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WEEKEND REVIEW : Pop : Los Camperos Plays a ‘Fiesta’ of Mariachi

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SPECIAL TO THE TIMES

“Fiesta Navidad” was supposed to be a mariachi version of La Posada, a symbolic re-creation of Joseph and Mary’s nine-day pilgrimage to Bethlehem, and a traditional annual festival in Mexico.

There was some of that Saturday afternoon at the Orange County Performing Arts Center, but, actually, it was all an excuse to appreciate the class of Natividad (Nati) Cano’s Los Camperos, one of the finest mariachi orchestras in the United States.

It was mariachi itself, not just the Christmas mood, that stood out in the first of two performances that confirmed Cano as one of the most creative--yet still traditionalist--figures in modern mariachi.

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In a world of some top-notch mariachi orchestras--both old-fashioned and “updated”--Los Camperos rank near the top among those striving for a more traditional approach.

For “Fiesta Navidad,” besides displaying its usual repertoire of ranchera classics, instrumental proficiency, vocal power and challenging arrangements, Los Camperos offered a rare sample of really old mariachi. In “Alejandra,” for instance, a waltz dating from the time of the French invasion of Mexico more than a century ago, Cano configured his ensemble just like in the old days--without trumpets, a format rarely seen nowadays.

Overall, Los Camperos left the impression of being perhaps the hardest-driving mariachi group in Southern California.

Sharing the bill were Mariachi UCLA, Mariachi Olimpico (both formed by students from L.A.’s Roosevelt High and Belvedere Middle High), Ballet Folklorico Ollin, harpist Ernie Ferra, roper Tony Munoz and the Conjunto Macuilxochitl.

The latter, a group specializing in music from Veracruz and eastern and central Mexico, was a real treat that deserved more time onstage. Formed by the four brothers (ages 8 to 13, playing two guitars and two violins), the group showed tremendous strumming ability and above-average vocal skills. Definitely not the usual mariachi children put onstage more for their cuteness than their musical ability.

The afternoon’s great unknown was Lynni Treekrem, a leading Norwegian singer who toured and earned a gold record in her country singing mariachi songs with Los Camperos.

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At first, two ballads she sang in Norwegian caught everyone cold--the applause they received was more due to respect than connection. But things began to warm up when Treekrem--who possesses a disarming sense of humor--introduced herself in English as “not a typical Norwegian, because up north we have a lot of Spanish sailors.”

She then began a short but convincing set, leaving the impression that, contrary to what might be expected, she is not trying to become “a good mariachi singer”--and that was her main strength.

Knowing that she can’t match the vocal power and stage presence of the real thing--her voice is quite capable but seemed more suited to country music--she deliberately made fun of herself with wild falsettos and awkward dancing.

Because of her genuine love for the music and the chemistry she developed with Los Camperos, the result was surprisingly unique and real . . . even though the idea of a Norwegian singer, backed by mariachis singing Beatles harmonies--in Norwegian!--made for a rather Bunuelesque experience.

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