Manuel Barrueco

It's difficult to know where to begin in describing Manuel Barrueco's recital Sunday on the bare stage of Memorial Hall at Chapman University. The veteran Cuban guitarist did so many things right, and a mere report wouldn't do him justice. The results, it's safe to say, were magical. In a strong program, sponsored by the Orange County Guitar Circle, of mostly mainstream, mostly Spanish music, Barrueco gave an object lesson in music making on the guitar for an appreciative audience.

Joaquin Rodrigo was hardly a musical radical. He founded no stylistic school, had no disciples and at the end of a long and productive life was regarded as something of a regressive cultural drag by younger Spanish composers. But he left an enduring popular legacy. It is founded on the guitar--solos, songs, chamber music and concertos, above all the "Concierto de Aranjuez."

Joaquin Rodrigo was hardly a musical radical. He founded no stylistic school, had no disciples and at the end of a long and productive life was regarded as something of a regressive cultural drag by younger Spanish composers. But he left an enduring popular legacy. It is founded on the guitar--solos, songs, chamber music and concertos, above all the "Concierto de Aranjuez."

Who better to capitalize on the current interest in Cuban music than expatriate Barrueco, whose discography already includes strong performances of Leo Brouwer and Julian Orbon? But if you're looking for some of the energy and edge of the Buena Vista Social Club, understand that this disc favors the more subtly seductive side of the island's music, including wonderfully liquid and sly accounts of short works by Ernesto Lecuona, Brouwer, Carlos Farin~as and Enrique Urieta.

The ever-rising spiral of Manuel Barrueco's career reached a high point recently when the Cuban-born classical guitarist entered a London studio to begin work on a compact disc with tenor Placido Domingo. On this occasion, Domingo was doing more than singing. Having recently expanded his horizons as a conductor, Domingo was leading the London Philharmonia as Barrueco performed the soulful "Concierto de Aranjuez" by Joaquin Rodrigo.

Among the current crop of steel-fingered wonders, guitarist Manuel Barrueco is distinguished by his flair for transcribing. That was readily apparent in a nicely structured program offered Sunday evening at Royce Hall. The "Miller's Dance" from Falla's "Three-Cornered Hat" is a transcriber's staple, but Barrueco added three other dances from the ballet, and prefaced them with Rodrigo's homage to Falla, "Invocation et Danse."

Like most political and economic summits, the Guitar Summit promotes understanding and cooperation between very different and sometimes opposing camps. But unlike a lot of other summits, the four-man musical meeting of the minds scheduled to convene Sunday at the Irvine Barclay Theatre--with representatives from jazz, classical and blues-folk-rock factions--is expected to be music to our ears.

Who better to capitalize on the current interest in Cuban music than expatriate Barrueco, whose discography already includes strong performances of Leo Brouwer and Julian Orbon? But if you're looking for some of the energy and edge of the Buena Vista Social Club, understand that this disc favors the more subtly seductive side of the island's music, including wonderfully liquid and sly accounts of short works by Ernesto Lecuona, Brouwer, Carlos Farin~as and Enrique Urieta.

Music events covered in Mark Swed's roundup (Page 12). Los Angeles Mozart Orchestra, Summer Serenade, Lucinda Carver, conductor (John Anson Ford Amphitheatre 2580 E. Cahuenga Blvd., [323] 461-3673). "Serenata notturna" (Mozart); Holberg Suite (Grieg); Overture and Entrance of the Queen of Sheba from Solomon (Handel); Serenade for Strings (Dvorak). Fri., 8 p.m. $22-$25. Los Angeles Philharmonic, Enrique Diemecke, conductor; Nicolai Lungansky, piano (Hollywood Bowl, 2301 N. Highland Ave.

There was plenty of virtuoso talent and sophisticated artistry onstage, Wednesday at Ambassador Auditorium, where guitarist Manuel Barrueco and harpist Nancy Allen shared a recital. It was displayed, however, in a generous but largely pops program packed with arrangements--even arrangements of arrangements. The lack of original repertory suggests that the imperatives of this combination may be more a matter of marketing than music-making. The duo saved the best for last.

Like most political and economic summits, the Guitar Summit promotes understanding and cooperation between very different and sometimes opposing camps. But unlike a lot of other summits, the four-man musical meeting of the minds scheduled to convene Sunday at the Irvine Barclay Theatre--with representatives from jazz, classical and blues-folk-rock factions--is expected to be music to our ears.

The ever-rising spiral of Manuel Barrueco's career reached a high point recently when the Cuban-born classical guitarist entered a London studio to begin work on a compact disc with tenor Placido Domingo. On this occasion, Domingo was doing more than singing. Having recently expanded his horizons as a conductor, Domingo was leading the London Philharmonia as Barrueco performed the soulful "Concierto de Aranjuez" by Joaquin Rodrigo.

It's difficult to know where to begin in describing Manuel Barrueco's recital Sunday on the bare stage of Memorial Hall at Chapman University. The veteran Cuban guitarist did so many things right, and a mere report wouldn't do him justice. The results, it's safe to say, were magical. In a strong program, sponsored by the Orange County Guitar Circle, of mostly mainstream, mostly Spanish music, Barrueco gave an object lesson in music making on the guitar for an appreciative audience.

Among the current crop of steel-fingered wonders, guitarist Manuel Barrueco is distinguished by his flair for transcribing. That was readily apparent in a nicely structured program offered Sunday evening at Royce Hall. The "Miller's Dance" from Falla's "Three-Cornered Hat" is a transcriber's staple, but Barrueco added three other dances from the ballet, and prefaced them with Rodrigo's homage to Falla, "Invocation et Danse."

Even if you haven't scored a ticket to the Super Bowl, you can still get in the spirit at San Diego's Super Fest XXXII. The free entertainment festival in downtown's Gaslamp Quarter will include four outdoor stages with bands, magicians, jugglers, performing-arts groups, beer gardens and a children's venue featuring wild animal presentations by the San Diego Zoo and Wild Animal Park, and Sea World characters.

A brilliant debut and a bright, novel program for flute and guitar marked the latest Sunday afternoon chamber music event in modest Founders Hall at the Orange County Performing Arts Center.