Review van Mikel Pagola van Pirotart.com
Film van AmigosPirotecnia.com
It seems that a pyrotechnic Gori as seasoned as not afraid of a pulse before mascletá. Nothing further from reality: "there are nights when I wake up dreaming of an earthquake ... it is to feel the powder! And two days before coming to this place, or almost any shot of some importance, and I'm bit nervous. Because both public act before is, after all, a great responsibility: it all has to do well and everything has to be like I want to like it. "
Sota, knight and king. Before starting his mascletá, Gregory John Moreno said "I want the fire I follow my" when I showed him my admiration to see what all the fire of strings (body + accompaniments + earthquake) was machined. I had noticed, especially in one detail: the union of the end groups (body) with the onset of the earthquake. The connection was made with fireworks in Valencia and was ready to form a "V" with two strakes placed in parallel. Put another way: the connection itself was nice. How nice ... Even so critical at this point (hence had two fireworks) design was available. Gori explained that since the fire mascletá given herself, alone, should be developed and fire "coming to where I am" (toward the south, towards the end). Even the accompaniments, as I say, were machined, connected with fireworks in Valencia. The fire developed himself from start to finish, winding through the different parties that the fireworks had arranged so that, by itself, he created the mascletá: he grew, they reproduce and spread.
One of the most curious was that the fireworks had rappers initial Valencia (Valencian fireworks was proper). From there it went to air principles that started with short whistles and then cracker, crosetes and peonies. He went on to smoke and crosetes that were accompanied with a trickle of thunder. This would encourage drip then becoming faster and adding snorers. As appreciation I have to say is certain to go smoke behind the sounds of thunder relaxes somewhat the "stress score" created previously. But again offered more sound effects and then I liked to make a hit (spongy) marking before going ashore.
There, below, one of the major achievements of Gori was that the strings were loaded Rastres. These are, as my colleague Juan Jose Sola Palmer says, "the soul of the mascletá". And the "old fox" (said with love) Gori knows that well. That's the paella broth: what gives flavor. The first three were together but withholding the fourth and fifth were separated, "and because I have no more room in this place, because I like working with space, and if I could have separated the five because it the best I control." Another nice thing this trip has been that air escorts (of thunder truenillos and runny), also lit fireworks in Valencia, not Estopin. That's a very nice way of working of Gregory John Moreno. There are nuances or details that are in their favor. It is not only a question of turning it on, but that how light it. There is no question that lights up (in one way or another), but is the same fire that has to hold on.
Well all this was within the earthly body of a mascletá that "beat" going very well and filled and well built (including its air). But the most beautiful, striking, substantial and ensalzable of this shoot was precisely the critical point of entry to the earthquake (espoletado). It was beautiful. Not noticed any sudden or step change of gradient. The fire was fed masterfully to plunge into the Earth's apotheosis as usual. Without realizing it: and that's the nicest thing when a mascletá is good. The sound is so deployed in the four sections of an earthquake (not even seen the elbows), and did it so naturally and well delivered, we can speak of a nearly masterful execution.
In my humble opinion (and this is something quite special and I recognize that "tastes"), where it did sound rather abruptly was noticed in the last section, since it went from 7 to 14 branches and this division itself was too obvious. Too strong. But as the input to the earthquake and its development in its first three stages was so nice ... We think that these first three parts as well curds served as a springboard for the fourth installment as "huge." And therefore it would fit.
Now, tucked into nuances, we can start rambling something about the air, what would be a mascletá like this, as heralded as "Valencian", as "classical" if we did not count on the few Chinese boxes had? For comment ... (Yes that would be austerely classical Valencia and literally). This would even be desirable and plausible. But they are pure and harsh opinions: my likes and dislikes.
Going back to the end of the show, the air end truenillos perhaps could have waited a little longer to get in (there was some overlap), but the final "austere" (I mean that without "pijadas" digital) was strong and vigorous, being, as was certainly something fluffy.
Total public (great judge, look at it), was excited. And the public does not understand "why"-s. The worthy only know what you feel. And I swear I felt something special that not by force of the latter part of the earthquake but just so well executed that was your entry. Because people did not realize where everything began and ended (read earthquake-body, respectively), but it found that it was coming so magical, unexpected, sublime.
Sota, knight and king: no need for strange stories, new inventions or reinvent the wheel to get emotional. Not bad if used, of course, but are not necessary and Gori has again shown today.
What feels so good mascletás attending courses like this is priceless. They taste and touch the fiber, which is what to look for. This does not make noise is co but in doing so beautifully and technical noise, explosions, they get to the point of touching. To serve a button shows: the big Madrid fan (and "corridor" of many fires), Leandro Jimenez Paredes, Gori told that "I have come here today to make me mourn ... and you've achieved." From this it all.
Film van AmigosPirotecnia.com
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