A baby of no more than 10 years rests on a makeshift awning on Avenida Figueroa Alcorta, in front of the Faculty of Law, where the concert for the 200 years of the UBA will be held. Like him there are many. His name is Noah (yes, like the ark, his mother limits) and he has one arm in a cast. The untimely accident was hours ago, playing basketball, and he is still wearing his sports outfit.
Although at the time he thought about changing the plans he had for the afternoon of December 4, his parents and his aunt, who traveled 8 hours by train from Rosario to crown the family plan, ended up convincing him. “As he hit him half down, we told him he was going to have fun,” they told Clarion, a few meters from the historical festival that would begin hours later. And they were not wrong.
The little boy from Villa Urquiza wanted to see Cazzu, one of the youngest artists from the Line Up of “UBA200 In Concert”, but around him, on the avenue that became pedestrian during the whole day) other voices and generations harangued for the greats of local folklore. And, of course, for the Bahian (who has just filled 12 consecutive Movistar Arena), Abel Pintos.
Almost two hours in a row, without a cut. The timing of the concert that framed the wave of celebrations for the 200 years of the UBA -which took place last August- it was a little clock, which differed from the classic recitals where the extended time range works almost as a rule.
Cazzu, to the nines at the concert for the 200 years of the UBA. Photo Maxi Failla
A massive party
No preferential tickets, or QR codes that will delay entry, a crowd (more than 150 thousand people were estimated) approached to vibrate what was predicted from early on in front of the steps of the renowned University: an authentic popular festival.
Free access and on a first-come, first-served basis, each family group and group of friends, as well as young UBA volunteers identified with a T-shirt of the institution, was located without great pretensions.
From the neighboring square filled with teenagers and centennial couples, the ends of the sidewalk to see from the giant screen and up to the bridge of the woman with a panoramic view of the complete map.
Without crowds (but not so much masks) to hinder the event, which was directed and arranged by Ezequiel Silberstein and Marcelo González as ideologue, creator and general producer, everything went smoothly.
The medical protocol was barely activated when, when the recital began, some people from the sector closest to the set up stage fainted and had to be assisted from the other side of the fence.
“Education was, is and will be the best tool to build our future. And honoring the University in the year of its Bicentennial is a way of recognizing the entire public education system of the country, “said González, businessman and general director of the show, who in addition to being documented with a drone and a parade of cameras , was recorded via streaming.
The first warm-up, necessary to calm anxieties, was the welcome of the actors Luciano Cáceres and Cecilia Roth, that as a duo host of the day they guided, with good rhythm, each performance of the 30 artists, accompanied by 100 members of the Symphony Orchestra of “UBA200 in Concert”.
Suitable for all palates
Mora Godoy danced tango at the UBA party. Photo Maxi Failla
The musical card – pretentious but effective – did not fail. The line up, suitable for all palates, went through different melodic sections with a thread that remained until the end: emotion. A national potpourri, to travel without traveling through Buenos Aires classics, with the latent diversity in each repertoire.
The symphonic journey under the open sky, which started in the day and ended at night, took off with an introductory midley by the prestigious orchestra and a string of numbers in homage to the great Astor Piazzolla, according to the centenary of his birth.
Natalie Pérez and Iván Noble, singing as a duet at the party for the 200 years of the UBA. Photo Maxi Failla
Libertango, with Esteban Morgado, Mora Godoy and Sergio Fernández Díaz got the first applause and was followed by Katie Viqueira with her version of Milonga of the Annunciation. They closed the tribute Elena Roger, to the rhythm of tango with Prelude to the year 3001 and Raúl Lavié with the emotional piece, Adiós Nonino.
If they are classics, Like the cicada, by María Elena Walsh, was a delight for all in the powerful voice of Kevin Johansen and following the line of the Buenos Aires hymns, one that we all know (keep living without your Love) was intoned by Lisandro Aristimuño and Juan Carlos Baglietto.
The bet was redoubled with the appearance of Cazzu, dressed to the nines for the occasion, which calmed the pent-up euphoria of a few in an unexpected fusion of Alfonsina and the sea with Lito Vitale.
Classics and surprises
Then came the Cordovan Celli, with one by Gustavo Cerati and a hitazo (Reason for living) from Victor heredia sung by its author together with Jairo and Carolina Peleritti. The set list continued its route with Iván Noble and a spontaneous ovation to Soledad Pastorutti, with To not forget.
The arrival of Femigangsta (received from a lawyer at the UBA) it was another surprise, Ballad of the devil and death de La Renga put rock to the dance. Then Coti and Marcela Morelo lit the stage with another one that we all know, but in a symphonic version: Walk with me, chanted from the first to the last verse.
Marcela Morelo and Coti sang together “Andar with me”. Photo Maxi Failla
With its freshness, Natalie Pérez planted a flag and filled it with color (even with her fluorine orange outfit) the place with Waves, a theme from his first album –A linden tea please– bringing a hint of melancholy to the scene. Followed by a classic performed by former Serú Giran, Pedro Aznar, To every man, every woman, which received the loudest applause of the night.
David Lebón, winner of the Gardel de Oro in 2020, along with Knowing Russia, made sound Seminare and the main course came last.
The grand finale
Abel Pintos, one of the most applauded at the UBA night. Photo Maxi Failla
Abel Pintos took the stage with his unmistakable vocal flow and twice. A hundred years, former musical strip curtain ATAV and The key, the most popular of his popular, gave him a sense of absolute climax, until the end.
With the incorporation of Aznar again but this time in a duet with the Bahiense, a version of The dinosaurs from Charly garcia, made this “argento” milestone a round closing, which said goodbye with the almost complete line-up of artists (those who stayed) singing the Argentine National Anthem.
Pedro Aznar sang alone at the beginning and later, with Abel Pintos, he made Los Dinosaurs, Charly García’s classic. Photo Maxi Failla
The attendant quorum accompanied until the end and although it had different peaks, the final X-ray far exceeded expectations.
But for many it did not end there. Installed (even more so) in neighboring squares, entire families and groups of friends decided to stay to continue – cold beer in hand – an almost summer night, still in diapers.
Reference from clarin