kilometer. One of the historical indications of the Sovereign Award is time. There is no way to stop it, neither before nor now. “The bus is gone.” Wednesday night, again.
The manual establishes it very clearly, this factor generates in the long run a disconnection with the viewing public. Producers have known this for a long time. It’s just that they have never been able to control that monster and not even “Kronos” saves them.
Especially when that time is wasted, lethargic, in monologues that lead to no path by the presenters, who forced themselves into an ill-fated script, as happened at the 2023 Soberano Awards, a bet that was mistreated by its designers and protagonists.
Julio Sabala is at the center of the media whirlwind. “Guilty!” Shouts the enraged crowd. And they are not far. The showman did not laugh, for whatever reason. Other monologues or interventions by Luz García or Pamela Sued did not fully penetrate either.
Added to this are notable sound flaws. A whole set of trips that ended up spoiling the production of Alberto Zayas, who did achieve some musical segments significant, correct
The uneven rhythm between music, awards ceremony and presentations was diminishing the interest of the viewers and that it finished almost an hour after it was advisable (12:40 in the morning on Thursday) put an end to that hitch that the organizers dreamed of (Acroarte and Cervecería) and the result was a storm of criticism for a gala that promised to return in style to the main hall of the Eduardo Brito National Theater.
Sabala, a great artist already tried in a thousand ways, unfortunately, he did not fit this time, either for not being able to get hold of a good script or for not reinventing itself in the face of changing times. Or as he claimed, that he was hampered by the production, which ignored his remarks. Whoever’s failure is indelible.
When defending against the results, Sabala explained that “I took that risk” of a production that was not complete, since many elements of his show were missing, but even so, he accepted that responsibility.
“I knew, I sensed, because you don’t have to be a seer” that if it did not turn out as expected, it would become “bait for all the networks, for all the detractors of the awards, for those who don’t like me, for those who have some type of interest, for the other media they could have reserve against that medium that transmitted it, then I was the patient subject, I was the lamb of God that went to sacrifice devoted as long as the expectations of the awards were not hurt”, he said in statements to the program “El Show del Mediodía” (Color Visión).
The truth is that these interventions by Sabala were disastrous. And to cite, when he interacted with the diva Milagros Germán, with Iván Ruiz or with Jhoel López, many raised their hands to their heads. Woe to that poor woman (Alexandra MVP) with her daughter by her side when she was referred to that man from the past and his current wife. And is it that in rehearsals they only have clowns to laugh at and not people who can evaluate what can and cannot work?
“If they removed the jokes before the nominations and the sketches so bad and unnecessary, the show would last one hour less,” he tweeted. musician Roger Zayas a few minutes after the artistic gala began. And then thousands of similar comments flooded social networks.
pamela and light
Nor did Luz García and Pamela Sued fully fit into that trilogy of conductors that lacked successes in their communication proposals. Note that Pamela is quite a show and she was better off. She did what she could.
Among the three presenters there was no coupling or flow between them and they hardly even interact on stage, except for the introductions to Sabala that they made.
The scenographic visual, designed by Omar Martí, was evaluated in a general sense with a good score, scoring among the correct ones.
Regarding stage performance, the playback feature or prerecorded voices it is usually difficult to capture for urban people, especially, and that mismatch between voice and mouth was noted. Everyone went by his side.
At times they looked like songs from Youtube. Only Fernando Villalona is forgiven for what is known about oblivion.
urban dubbing
The urban They don’t know how to handle playback. His thing is spontaneity and even making faces he looks false, and even more so having a recording in the background that sounds so studious. Next time you have to bet with them on naturalness. A calculated risk that must be weighed.
The award ceremony was developed on a rhythmic zigzag that did not achieve total harmony and was interrupted by gaps and lack of attractive bridges and intertwined with music, parliaments, commercial changes and content transitions.
Several musicals saved Zayas’s proposal and they were successful, one more than others, it depends on the taste of each person. The scenic force that the presence of the urban interpreter El Alfa on stage is supposed to have on stage this time fell short and did not go any further, it could even be argued whether Arcángel was more attractive than the dembowsero.
With more swing was the posthumous tribute to Johnny Ventura or the participation of José Alberto El Canario, in a performance together with Tito Nieves and Gilberto Santa Rosa, in which they performed classics in an appropriate setting, with a good group of dancers and which generated interest. At least from the few times that the public in the room stood up from their seats.
The segment in tribute to the legendary Luis Segura and Wason Brazobán can be counted among the attractions achieved in the artistic proposal.
Pavel Núñez, Alexandra, Sergio Vargas, Elvis Martínez and Yiyo Sarante paid tribute to the career of Luis Segura, considered the father of bachata. This was one of Zayas’ best bets and he achieved that connection that is sought between artists and audience.
from the room
After midnight, many people left the main room and most likely the Telecentro screen, channel 13, where the gala was broadcast. That room with so many empty seats was a shame.
Already at the end, the urban discharge, in which DJ Adoni, Ángel Dior, Flow 28, Bulin 47, Chimbala and Rochy RD participated, did not have the expected effect. It felt collective fatigue. In the living room. On the screen.
If the last two segments had not been so extended, they would have attracted more public attention because Wason was a luxury to have on this stage and the meeting of the dembowseros represented an attraction for popular audiences.
An active
Popular rhythms continue to be the most effective assets to get the applause of the public present and the acceptance of viewers. The Soberano’s producers have seen that, in its 38 editions, the merengue continues to be the rhythm that gives life and flavor to the award.
On this occasion, only a posthumous tribute to Johnny Ventura represented the merengue. Salsa and bachata had great splendor in their musical numbers, with the performances of José Alberto “El Canario” and the tribute to bachatero Luis Segura “El Añoñaito”, but the urban genre still continues without connecting both with the public present and with the viewers.
The Sovereign did not need one more blow in that link of impact and respect that it has been losing in recent years. It is a Dominican award that deserves to be preserved for the incentive of a class that needs these impulses to develop the industry without a chimney, so necessary to strengthen the identity of a country.