Pynarello

In Macho’s, Pynarello plunges into the rough and unpolished landscape of Southern European Baroque music, in search of the macho — and the anti-macho. Are machos always men? Can a macho also be sensitive? Is there a macho hidden inside everyone? And is there anything to be done about it? Every stereotype is explored, challenged, and played with. The concert becomes one big battle between musicians, a breakdancer, and composers, each fighting for their place. Of course, there is plenty of muscular music by virtuoso macho composers such as Vivaldi and Tartini, but Pynarello’s own violinist and composer Jeffrey Bruinsma explores the anti-macho in an overture of his own. Cellist Lidy Blijdorp uncovers the sensitive side of machismo with special cello arrangements of some of the most poignant arias ever written by Barbara Strozzi, one of the first female “machos” to build an independent musical oeuvre in a male-dominated age. And in this battle, the most macho of macho dance styles cannot be left out: Utrecht breakdancer Neo Jansen shows that Baroque gives her just as much fighting spirit as her “own music.” Works by composers such as De Murcia and Locatelli are reworked by Pynarello into full-blown hip-hop. What begins as a cockfight ends in one big celebration.