Prior to each panel discussion, the ISPA Congress in São Paulo featured a brief performance by a Brazilian artist, each representing a different facet of the country’s vast performing arts scene. On the final day of the congress at the Auditório Ibirapuera, guitarist Fabio Zanon gave a beautiful performance under remarkable conditions.

In an earlier post, I wrote about the Auditório and a concert I attended there by Antonio Nóbrega, who incidentally opened the congress with a rousing performance earlier in the week. However, I did not mention one of the coolest features of one of the coolest buildings in the world: the rear wall of the stage is actually a massive door, which opens to reveal Ibirapuera Park. The door allows for the space to become two completely different venues. With the artist facing the seated public indoors, it’s a fabulous 800 seat theater. When the artist faces the back wall (or where the back wall was!), it’s suddenly an outdoor stage that can accommodate an audience of more than 10,000! On this day when Fabio plucked his first notes, the rear door slowly and silently opened, revealing a beautiful, crisp Saturday morning in the park. The audience was blown away!

Following his performance, Fabio joined a outstanding panel on the creative process in the classical arts in Brazil, moderated by the Barbican’s Artistic Director Graham Sheffield. One highlight from the panel was Zanon’s assessment of the prejudices that face Brazilian composers and artists. He spoke of how music critics, particularly in North America and Europe, judge Brazilian artists and composers differently: Villa-Lobos is “over-zealous,” while Stravinsky is “inspired,” for example. He also spoke out against the tendency of many to categorize him as “Brazilian guitarist” rather than a “guitarist” who comes from Brazil, with the former projecting limitations onto the artist with regards to his repertoire and/or abilities. Great points!

What an amazing way to wrap up a phenomenal congress!