"Risa Carlson's tender elucidation of the Minuetto and Villanesca movements from Enrique Granados's "Danzas Espanolas," Op. 37, followed time-honored interpretation of the classical guitar repertoire. In rolex replica contrast, three nuevo tango pieces by Astor Piazzolla's demanded abrupt rhythmic juxtapositions, sound-hole slaps and a melodic atmosphere related to cheatin'-heart Nashville ballads." - Washington Post

"moody, often virtuosic, musically rich ?brilliantly articulated" - The Baltimore Sun

"Risa Carlson drew atmospheric half-lights from the guitar㨥] phrased subtly, without needing to push just to be heard."- Washington Post

"...she brought nice feeling and expressive tone to the music."- San Antonio Express

"of the finest performances I've attended in a long time?a great performance by a wonderful young guitarist." - Washington Guitar Society

"Risa Carlson played with poise, a fine silvery tone, and few if any errors? - Soundboard Magazine (of her performance in the GFA 2000 finals)


"[Duo Erato] phrased with exquisite taste and perfect arc, making the replica watches uk dense textures clear and liquid" - The St. Louis-Post Dispatch

Two women, two guitars too superb not to love
By Punch Shaw

Special to the Star-Telegram

FORT WORTH - Think of it as music for guitar four hands.

Two rising young classical guitarists, Duo Erato, brought their tag-team act to the PepsiCo Recital Hall on Thursday in an evening of plucking and strumming that was so tightly coordinated that it often seemed that the two women were playing a single instrument.

Expectations were high for this performance, given the credentials these two players -- Risa Carlson and Martha Masters -- bring to the stage. They finished first and third in the 2000 Guitar Foundation of America competition, a sort of Cliburn for the guitar (and I challenge anyone who was there to guess the winner). They both studied with one of the most respected of all guitar masters, Manuel Barrueco. And each has enjoyed success on her own.

Consider those high expectations met. The duo glided through a program that included works by Pasquini, Sor, Brahms, Piazolla, Albeniz and Rodrigo.

That reads like the usual suspects except for the Brahms -- a transcription of a movement from his String Sextet in B flat. Guitar recitals are usually rich in transcriptions from a variety of composers, but they rarely come from the Romantic era. While the piece did make the German composer speak with breitling replica a vaguely Spanish accent in places, it was quite satisfying and true to its source overall.

When they played together, their contrasting styles complemented each other nicely. Carlson offers a sharp, ringing attack, Masters a softer, more blended tone.

Their duets were broken up by brief solo sets from each artist. Masters' choice was three tunes by Paraguayan composer Agustin Barrios Mangore. Her soft, richly nuanced reading of Julia Florida so thoroughly seduced the larger-than-usual audience of about 200 that they seemed to be holding their collective breath as she played.

Carlson's solo set was three works by Argentine tango great Astor Piazolla that were dispatched with appropriate sass and verve.

Finally, I suppose it is necessary to express a view as to which of these virtuosos was better. All right. The pretty one was better. And, again, I challenge anyone who was there to take a guess on that one.