Falla Vocal & Instrumental Works
View record and artist detailsRecord and Artist Details
Composer or Director: Manuel de Falla
Label: Nuova Era
Magazine Review Date: 5/1990
Media Format: CD or Download
Media Runtime: 57
Mastering:
DDD
Catalogue Number: 6809
Tracks:
| Composition | Artist Credit |
|---|---|
| (El) Amor Brujo |
Manuel de Falla, Composer
Carme Luis Izquierdo, Conductor Manuel de Falla, Composer Martha Senn, Mezzo soprano |
| (7) Canciones populares españolas |
Manuel de Falla, Composer
Manuel de Falla, Composer Maria Rosa Bodini, Piano Martha Senn, Mezzo soprano |
| Serenata |
Manuel de Falla, Composer
Manuel de Falla, Composer Maria Rosa Bodini, Piano |
| Serenata andaluza |
Manuel de Falla, Composer
Manuel de Falla, Composer Maria Rosa Bodini, Piano |
Author: Ivan March
In January I was discussing an enterprising record from Virgin Classics offering together the original versions of El amor brujo and El coregidor y la molinera. That remains a valid coupling for those who want both scores, but this Nuova Era CD goes one better by offering an absolutely complete performance of the original El amor brujo, presented as a kind of one-act zarzuela, with dialogue, usually spoken over the music. While I continue to hold the view that the final, more succinct score for the ballet is a more completely satisfactory work—with its vivid expanded orchestration—this new record lets one appreciate fully that Falla's original conception works well in its own right and the chamber scoring can have plenty of bite in the famous ''Ritual Fire Dance''.
The extensive notes are invaluable in making clear that the original score and the ballet have somewhat different narrative lines, and the differences in the music are detailed in considerable depth. A full translation is provided, so one can follow the dialogue and the very atmospheric recording (after a rather shrill, somewhat over-modulated opening ''Fanfare'') creates a haunting effect, especially when Martha Senn is so ideally cast as the heroine. Luis Izquierdo directs with a natural flair and creates consistent tension, until near the very end, when the coming of dawn and the ringing bells lack a feeling of exultation. The Carme Ensemble bring plenty of natural style and colour to the chamber orchestral scoring and altogether this is a distinct success.
As a coupling we are offered a splendid account of the justly famousSiete canciones populares espanolas. Senn is right inside this music, and is in every way superior to Susan Daniel on the competing Denon disc, whose voice has an almost contralto resonance, and who handles the flamenco rhythms with much less subtlety. Maria Rosa Bodini, the pianist, is clearly in her element, as we hear in her introduction to the ''Jota'', the fourth of the set, which is rhythmically captivating. Senn's line and timbre in the ''Asturiana'' are ravishing as she sings of her melancholy encounter with the pine tree: ''I went up to a green pine to see if it would console me/Seeing me weep, it wept''.
The two solo piano pieces which complete the programme are light-weight but pleasingly colourful. The recording of both voice and piano is eminently realistic. A fine achievement, with the kind of extensive packaging and documentation we have a right to expect from all full-price Compact Discs.'
The extensive notes are invaluable in making clear that the original score and the ballet have somewhat different narrative lines, and the differences in the music are detailed in considerable depth. A full translation is provided, so one can follow the dialogue and the very atmospheric recording (after a rather shrill, somewhat over-modulated opening ''Fanfare'') creates a haunting effect, especially when Martha Senn is so ideally cast as the heroine. Luis Izquierdo directs with a natural flair and creates consistent tension, until near the very end, when the coming of dawn and the ringing bells lack a feeling of exultation. The Carme Ensemble bring plenty of natural style and colour to the chamber orchestral scoring and altogether this is a distinct success.
As a coupling we are offered a splendid account of the justly famous
The two solo piano pieces which complete the programme are light-weight but pleasingly colourful. The recording of both voice and piano is eminently realistic. A fine achievement, with the kind of extensive packaging and documentation we have a right to expect from all full-price Compact Discs.'
Falla Vocal & Instrumental Works
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