Russell's guitar can be heard from far away, which is a strange peculiarity of the guitar, but it sounds close up, which is a singularity of the guitarist. There is a kind of confidential tone in this relationship between the musician and the audience.An intimate magic has enveloped this surprising concert by one of the top figures of the guitar nowadays.
Russell is an artist who arouses sympathy. His communicative charisma through which he projects emotions can be felt both by the expert guitarist or by the profane listener, by the adolescent (the age of the audience in this concert had rejuvenated considerably) or by the mature music lover.
His style, apart from adapting to the proper styles of the music in order to give accurate interpretations, possesses an utter exquisiteness, an extensive range of colours and sonorities, a noble melodic clarity and marvellous musicality.
He started his recital with a splendid romantic version of the Grand Overture by Giuliani, italian guitarist who lived in Vienna, admired by Schubert. In the Fantasies of the italian Renaissance by Francesco da Milano he gave priority to the counterpoint polyphony of the voices, the imitative transparency of the melodies, worked with independence and clarity.
The transcription of the Valses Poéticos, by Granados, surpasses the original. His version had a refined romantic lyricism, with careful effects. Impeccable versions of the lutenist from the Renaissance John Dowland, full of emotion and melancholy. Strength and poetry in the versions of Albéniz. Popular idealism in the Venezuelan pieces, little masterpieces. And finally, a nice token: the interpretation, as an encore, of the Intermezzo in E Major, by Enrique Truan.
Excellent gesture to culminate an exceptional concert.


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