La Vanguardia, 5-6 abril 2007:
Jorge de Persia

…an important musician in his generation.
The Majorcan Toni Parera has written a very beautiful cycle inspired by Marguerite Yourcenar’s text Les trente-trois noms de Dieu….
The music moves along in a surprisingly free manner and expresses a dialog which is suggestive of Yourcenar’s words. The music….communicates a sense of form and a deep sense of harmony.
The 33 songs in this cycle have different densities but they are conceived as a whole and all of them are wrapped up in a great potential for beauty.

El Cultural / El Mundo 08.05.2008
Arturo Reverter

In a very simple and natural way, deft and suggestive Antoni Parera has turned Yourcenar’s aphoristic poems into songs… [...] an ever so brief glimpse, imaginative and resounding, somewhat like Mompou with musical brush-strokes harking back to folk music, everything contributing to the making of a marvelous canvas. The composer pampers the voice, each word is fully expressed in its semantic and phonetic value and it runs through a wide range of nuances and climaxes. [...] The composer at the piano did a marvelous job.

Diari de Balears, 29.06.2008
Guillem Frontera

Parera Fons, Yourcenar and God
Knowledge, inspiration and musical savoir-faire, the keys to this masterpiece by Parera Fons

We might say that an artist has reached maturity when he is driven by three things: a clear awareness of what he is trying to do, excellence on a professional level and creative intensity. That’s why so few artists ever reach full maturity. We often confuse this with decadence or even decrepitude. When I first heard Parera’s Les trente-trois noms de Dieu  in Palma (Majorca), sung by the baritone José van Dam with Parera at the piano, I had a very distinct feeling that I had just heard one of his mature compositions, a piece that fill all the requirements mentioned above. That concert took place during Holy Week this year.

A year ago,  Antoni Parera had been commissioned to write a piece for  the Sacred Music Festival in Cuenca and he chose these miniature poems by Yourcenar. The author is always tuned into the sacred nature of things and looked for God’s Name in fleeting moments, movements of all kinds, the rustling of leaves the murmuring of voices, in animals…, and she wrote a marvelously short work, full of emotion, a trembling awareness of the that which is transcendental. The first name she gives God is “Mer au matin“, the Morning Sea, and a few other such as  “Vol triangulaire/des cygnes, triangular flight of the swans, “Le chameau/boiteux/qui traversa la/ grande ville encombrée/allant vers la mort, that is to say, God you can tell the limping camel that crossed the crowded city on his way to Death….

The composer wanted to know what kind of music these words would inspire, and his curiosity led him to write well-constructed impressionistic landscapes, full of light, spontaneous: as if Yourcenar’s words held an aroma, aromas awaiting the imaginative breath of another artist to set them free. Parera has a great deal of experience working with singers and he entrusted his music and Yourcenar’s words to the Belgian baritone José van Dam; that way, the probability of creating a great work of art increased exponentially. All of us who attended the concert at Saint Philip Neri Church in Palma are witnesses to what I just said…

Antoni Parera Fons’  song cycle  is, indeed,  a new milestone in the cultural life of this country. Here is a mature work for those who understand what his intentions are, truly inspired, by a man who knows his profession from the first line of the musical staff and beyond.