PIAZZOLLA María de Buenos Aires
View record and artist detailsRecord and Artist Details
Composer or Director: Astor Piazzolla
Genre:
Opera
Label: Delphian
Magazine Review Date: 02/2018
Media Format: CD or Download
Media Runtime: 88
Mastering:
DDD
Catalogue Number: DCD34186

Tracks:
Composition | Artist Credit |
---|---|
Mariá de Beunos Aires |
Astor Piazzolla, Composer
Astor Piazzolla, Composer Juanjo Lopez Vidal, Singer Mr McFall's Chamber Nicholas Mulroy, Chief Psychoanalyst; A Voice of That Sunday Nicholas Mulroy, Voice of a Payador;, Tenor Nicholas Mulroy, Sleepy Buenos Aires Sparrow; Valentina Montoya, Maria, Singer Victor Villena, Conductor |
Author: Tim Ashley
María de Buenos Aires is usually described as a ‘tango opera’, though Piazzolla and his lyricist Horacio Ferrer called it an ‘operita’, a pun on ‘operetta’ and the Spanish ‘obrita’ or ‘little work’. There’s nothing ‘little’ about it, however, and in some ways it attempts too much. Written for singers, speakers and players, it was conceived as a multimedia piece: film played an important part in its 1968 premiere, which took place against a background of increased censorship on the part of Argentina’s military government. Ferrer’s riddling, hallucinatory text can consequently be seen as pushing at the limits of contemporary acceptability, though it also buckles under the weight of the demotic, erotic and sacred imagery woven into its portrait of María, the whore-cum-madonna, who embodies the history of tango itself, by turns debased, idolised and endlessly renewed. The score, however, is a tremendous synthesis of Piazzolla’s work and influences, as some of the best tangos and milongas ever written collide with Bach-like toccatas and fugues, jazz and piano-bar music, all of it guided by the bandoneón’s pervasive presence.
Delphian’s new recording, the first for nearly 20 years, features the Edinburgh-based Mr McFall’s Chamber, longtime Piazzolla champions and excellent interpreters of his work. Victor Villena’s bandoneón does indeed sing and scream as he alternately seduces and harries Valentina Montoya Martínez’s Maria on her way to death and resurrection. There are suave violin solos, and dexterous guitar and piano riffs. Rhythms are crisp and precise throughout, and the pristine sound brings out plenty of sharply focused instrumental detail. Montoya Martínez, her voice earthy and lived-in, captures the defiance and vitality that drive María on. Juanjo Lopez Vidal makes a fine Duende, incantatory in his declamation and engrossed in the story he is telling. Best of all, perhaps, is Nicholas Mulroy – in territory far removed from the Baroque works in which we usually hear him – singing milongas like one born to it. Exhilaratingly done, and a fine achievement.
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