Recordings: Canciones españolas

CANCIONES ESPAÑOLAS by Talamantes and Dehlinger

CANCIONES ESPAÑOLAS
Granados, Falla & Turina

Int. Release: Aug 6, 2014

DANIELLE TALAMANTES, soprano
HENRY DEHLINGER, piano

MSR Classics - 1 CD / Download

Preview Album

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REVIEWS


“...stands out from the crowd for Henry Dehlinger's exquisite piano playing, the opportunity to hear Turina's Tres Arias, and the gorgeous MSR Classics recording...Talamantes shines radiantly, as if the composer had been writing specifically for her voice, and Dehlinger's vibrantly colorful palette instantaneously matches her emotions without ever obscuring her vocal beauty. When Nana arrives, it becomes one of those audiophile experiences where every sound is captured in detail so naturally placed within its acoustic environment that it can serve as a touchstone for capturing musical excellence.”

Laurence Vittes, Gramophone Magazine [May 2015]

“...fine performances. Talamantes sings with great warmth and consistently even tone in her entire range; she is stylistically perfect and never indulgent. I like Dehlinger’s playing, too—strong and clear in every piece. These two aren’t afraid to take risks, either. Their performances are bold and deliberate... I’ve heard the Falla songs several times in the past year and this is by far the best... [they] were so exciting I barely recognized them, and this interpretation of ‘Nana’ felt new to me. Dare I say it? Talamantes’s vocal choices make the pieces sound somehow more Spanish... [Turina's] Three Arias are big, dramatic songs. Talamantes and Dehlinger are perfect; the music was practically leaping out of my speakers. An outstanding program. Excellent notes, texts, and translations (the latter by Dehlinger, incidentally).”

Erin Heisel, American Record Guide [May/June 2015]

“...delicious piano playing and the deeply involved singing, slow with heavy rubato, almost improvisatory... Mira que soy niña...is sung with fine dynamic shading... Manuel de Falla’s Seven Spanish Folk Songs is well-known territory and I have to admit that Danielle Talamantes’ readings are competitive, even against the really great names. Her beautiful inward Asturiana is something to return to, as is the wild Jota and the caressing Nana... Talamantes certainly has that hard-to-define capacity to communicate with the listener. The support Henry Dehlinger provides at the piano further enhances this in no unimportant way. A disc to savour.”

Göran Forsling, MusicWeb International [April 2015]

"The composers featured in these song cycles/groups were known for combining Latin melodic flair with brilliant pianistic flourish, so you will want to be sure to listen to the marvelous accompaniment of Dehlinger...the extended lines are not for those who want quick melodic payoff... you have to wait for the resolutions, but the rewards are rich. Speaking of rich, Talamantes' voice is worth a separate mention for its depth and fullness."

Kara Dahl Russell, Delmarva WSCL Radio [January 2015]

"Danielle Talamantes rips into a recital of some of Spain’s greatest composers with such daring and furiously emotive singing that you hold your breath at the exuberance and seat-of-your-pants vocal dexterity...Pianist Henry Dehlinger has to be given a lot of credit for the total success of this album with his adroit and sparkling instrumental partnership...

"I am stunned. This is easily one of the best recordings of the year."

Steven Ritter, Audiophile Audition [December 2014]

"[Ms. Talamantes'] debut is striking, authoritative and decidedly attractive to hear – this reviewer has just ordered extra copies as handy Christmas gifts...Henry Dehlinger, an experienced and versatile soloist, provides fine, superbly calibrated support throughout the program. His contribution as both a performer and a partner are a major component in the venture’s high quality."

Charles Pope Jr., ConcertoNet.com [December 2014]

"What is interesting about all the music on this disc is that, even in the absence of any visuals whatsoever, it makes it easy to envision Spanish scenes and Spanish landscapes, so vividly do the composers capture the mood of the words and so feelingly do Talamantes and Dehlinger bring the songs to life."

Mark J. Estren, InfoDad [December 2014]

"Talamantes has the perfect voice for this recital – intelligent, well-modulated, and sensitive to all the emotions in a program of highly nuanced songs...From the very beginning of the program, La maja y el ruiseñor...with the brief but eerily effective piano introduction by accompanist Henry Dehlinger setting the nocturnal scene, we know we are in for a rare experience in lyrics that speak eloquently, as only Spanish songs can, of the amorous longing, joy and despair of those who fall in love."

 Phil Muse, Audio Video Club of Atlanta [November 2014]

PROGRAM NOTES


Pianist Henry Dehlinger joins Metropolitan Opera soprano Danielle Talamantes in a gorgeous recording of Spanish songs by three of Spain's greatest composers - Enrique Granados (1867-1916), Manuel de Falla (1876-1946), and Joaquin Turina (1882-1949).

In nearly every discussion about Spanish music, we find that the composers represented in this splendid Talamantes and Dehlinger recording – Enrique Granados (1867-1916), Manuel de Falla (1876-1946), and Joaquin Turina (1882-1949) – are placed among Spain’s standard bearers of musical nationalism. While we might be tempted to suspect this is simply a convenient construct of today’s musicologists, we will find that these composers indeed saw one another in the same light.

Consider Turina’s description of an encounter with composer Isaac Albéniz and Manuel de Falla in Paris, 1907, "The three of us walked arm in arm along the Champs-Elysées…After crossing the Place de la Concorde, we sat in a tavern on Royal Street and there, with a glass of champagne and pastries, I experienced the most complete metamorphosis of my life…There, Albéniz spoke of European music, and there I completely changed my views. We were three Spaniards on a corner in Paris and we owed it to Spain to make great efforts for our national music. I will never forget that scene nor will I forget that thin young man with us, the illustrious Manuel de Falla..."

Granados was not present at the famous 1907 meeting in Paris. However, as a contemporary and friend of Albéniz, Granados was regarded by both Falla and Turina as an elder statesman from whom they drew inspiration in a manner similar to Albéniz. Thus, the bond between these composers is complete – a bond created not retroactively by historians, but by the composers themselves. It is a bond of admiration, friendship, national pride, and inspiration...

William Craig Krause, Hollins University [August 2014]

Soprano Danielle Talamantes is an international recitalist who made her Carnegie Hall debut in a sold-out solo recital in 2007. Since then, she has sung as soprano soloist with the National Symphony Orchestra, Baltimore Symphony Orchestra, Choralis, Hochschule für Musik Hanns Eisler in Berlin, Nashville Symphony, National Philharmonic Chorale & Orchestra, Oratorio Society of Virginia, Seoul Philharmonic, Théâtre du Châtelet in Paris, Trujillo Symphony Orchestra of Peru, and The United States Army Band. Talamantes joined the Metropolitan Opera roster in 2011, covering the role of Najade in Richard Strauss’ Ariadne auf Naxos. She was subsequently re-engaged to cover the role of the Flower Maiden in Wagner’s Parsifal, the soprano in the quartet of lovers in the Baroque pastiche, The Enchanted Island, and most recently to perform in Strauss’ Die Frau ohne Schatten. In 2013, she made her debut as Mimì in Puccini’s La bohème with the Capital City Symphony and performed the soprano lead in the world premiere production of Janice Hamer’s Lost Childhood with the National Philharmonic in Washington D.C. She was Soprano-in-Residence for the Summer 2012 Marlboro Music Festival in Marlboro, Vermont. Talamantes made her Lincoln Center Alice Tully debut in the 2013-14 season as the soprano soloist in Bob Chilcott’s Requiem, and she will make her stage debut in a return to the Metropolitan Opera in the 2014-2015 season as Frasquita in Bizet’s Carmen. Talamantes’ first place competition honors include the Irene Dalis Opera San Jose Competition, Irma M. Cooper Opera Columbus Competition, XII Concurso de Trujillo, International Lotte Lehman Cybersing Competition, NATS Artist Award and Vocal Arts Society Discovery Series competition.

www.DanielleTalamantes.com

Hailed by UK’s Gramophone Magazine for his “exquisite piano-playing” and “vibrantly colorful palette,” Henry Dehlinger is a widely acclaimed American concert pianist, recording artist, composer and music arranger. ConcertoNet.com praises him as "an experienced and versatile soloist.” MusicWeb International admires his "delicious piano playing," and Audiophile Audition applauds his "adroit and sparkling" performances. Dehlinger has appeared on some of the world’s leading stages from San Francisco’s War Memorial and Performing Arts Center to the White House in Washington, D.C. He has also appeared as featured soloist with The United States Army Chorus, special guest performer on Washington’s Embassy Row, and in concert for notable public officials, from the President of the United States to the Prince of Wales. Born in San Francisco, he quickly earned a reputation as a prodigious talent. By the age of eleven, he was performing with major orchestras under conductors such as Riccardo Chailly and Edo de Waart and operatic legends Luciano Pavarotti, Montserrat Caballé and Georgio Tozzi. His critically acclaimed recordings on the MSR Classics label are available on Amazon.com, ArkivMusic, iTunes, and other music stores around the world.

www.HenryDehlinger.com

TRACK LIST


ENRIQUE GRANADOS (1867 – 1916)
   1.  La maja y el ruiseñor (GOYESCAS, opera)

CANCIONES AMATORIAS
   2.  Mira que soy niña
   3.  Mañanica era
   4.  Serranas de Cuenca
   5.  Gracia mía
   6.  Descúbrase el pensamiento
   7.  Lloraba la niña
   8.  No lloréis, ojuelos

MANUEL DE FALLA (1876 – 1946)
SIETE CANCIONES POPULARES ESPAÑOLAS
   9.  El paño moruno
 10.  Seguidilla murciana
 11.  Asturiana
 12.  Jota
 13.  Nana
 14.  Canción
 15.  Polo

JOAQUÍN TURINA (1882 – 1949)
TRES ARIAS, OP.26
 16.  Romance
 17.  El Pescador
 18.  Rima


6:32


2:54
 3:07
  1:57
  2:31
  3:46
  2:31
  1:29



   1:15
 1:22
 2:31
 3:11
 1:42
 1:22
 1:39



 6:29
 4:48
 2:03


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