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By:
Shaban Maxharraj
- April 29, 2026 08:00 am
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A formation of the Opera and Ballet Theater Orchestra from Tirana together with the Kosovo Philharmonic Choir have joined forces to breathe life into the work, with mezzo-soprano Vikena Kamenica as soloist, who is also the bearer of this project. Unlike in Tirana, where it was given rhythm with the ballet troupe, in Pristina it has come in concert form, conducted by Sergio Alaponti, preserving the same freshness that Martin Palmer's "Misa a Buenos Aires" has.
It does not enter into those long concert evenings, but in less than an hour it brings an interesting mass. It is touched by the tango of Buenos Aires and the fact that this musical style joins the liturgy, makes the work travel between classical music and the spirit of joy. In a certain form, the Latin mass comes through the language of tango.
The Kosovo Philharmonic Orchestra performed Martin Palmer's "Misa a Buenos Aires" (Misatango) eight years ago. And on Monday night, the work returned to Pristina, but with a different orchestra. A formation of the Opera and Ballet Theater Orchestra from Tirana, together with the Kosovo Philharmonic Choir, joined forces to breathe life into the work. Mezzo-soprano Vikena Kamenica was the soloist.
In Tirana, the work had a different rhythm a few days ago. Under the choreography of Enada Hoxha, the dancers there complemented the work by introducing tango dancing. The work also took on a dramatic character. While in Pristina, it came in the form of a concert. It has maintained the rhythm and energy.
The sacred musical work also requires the special instrument bandoneon, played by Joao Gentil, while Igli Rapaj played the piano. These two instruments are key in the project launched by Kamenica, who also directed it in Tirana.
Vikena Kamenica's energy is at the level of giving the color of tango even to liturgical songs. "Kyrie", "Gloria", Credo", "Sanctus" and others in this work come in a different spirit. Under the direction of Sergio Alaponti, the concert has brought freshness to the Youth Palace Atelier. The rhythmic energy of the entire concert has made the audience enter the Argentine world of styles. The audience this time has not been the one that is always at the concerts of the Kosovo Philharmonic. In number it was a little paler.
Kamenica, an experienced mezzo-soprano, has also "provoked" with interpretations like "Maria de Buenos Aires." Eight years ago, the soloist was Arta Jashari.
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"There was a very good energy and I am happy about this concert. In Tirana it was more dramatic because there were also dancers and the soloist could move from the stage which together with the mise-en-scenes made the sensitivity increase", said Kamenica. According to her, the concert in Pristina was also special.
"Together with the Kosovo Philharmonic Choir and the Orchestra of the Opera and Ballet Theater from Tirana tonight we brought a beautiful concert where the energy was very good," said Kamenica.
The work's journey takes on a completely priestly form, colored with tango, creating for the audience a musical evening of expressive depth. Master Sergio Alapont, as a conductor, is passionate about this work.
"It is a project where I was invited to participate and I accepted the invitation with pleasure. It is a special mass. Definitely, the Kosovo Philharmonic Choir is one of the first-rate choirs in terms of interpretation and the will they have. I am very happy about this", he said. He described the concert as something very beautiful.
"The energy here was very good and the two institutions that made this possible did a great job. I am happy to have joined this project started by soloist Kamenica," he said.
Composed in 1996 by the Argentine composer Martín Palmeri, this work presents the traditional text of the Catholic mass in Latin, enriching it with the musical language of tango. Born in the city of Buenos Aires, tango constitutes the stylistic core of this work, bringing a new emotional and rhythmic dimension to sacred music. Through the use of choir, soloist and an instrumental ensemble that includes the bandoneon – this instrument symbol of tango music – the composer creates a powerful, dramatic and deeply expressive atmosphere through the work.
“Misatango”, as the work is otherwise known, is notable for the contrast between the solemnity of the religious text and the liveliness of the tango rhythms, building a bridge between what is considered sacred and what is earthly. This work has been performed on various international stages and has gained wide appreciation for its originality and artistic impact. It has even been played at the prestigious “Carnegie Hall” in New York.
Essentially, “Misa a Buenos Aires” is a testament to the power of music to unite different cultures and styles, creating a unique artistic and spiritual experience.
The acting director of the Kosovo Philharmonic, Dardan Selimaj, said that they have joined this project, since it is about a broader cooperation.
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"In Tirana, the Ballet was also included, but here, due to the space, we have brought it in concert form. In the future, if the soloist Kamenica continues the idea with a trilogy, which means the concert could be longer, we could also increase the cooperation," he said. Eight years ago, this work in Pristina was conducted by Kushtrim Gashi. This time, unlike the adaptation at that time, the bandoneon, which is also an identifying instrument of tango, was also included in the ensemble of instruments to turn the Atelier into a space where the celestial and the earthly coexist.
