By Gina Minervini

The cello is generally an instrument that is part of an orchestra or ensemble, rarely taking the solo position. Latin Grammy award winner, cellist Antonio Lysy changed that concept when he took center stage in “Music from Argentina.”

Opening in a subtle silhouette of light, Lysy sat in the dark with his back to the audience, his cello hidden in the shadows in front of him. As his first notes slowly filled the house, an intimate personal connection resonated from his instrument. He beautifully captured the sophisticated style and classical elements of Argentine music.

Lysy first workshopped his show in a smaller space. When he was ready to move to the larger Broad Stage, he expanded the show by adding master tango dancers, Miriam Larici and Leonardo Barrionuevo. During rehearsals, Lysy confessed, he was so inspired and captivated watching the dancers work that, at times, he could hardly focus on the music.

At first, I was taken off guard by the staging, as it felt disjointed. There was a defined division between the musicians positioned on one half of the stage and the dancers assigned to the other. Neither entered into the other’s space. They shared the stage but they did not feel united. This unconventional staging appeared to challenge the dancers to stay within their boundaries and for the transitions between songs to connect fluidly. However, this production would not be classified as “traditional tango” nor was it meant to be. Music as a rule dictates the dance. What was curious in this case was an even exchange of artistic styles and forms developed throughout the program.

When the dancers entered for the first time, the audience was enthralled. Their costumes were as magnificent as Larici and Barrionuevo’s choreography. Incorporating “many ingredients,” they enriched their performances to match the high quality of the music. Larici was able to “spread her wings’” weaving in the roots of traditional tango movements with long extensions, dramatic holds, and even some ballet that allowed the partners to give full expression to Lysy’s rich musical stories. Barrionuevo, a mere 26 years old, led Larici with precision as he executed elegant lifts and overhead spins without hesitation. Her technique and control of complex body movements appeared effortless. She said she just relaxed and “enjoyed the ride.”

Several of the pieces performed were masterworks of the world-famous Argentinean bandoneonist and composer, Astor Piazzolla. The bandoneon is a mysteriously complicated instrument with a velvety and melancholy sound that represents the soul of tango music. Personally I am in awe of Piazolla’s compositions so I doubted that the cello could carry the intensity of his music. My doubts were unfounded.

The extraordinary arrangements by the Italian/Argentine maestro, Jose Bragado (born in 1915), a violoncellist, pianist, composer and colleague/friend of Piazzola, coupled with Lysy’s versatility, allowed his cello to carry the musical voice of the bandoneon with a free flowing ease. Never did I long for a fuller interpretation.

It was in the final piece, Le Grand Tango, when an unspoken partnership truly formed between the musicians and the dancers. The stage division lifted and the two became one. The dancers lived the music, stretching moments to interpret the phrasing. Lysy and the ensemble watched the dancers, feeling their emotional purpose and musically hitting their marks to coincide with their movements. A very special tango indeed unfolded into an enthusiastic full house.

Unfortunately, there was only one show listed on the marquee. So many creative possibilities remain open for this uniquely talented ensemble of artists. Encore, please!

EDITOR’S NOTE: Minervini writes articles/commentaries on art and culture for The Dispatch. An Italian American, she was born in Santa Monica, studied theater and film at UCLA, in New York and Italy.

An accomplished filmmaker, she produced, directed, wrote and narrated her most recent film, “Through The Eyes Of The Sculptor,” a docustory she shot on location in Malibu, Paris, other locations in France, and the massive marble quarries of Pietrasanta and Carrara, Italy. It airs on PBS thru 2013.