Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement digital
Téléchargez cet album dans la qualité de votre choix
Langue disponible : anglais
Before the emergence of Daniel Catán, whose Rappaccini's Daughter (1991) and Florencia en el Amazonas (1996) have had considerable exposure and success, Mexican opera had passed largely under the radar of most opera lovers. Urtext's excellent new recording of La Mulata de Córdoba (1948) by José Pablo Moncayo (1912-1958) helps fill in that gap in awareness. La Mulata was Moncayo's only opera, and it appears to be sui generis. The term "magical realism" was not used in connection with Latin American literature until the 1960s, but it seems to be the most apt description of the work of Xavier Villaurrutia, who, in collaboration with Agustín Lazo, devised the libretto based on his poem of the same name. The story begins in Córdoba, where Soledad, a mysterious, ageless woman appears to cause the death of her beloved. The scene abruptly changes to Mexico, where the Inquisition condemns her to death for refusing to reveal her parentage. Before she is executed, she draws a picture of a boat on a wall, into which she steps and sails away to freedom with her beloved.
For all the mystery of the story, Moncayo's music is almost entirely straightforward and uncomplicatedly upbeat, as though he had made the decision to give musical expression to Soledad's carefree and sunny optimism, rather than to the desperate circumstances in which she tends to find herself. Even her confrontation with the Inquisition seems not to phase her, or the equanimity of the music. In the final magical transformation, though, the music achieves a glowing transcendence. The performance, conducted by Juan Carlos Lomónaco, leading the Orquesta Sinfónica Carlos Chávez, is splendid. The orchestra and the chorus play and sing radiantly, and the soloists are first-rate. In particular, mezzo-soprano Gabriela Thierry's voice is dusky and vibrant, and she is entirely convincing as the indefatigable Soledad. Tenor Mauricio Esquivel negotiates the punishingly high role of Anselmo, her lover, with apparent ease and ringing, heroic tone. The sound quality is natural and lively. The CD makes a much needed and beautifully executed addition to the discography of opera in the Americas.
© TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois
Juan Carlos Lomonaco, Conductor - Juan Carlos Lomonaco, Conductor - Armando Gama, baritone - Mauricio Esquivel, tenor - Sergio Meneses, bass - Gustavo Cuatli, tenor - Solistas Ensemble del INBA, Choir - Carlos Chavez Symphony Orchestra, Orchestra
Juan Carlos Lomonaco, Conductor - Juan Carlos Lomonaco, Conductor - Armando Gama, baritone - Mauricio Esquivel, tenor - Sergio Meneses, bass - Gustavo Cuatli, tenor - Solistas Ensemble del INBA, Choir - Carlos Chavez Symphony Orchestra, Orchestra
Juan Carlos Lomonaco, Conductor - Juan Carlos Lomonaco, Conductor - Armando Gama, baritone - Mauricio Esquivel, tenor - Sergio Meneses, bass - Gustavo Cuatli, tenor - Solistas Ensemble del INBA, Choir - Carlos Chavez Symphony Orchestra, Orchestra
Chronique
Before the emergence of Daniel Catán, whose Rappaccini's Daughter (1991) and Florencia en el Amazonas (1996) have had considerable exposure and success, Mexican opera had passed largely under the radar of most opera lovers. Urtext's excellent new recording of La Mulata de Córdoba (1948) by José Pablo Moncayo (1912-1958) helps fill in that gap in awareness. La Mulata was Moncayo's only opera, and it appears to be sui generis. The term "magical realism" was not used in connection with Latin American literature until the 1960s, but it seems to be the most apt description of the work of Xavier Villaurrutia, who, in collaboration with Agustín Lazo, devised the libretto based on his poem of the same name. The story begins in Córdoba, where Soledad, a mysterious, ageless woman appears to cause the death of her beloved. The scene abruptly changes to Mexico, where the Inquisition condemns her to death for refusing to reveal her parentage. Before she is executed, she draws a picture of a boat on a wall, into which she steps and sails away to freedom with her beloved.
For all the mystery of the story, Moncayo's music is almost entirely straightforward and uncomplicatedly upbeat, as though he had made the decision to give musical expression to Soledad's carefree and sunny optimism, rather than to the desperate circumstances in which she tends to find herself. Even her confrontation with the Inquisition seems not to phase her, or the equanimity of the music. In the final magical transformation, though, the music achieves a glowing transcendence. The performance, conducted by Juan Carlos Lomónaco, leading the Orquesta Sinfónica Carlos Chávez, is splendid. The orchestra and the chorus play and sing radiantly, and the soloists are first-rate. In particular, mezzo-soprano Gabriela Thierry's voice is dusky and vibrant, and she is entirely convincing as the indefatigable Soledad. Tenor Mauricio Esquivel negotiates the punishingly high role of Anselmo, her lover, with apparent ease and ringing, heroic tone. The sound quality is natural and lively. The CD makes a much needed and beautifully executed addition to the discography of opera in the Americas.
© TiVo
À propos
- 1 disque(s) - 3 piste(s)
- Durée totale : 00:35:48
- Artiste principal : Juan Carlos Lomonaco
- Compositeur : Various Composers
- Label : Urtext
- Genre : Classique Opéra Intégrales d'opéra
Pourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.