It was going to be around the dates of the carnival, but it has been Sant Jordi the motivating agent of the return, finally, of Dove to the scenic activity, this Friday, with that proposal baptized as ‘The night of the roses’. If it is to be a warning of where the shots of the room on Calle del Tigre will go in its new stage, let’s take note of this baptismal menu: pop art by Mishima and spoken literature by the four guest voices.
With the permission of musicians and rhapsodes, the room was the sleeping protagonist on this occasion, with its Versailles-inspired tapestries and friezes in full view of a clientele that included admired youngsters who would hardly have been able to set foot in the room in other times (the closing it was 16 years ago). A beautiful corridor of flowers as access and the welcome of David Caraben, celebrating the return of this “city music temple& rdquor; and aiming at the beneficiary of the night, the Arrels Foundation. Its director, Ferran Busquets, recalled that on any given night like this, “some 1,200 people sleep on the street in Barcelona& rdquor ;.
bukowski in the living room
‘La nit de les roses’, which is expected to continue (Carabén spoke of “first edition & rdquor;) made its way in the evening rather than at night (8:15 p.m.) with the reading of fictional fragments, beginning with Monica Batet, looking at the war front in ‘Una història és una pedra llançada al riu& rdquor;, on the keyboard support of Bernat Sánchez. Some hubbub in the room and requests for silence, “shhh…” The talkative desire was breathed, typical of an act of social depth. Background rumor that also annoyed a bit the interventions of Sebastià Alzamora, Maria Sevilla and Martí Sales (although the latter lowered them with the blow of the drumstick, by drummer Alfons Serra, and with quotes from his beloved Bukowski).
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It had not yet struck nine when Mishima entered the scene to give her concert, some twenty songs with various quotes from her latest album, ‘L’aigua clara’, such as ‘El gran lladre’ or ‘Sé que ets tu’, sliding nuances and telling us about the group as a mature exponent of pop delicatessen. And those soul-strengthening chants: ‘La forma d’un sentit’, carried by the public on wings.
The refined tunes and the ideals of commitment and Dionysian vocation of Mishima (a group that had never performed at La Paloma) married the illusion of that reopening night. Happy choice to which Carabén and company responded by adding a premiere result to the repertoire, a version of ‘Flowers’, by Miley Cyrus (‘Roses’), with which they came to tell us that the cult of love begins with self-love.