Press

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GIAMPAOLO BISANTI DIRECTS “MADAMA BUTTERFLY” BY PUCCINI AT THE TEATRO DEL LICEO DE BARCELONA

By Xavier Borja Bucar, for Codalario.com

“Pleasant was the presence of the young Mercedes Gancedo in the testimonial role of Kate Pinkerton. Gancedo has a voice of beautiful timbre, fresh and mature at the same time, with a free and solid projection. Those of us who have had the luck to see her more than once in recitals know that she is a singer of an overwhelming personality, called to larger companies than this Kate. So be it”.

Complete review here

El Primer Palau: The funny maturity of Mercedes Gancedo

By Xavier Pujol, for Revista Musical Catalana 

“The first part ended with the well-known Cinco canciones negras of Montsalvatge, some beautiful simple pieces, that deliver all their charm when, in addition to singing correctly, as was the case, a bit of mischief, a fine sense of humor, is added to the performance, daring and not looseness.

(…) In the second part the concert stopped being conventional to become a new artistic act full of wit and grace. (…) Gancedo and Miralles were delicious: they played, they sang, they staged, all done with security, with maturity, with knowledge “.

Complete review here

The quarry of Primer Palau

By Pablo Meléndez-Haddad, for El Periódico

(…)” “this act had as main attraction the performance of the winner of last year’s edition, the Argentine soprano Mercedes Gancedo -first time a singer won-, who, accompanied on piano by a sensitive, concentrated and effective Beatriz Miralles, offered an acclaimed recital of ‘Lied’ imposing a voice of luminous timbre and with a shining metal, a wide tessitura with the well settled ends, clear diction and a fantastic phrasing, expressive and very coherent with the texts “.

Complete review here

I hate music, but I like to sing!

By Aina Vega, for Barcelona Clásica. 

“The young but solid voice of Gancedo brought out a thousand nuances throughout the evening, being especially beautiful in the bass, solvent in the center and bright in the highs, without falling into the shrillness or free vibrato. Always with a estimable projection, excellent tuning, clear and precise diction and an insulting domain of the regulators, her interpretation made us go through stages of melancholy, joy, sadness, good humor, sensuality, surprise and daze”…

Complete review here

A night to celebrate the talent

By Sílvia Pujalte, for Nuvol.

“Mercedes Gancedo is very young, but she is building her career with an admirable maturity, the same maturity that we can appreciate in her interpretations. (…) Mercedes Gancedo has a very beautiful timbre voice that hardly sounds tense or strained (…)

Complete review here

Two important artists: Mercedes Gancedo and Beatriz Miralles

By Santiago Martín Bermúdez, for Revista Scherzo. 

“Two very young women, the Argentine soprano Mercedes Gancedo and the pianist Beatriz Miralles give a recital that comes out of the frequent repertoire under the motto Cooking America! (…)

A recital that has a dose of humor, of stylized casticism, of popular and cultured lyric, a recital in which Mercedes Gancedo shines for the refinement of her voice (…) The accompaniment of Beatriz Miralles renounces the brilliance and puts herself at the service of giving her house, climate and comfort to the vocal deployment of Gancedo. There is in Miralles a beauty of touch, a capacity for innuendo that makes us want to hear her in a recital as a soloist. (…) “

Complete review here

Unexpected consolidations

By Mercedes Conde Pons, for Revista Musical Catalana

“Gancedo has a beautiful voice, velvety timbre and very well conducted, very homogenous and with a suitable projection without being stunned, a strange vocal and, above all, musical maturity, within a small body and a generous smile. (. .) So great was her ability to impress through simplicity in expression and an intimacy understood from the absence of desire to impress, and that is precisely how she achieved the opposite effect. Verschwiegene Liebe (Secret Love) by Hugo Wolf was a absolute delight, as was “Nobody but my lonely heart” of PI Tchaikovsky, always in dialogue with the delicate but intense pianism of Beatriz González Miralles, with whom a profound communion became evident. (…) After this performance, Mercedes Gancedo is already a reality, ready to achieve goals worthy of her indisputable talent. Congratulations!”

Complete review here

Appetizing soufflé with Mercedes Gancedo and Beatriz González Miralles

By Elio Ronco Bonvehí, for Cutural Resuena

“Gancedo is a complete artist with a mature personality, her voice exudes freshness and her technique is impeccable, which allows her to concentrate on the interpretation, which in her case and as happens with the real artists, is not limited to the vocal. She transmits emotions with gestures, looks and, of course, with her voice and the thousand nuances that she knows how to express. (…) The connection with the pianist Beatriz González Miralles was absolute, from the subtlety of Debussy’s nebulous sonorities to the virtuosic forcefulness of some songs by Ginastera, the pianist demonstrated a great stylistic versatility “.

Complete review here 

Mercedes Gancedo and Beatriz González Miralles, at the LIFE Victoria Festival: therapeutic innovation

By Redacción de Barcelona Clássica

“The LIFE Victoria Festival has presented in concert the soprano Mercedes Gancedo and the pianist Beatriz González Miralles in an unpublished format: an aperitif recital at the Carles Taché Gallery, we can say that they have broken molds: it has been a concert that has not been made in no auditorium, no theater, no church, nor was the schedule (noon on Saturday) the usual one, and despite all this, we can affirm that it has been a success.

(…) It must be added that the diction of both French and English has been fantastic and the technical, expressive and communicative quality, both of the instrument and vocal, has bordered on excellence. From the first minute, singer and pianist have formed a tandem where they emphasized with harmony.

(…) To round off the day, they gave us two bis: a piece by Tchaikovsky (Nur Wer die Sehnsucht Kennt) and one of the Canciones negras of Montsalvatge (Canto negro). It has been the perfect closing for an innovative concert but, above all -and this is something to be thankful for these days-, really therapeutic “

Complete review here

Bernstein opens the appetite

By Rosa Massagué, for El Periódico

“(…) From the joy of ‘Chacarera’, Gancedo and Gonzalez Miralles went to the lament of ‘Triste’, a song in which the interpenetration between piano and voice is indispensable and both resolved brilliantly, especially the soprano who knew how to distill all the sorrow that bring the song. The soufflé continued to grow with pieces by Claude Debussy and Gabriel Fauré. And so ended the most conventional part of the concert in which the soprano brought out her beautiful velvety and consistent voice, the naturalness of her singing and a phrasing that flows with elegance. (…)”

Complete review here