em 2010 recebeu o título de cidadão honorário da cidade do Rio de Janeiro.

Mas o que um sociólogo está fazendo em um Blog sobre música? O italiano é um grande apreciador de música clássica e esteve presente no concerto em que a Orquestra Juvenil da Bahia fez em Roma. Muito gentil, nos permitiu publicar seu depoimento.

Começou dizendo que o concerto da noite do dia 15 de setembro foi maravilho. “Sou amigo de José Abreu e conheço bem as orquestras do “El Sistema”, mas a Orquestra Juvenil da Bahia é esplendida!” Completou.

Statement by Domenico de Masi

Domenico de Masi is an Italian sociologist who became famous for his concept of “creative idleness”, highlighting idleness as a factor that stimulates personal creativity. Domenico, the author of several books and articles, has a strong relationship with Brazil and in 2010 received the title of honorary citizen of the city of Rio de Janeiro.

But what is a sociologist doing in a blog about music? The Italian is a great enthusiast of classic music and attended the Youth Orchestra’s concert in Rome. Very kindly, he agreed for us to publish his statement.

He started by stating that the concert in the evening of September 15th was wonderful. “I am a friend of Jose Abreu and know well the “El Sistema” orchestras, but the Youth Orchestra of Bahia is splendid!” he completed

Colin Currie, Um “Toque” de Carinho

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Antes do concerto de logo mais no Queen Elizabeth Hall, Colin Currie foi ao palco para tecer algumas palavras à orquestra, vestindo a camisa do NEOJIBA. Leia o depoimento que ele fez, em excelente português, comovendo e animando todos após o ensaio:

“É uma imensa satisfação começar meu festival com vocês (se referindo ao Metal, Wood, Skin: The Colin Currie Festival), não poderia ter uma orquestra mais unida e fantástica do que vocês.” Disse. Acrescentou agradecendo pela orquestra o inspirar a fazer música e desejou um ótimo concerto a todos.

Mas não parou por aí, após os aplausos dos músicos da YOBA, ele ainda doou sua Marimba ao grupo de Percussão do NEOJIBA. “Espero vê-los em breve. Amo vocês!” completou.

Obrigado Colin Currie!

Escute aqui o áudio completo!

Colin Currie, a caring touch

Just before the concert later on at Queen Elizabeth Hall, Colin Currie went on stage to say some words to the orchestra, wearing a NEOJIBA shirt. Here is the statement he made, in an excellent Portuguese, moving and exciting all after the rehearsal:

“It is with great satisfaction that I start my festival with you (referring to the Metal, Wood, Skin: The Colin Currie Festival), there could not be a more united and fantastic orchestra than you”, he said. He continued by thanking the orchestra for providing him with inspiration to create music and wished a great concert to all.

And it did not stop there – after being applauded by the YOBA musicians, he donated his marimba do the NEOJIBA Percussion Group. “I hope to see you soon. I love you!” he added.

Thank you Colin Currie!

Click here for the complete audio.

Auditório Queen Elizabeth Hall – Londres

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O Queen Elizabeth Hall Auditorium é uma sala que fica no South Bank Centre. O Auditório possibilita um grande conforto aos músicos, ou qualquer outro tipo de artista que se apresente lá, pois têm um grande número de vestiários e camarins.

Para o público, são proporcionados: três bares/restaurantes, o hall de entrada, bilheteria, os vestuários (porta casacos e afins) e a sala de apresentação. Somando todas as suas dependências, totaliza-se 15.000 pés quadrados de área total. O hall de entrada pode ser usado para exibições e ser alugado para eventos fechados, e ainda tem um elevador para o salão principal. Sua capacidade comporta novecentas pessoas sentadas e mil e quinhentas de pé, espalhadas por uma sala de aproximadamente 1.450 m² de espaço.

A Orquestra Juvenil da Bahia fará lá o último concerto da Turnê Europa 2014, com o escocês Colin Currie. A orquestra participa do Festival Metal, Wood, Skin: The Colin Currie Percussion.

Queen Elizabeth Hall – London

The Queen Elizabeth Hall Auditorium is a concert hall at the Southbank Centre. The hall provides a great level of comfort to musicians, given its high numbers of dressing rooms and cloakrooms.

For the audience, it provides: three bars/restaurants, the entrance hall, ticket office, cloakrooms and the concert hall per se. Adding all areas, it comprises a total of 15.000 square feet. The entrance hall can be used for exhibitions and rented for events. It also has a lift to the main concert hall. It can accommodate 900 people seated and 1.500 standing up, in a room of approximately 1.450 m².

The Youth Orchestra of Bahia will perform there the last concert of the European Tour 2014, with the Scottish musician Colin Currie. The orchestra participates in the Metal, Wood, Skin: The Colin Currie Percussion Festival.

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Resumo: Arrivederci Italia

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O tempo nas terras italianas chegou ao fim! A Orquestra Juvenil está indo a Inglaterra e vamos resumir o que aconteceu na Itália para que você não perca nada desta maravilhosa turnê.

Diferente do início da turnê, a orquestra teve um deslocamento muito maior. Na Suíça, ficaram hospedados em Montreux, já na Itália foi uma cidade diferente para cada dia. Viajavam pela manhã, ensaiavam a tarde e tocavam para o público a noite, e repetiam o processo no dia seguinte.

Em Turim, primeira cidade, a Orquestra se apresentou no Auditório Lingotto que já foi uma fábrica de automóveis e agora é um complexo moderno voltado para espalhar a cultura. O concerto foi realizado pelo festival MITO – Torino Milano Festival Internazionale della Musica um dos mais reconhecidos da Itália. Lá a Orquestra tocou, pela a primeira vez, o concerto de Tchaikovsky, para piano e orquestra, com a lendária Martha Argerich, com grande entrosamento. A pedidos do público, a Orquestra repetiu as obras “Aquarela do Brasil” e “Tico Tico no Fubá”.

Em Milão tivemos logo a notícia de que a RAI, reconhecida rádio italiana, iria cobrir o concerto em sua íntegra. O concerto aconteceu pelo festival MITO, o mesmo de Turim, na Sala Giuseppe Verdi que comporta 1.400 lugares que foram integralmente ocupados pelo público. A YOBA novamente mostrou seu entrosamento com Martha Argerich, e juntos tocaram o Concerto para Piano e Orquestra n.1 de Tchaikovsky. O público gostou tanto que, algumas pessoas, no bis começaram a dançar.

O concerto em Merano, foi o único da Itália que não teve como solista a Martha Argerich. Em seu lugar o Diretor do NEOJIBA e Maestro da Juvenil da Bahia, Ricardo Castro, foi ao piano e majestosamente tocou Rhapsody in Blue de Gershwin. O bis foi muito especial, Ricardo tocou “Festa do Sertão” da suíte Ciclo Brasileiro de Villa Lobos, peça que ele não tocava há mais de 10 anos. No final do concerto, o jovem regente Yuri Azevedo foi ao palco conduzir a orquestra no bis.

O 13 de setembro foi um dia muito diferente e agradável para a YOBA. Eles não tinham concerto no dia, e logo pela manhã receberam a excelente notícia que iriam fazer um passeio, no período da manhã, em Veneza. Visitaram vários pontos turísticos da cidade, dentre eles a Praça São Marcos, e em seguida foram de trem para Salerno.

Em Ravello aconteceu um concerto interessante. O Belvedere di Villa Rufolo é um “auditório” a céu aberto, e a orquestra desempenhou, não só um concerto espetacular para os ouvidos, mas também agradável aos olhos. O público agradeceu ao espetáculo!

Roma foi fechada com chave-de-ouro pela YOBA. Marcado como o último concerto da orquestra na Itália e o último com Martha Argerich, rendeu elogios desta lendária pianista que ainda expressou sua vontade de visitar a Bahia. O concerto lotou mais uma vez, e a sala Santa Cecilia ganhou elogios da nossa orquestra pela sua excelente acústica.

Com isso foi encerrado a fase da Itália e a Juvenil se apresentará hoje, 17 de setembro, na sala Queen Elizabeth Hall, em Londres.

Summary: Arrivederci Italia

The Italian leg of tour has come to an end! The Youth Orchestra is now going to the UK and we will sum up what happened in Italy, so that you do not miss anything from this wonderful tour.

Differing from the beginning of the tour, the orchestra moved around much more. In Switzerland, the orchestra was based in Montreux. In Italy, it was a different city every day. Travelling during the morning, rehearsing in the afternoon and playing at night; and repeating everything on the following day.

In Turin, the first city, the orchestra performed in the Lingotto Auditorium, which was previously a car factory and is now a modern complex focused in spreading culture. The concert was produced by the MITO festival, Torino Milano Festival Internazionale della Musica, one of the most famous in Italy. There, the orchestra performed for the first time the Tchaikovsky concert for piano and orchestra with the legendary pianist Martha Argerich, showing great engagement together. By public demand, the orchestra performed an encore of “Aquarela do Brasil” and “Tico Tico no Fubá”.

In Milan we received the news that the RAI, the well-recognized Italian radio, was going to cover the concert in its entirety. The concert was produced by the festival MITO, the same as Turin, in the Sala Giuseppe Verdi concert hall, which can accommodate up to 1.400 people. We had a full house.

The YOBA once again demonstrated great engagement with Martha Argerich, and together they played the Tchaikovsky’s Concert for Piano No.1

The audience enjoyed it so much that, in the encore, some even started dancing.

The Merano concert was the only one in Italy without Martha Argerich as soloist. In her place, the NEOJIBA director and conductor, Ricardo Castro, went to the piano to majestically play Rhapsody in Blue by Gershwin. The encore was very special, with Ricardo playing “Festa do Sertão” from the suite Ciclo Brasileiro by Villa Lobos, a piece he had not played in over 10 years. At the end of the concert, the young conductor Yuri Azevedo went on stage to conduct the orchestra for the encore.

September 13th was a very different and pleasant day for the YOBA. They had no concerts for the day and in the morning they received the excellent news that they were going to visit Venice. They visited several tourist attractions such as the Piazza San Marco and then they followed on to Salerno.

In Ravello, an interesting concert took place. The Belvedere di Villa Rufolo is an open air auditorium and the orchestra performed a concert not only spectacular for the ears, but also pleasant to the eyes. The audience was very thankful!

We ended the Italian leg in Rome with honors. The last concert in Italy and the last concert with Martha Argerich, was highly acclaimed by the legendary pianist, who expressed her wish to visit Bahia. The concert once again packed the Santa Cecilia Hall and the latter received compliments by our orchestra for its excellent acoustics.

With that, the Italian phase for the Youth Orchestra has ended and the orchestra will perform today, September 17th, at the Queen Elizabeth Hall, in London.

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Concerto: Roma, Até Logo Martha!

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A cidade de Roma lotou a sala Santa Cecilia, no dia 15 de setembro, para ver o último concerto da Orquestra Juvenil da Bahia na Itália. Uma sala muito bem desenhada, acusticamente e visualmente, foi um prato cheio para a orquestra encantar todas as 2.800 pessoas que lá estiveram. O concerto teve como regente Ricardo Castro e como solista Martha Argerich.

Foi o último concerto em que a lendária pianista, Martha Argerich, tocou com a YOBA nesta turnê. Juntos tocaram, majestosamente, o Concerto para Piano N. 1 de Tchaikovsky, o que rendeu elogios da pianista para a Juvenil da Bahia: “Foi um dos melhores concertos de Tchaikovsky que eu fiz!” disse a pianista argentina radicada na Suíça. Conhecida por não dar muitas entrevistas, Martha já estava bem a vontade com os músicos da YOBA, após o concerto disse que adorou e que gostaria de visitar a Bahia um dia.

A Orquestra Juvenil ainda tocou neste concerto as obras: Bachianas n.4 de Villa Lobos e Danças sinfônicas da West Side Story de Berstein.

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Concert: Rome, See you soon, Martha!

The city of Rome filled the Santa Cecilia hall on September 15th, for the last concert of the Youth Orchestra of Bahia in Italy. A very well designed concert hall, both acoustically and visually, was a great setting for the orchestra to enchant the 2.800 people who were there.

The concert had Ricardo Castro as conductor and Martha Argerich as soloist. It was the last concert that the legendary pianist Martha Argerich played with YOBA in this tour. Together, they played Tchaikovsky’s Concert for Piano No.1, which was highly commended by the pianist: “It was one of the best Tchaikovsky’s concerts I have ever performed!” said the Argentinian pianist based in Switzerland. Known for not giving many interviews, Martha was already very comfortable with the YOBA musicians and after the concert she said she adored it and would like to visit Bahia one day.

The Youth Orchestra also performed in this concert: the Bachianas n.4 by Villa Lobos and Symphonic Dances from West Side Story, by Bernstein.

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Quarta Faixa NEOJIBA Especial Turnê Europa Rádio Vida

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Se não conseguiu escutar na Rádio Vida FM o programa da Quarta Faixa NEOJIBA Especial Turnê Europa 2014, nós trazemos até você!

Clique aqui e dê play no áudio para ouvir!

Fourth Track of the NEOJIBA Special Europe Tour on Rádio Vida

If you missed the Fourth Track of the NEOJIBA Special Europe Tour 2014 program, we’ll bring it to you!

Click here and press play on the audio to listen!