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GEN 86071 24.11.2006
18.90 €

Ruperto Chapí (1851-1909)  
Las Hijas del Zebedeo
Carceleras
Pablo Luna (1879-1942)  
El Niño Judio
Canción Española
Gerónimo Giménez (1852-1923)  
La Tempranica
Romanza de Tempranica
Gerónimo Giménez  
La Torre del Oro
Preludio
M. Fernández-Caballero (1835-1906)  
Chateau Margaux
Romanza de Angelita
F. Asenjo Barbieri (1823-1894)  
El Barberillo de Lavapiés
Canción de Paloma
M. Fernández-Caballero  
El Señor Joaquín
Balada y Alborada
Pablo Luna  
La Pícara Molinera
Intermedio
Jesús Guridi (1886-1961)  
Mirentxu
Romanza de Mirentxu
M. Nieto / G. Giménez  
El Barbero de Sevilla
Romanza
Ruperto Chapí  
La Patria Chica
Canción de Pastora
Preludio
   

Zarzuela


Spanish Arias


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Think back for a moment and remember what you’ve experienced in Spain on your holidays. You can’t exactly expect to find Black Forest cherry gateaux on the menu while relaxing in the shade of the Alhambra in Granada. And, along the Costa del Sol, you would never cure mouth-watering Spanish Jàmon Serrano ham with air imported from the Black Forest either. Unthinkable! So it was only natural that at some point in the nineteenth century people were longing for their own music for the stage, when audiences in Madrid and Alicante were no longer thrilled by Verdi’s consumptive heroines or Rossini’s conventional vocal pirouettes. The upshot was a completely new form of operetta, the zarzuela, with a good dose of humor, fiery rhythms and soaked in simple—Spanish!—melodies.
GENUIN, Noëmi Nadelmann and the Württembergische Philharmonie Reutlingen are serving us a extra-large paella skillet brimming with delicacies—a wide-ranging selection covering all stylistic varieties and periods. The Barber of Seville is shortened and exquisite French wine poured out onto the stage, coloraturas come to a prickly head and clicking castanets outdo themselves. Drop by your favorite classical music dealer and get your copy—the price was never better for the rich allure of Spain!

"Great satisfaction is to be had from the orchestral items, and the recording itself which is full and revealing. Herzog’s rhythms are sprung and natural in the three orchestral items, tempi and rubato well-judged throughout. The horns bray dangerously in La pícara molinera’s Intermedio, the trumpets sound distant magic to usher in the Preludio from La patria chica: it’s good to have these great showpieces so well performed in outstanding modern sound. Even more valuable is the world premiere recording of the composer’s own concert version of the Preludio from La torre del oro, which contains two short but significant additions to the familiar theatre score, notably a delicate woodwind interlude in zapateado rhythm." (Review on Zarzuela.net)