Como una baguala oscura

On screen, Hilda Herrera talks about her compositions. They are deep, sunny, inseparable from the wonderful poets she has set to music, and her touch is instantly recognisable. She is one of the few women composers, if not the only one, to have made her mark in the very male-dominated world of Argentine folklore. She has paved the way for new generations of pianists, giving a prominent place to an instrument that no one had expected in these repertoires. On stage, Hilda's piano and voice resonate. She evokes her inspirations or the historical context of her compositions, the censorship. At the back of the stage, an unfinished brick wall onto which the surtitles are projected, a space constantly reconfigured by "Pola", another major figure, very physical, who revisits the posture of the Gaucho dances, combining anchoring to the ground and a wildly aerial upper body, like galloping horses in the dusty pampas.