Solo Ante el Peligro


Solo Ante el Peligro
el Peligro
is a show with songs and stories performed by a solitary man and his circumstances.
When I perform, I am usually accompanied by all sorts of marvelous musicians. Over the years, I
have done this in many different ways, and I never cease to thank them for their talents and performances. But every now and then, I like to go out onto the stage alone. It is a reminder of the natural
human state, in other words, my natural state; I like to keep going back to it. We can be accompanied by many people, protected, pampered, supported and cheered on all we want or can, but in
the end we are alone. Atonal and astonished.
When the danger is artistic and not life-threatening it is more appropriate to call it fear. In the end,
the only risk that one runs is to look like an idiot. But in the circus or in the bullfighting world, the
risk that a trapeze artist or a bullfighter runs is of life or death (in the case of the bullfighting, one
must add that it isn’t the bull who runs the risk but rather is practically guaranteed death, but that is
another story.)
In theater or in cabaret, the main risk is indifference, the lukewarm applause of the audience.
Unfortunately, in this day and age, no one whistles nor do they throw tomatoes (there is a moral
crisis in addition to the food crisis) and it is truly a shame. On more than one occasion, I missed
being the target of a good tomato pelting (above all when I worked in productions by the Catalan
institutional theater). But indifference even if it is cordial, is the worst blow that an artist can receive.
For that reason, when I go out on stage without a bodyguard, I take advantage of everything that I
know and think I know, and I arm myself to the teeth with musical and verbal resources to meet the
battle of the lonely show and win it alone.
As for the content of my dialogs with myself, let’s say that it varies according to my mood and
reaches its greatest splendor when I tell myself something that I didn’t know.
Alfonso Vilallonga: vocals, piano, guitar, accordion and harmonium
Playbacks: Román Gottwald
Lighting: Roger Puiggener
Costume and set design: Susana Fernadez
Audiovisuals: Clarisa Sánchez-Cuenca
Photography: Alex Tintoré
Executive Production and Distribution: Inma Ibañezand Teatre Lliure
Length: 1 hora y 10 minutos sin pausa
Language: Spanish, French, English
Known above all for his songs which exude irony, gentleness and romance, and for his very
personal soundtracks (especially those composed for Isabel Coixet), Vilallonga is not only a singer,
composer and showman, but actor, chatterbox, aristocrat, a recognized palindromist and a great
poker player.
Corazón lengua (2010)
Solo ante el peligro (2009)
La pata del flamingo (2008)
Une soirée chez Vilallonga (2007)
Cabaret del Forum (2004)
Sombrillitas de entretiempo (Gira 2003)
El mirlo metálico (Con Ernesto Collado 2001)
Turning Point (Musical) ( Dir. Ernesto Collado 1999)
A los rios acaso ir sola (Dir. Federico Fazioli 1996)
The end of an era (Tour USA 1990-91)
At the edge (Tour USA 1989-90)
Libérame (K-Industria 2009)
En vivo y en directo (G33G 2006)
Adultus (Cantata, L’Auditori 2005)
Mi vida sin mi (Warner 2003)
Cábala y danza (G3G 2000)
Cosas que nunca te dije (1996)
Bugui del conformista (Betibú 1996)
The end of an era (Blue Jay Records 1992)
At the edge (Blue Jay Records 1990)
Transsiberian (Brad Anderson 2008)
Princesas (Fernando León 2006)
Horas de luz (Manolo Matji 2004)
Haz conmigo lo que quieras (Ramón de España 2003)
Mi vida sin mi (Isabel Coixet 2002)
Mi dulce (Jesús Mora 2001)
A los que aman (Isabel Coixet 1998)
Cosas que nunca te dije (Isabel Coixet 1995)
Inquisitor (Rachel Schaaf 1991, EE.UU)
En el corazón de la tortura (Isabel Coixet 2003)
Madres de nadie (Montse Rodríguez 2003)
Por nada (Mercedes Fernández-Martorell 2008)
Tour (Marc Cistaré 2001)
El sonajero (Elena Vilallonga 1998)
Aloma (Dagoll-Dagom 2008)
84 Charing Cross Road (Dir. Isabel Coixet 2004)
El hombre habitado (Lucerna 2003)
Canciones de Cabaret (Dir.Mario Gas 2002)
Vacanze (Zoco Teatro 2000)
A mall & some visitors (Beau geste moving theatre 1991)
He has a charm that disarms and dazzles . His voice is warm and verse
is ironic and biting, but also full of gentleness and poetry.
Susana Lrouchtmann - La Vanguardia
His style and talent fit better with the Berlin cabaret rather than the
Chansonnier of the Latin Quarter. Lively, polyfaceted, very original, with
a strong personality, a good dose of sarcasism, sweetness, irony,
melancholy, surprise, romance. And you can’t miss the surrealism with
which the rhyme explodes…
Lluis Permanyer - La Vanguardia
He´s a mystery, a showman with a baritone voice that floods the stage
with the grace of those classic chansonniers from the frivolous French
scene. In the United States they know Alfonso as the King of Cabaret.
El País - Dominical
...Vilallonga was able to exhibit his very personal show Bugui del
Conformista, an unheard-of proposal in the local panorama. One of the
most original propositions with the most artistic significance for the
genre that can be imagined at these latitudes.
Albert Mallofré - La Vanguardia
This man is capable of taking swing, the song by the author to that of
Silvio Rodriguez, Bertol Brecht, Kurt Weill, Tom Waits, the cinemagraphic
images with an aged taste or whatever he pleases and pass it through his
filter. (…) He possesses his own language which is instantly understood
by the rest.
Neil Antena (Barna)
It will be difficult for Boston to keep the brilliant Vilallonga as a local star.
Variety - Nova York
Vilallonga illuminates the complexities of cabaret.
Anthony Tomassini - The Boston Globe
Vilallonga´s show is sophisticatedly fun.
Richard Dyer - The Boston Globe
Alfonso Vilallonga has created a sound track that is not only the best that
i could have imagined for Cosas que nunca te dije, but also on those days
that we feel like the whole world has ganged up against us and we need a
peaceful and gentle haven…let´s be honest, practically every day.
Isabel Coixet
[email protected]
T. + 34 679 229 102