Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Monday, December 19, 2016
Enrique Granados, Maria del Carmen, Soloists, Wexford Chorus, Philharmonic Orchestra of Belarus, Max Bragado-Darman
We can hear this readily and consistently in his opera Maria del Carmen (Naxos 8.660144-45 2-CDs) as performed in the Wexford Festival Opera Production of 2003. It was written fairly early in his career, premiered in 1898 and after mixed reviews and a number of performances was not revived again until 1935. Part of that had to do with the Catalan contingent, who did not feel it was Catalan enough (the action takes place in rural Murcia). Yet Granados rightfully considered it an unqualified success aesthetically.
It was his first stage work and it speaks to us today directly through its lyric dramaticism and beautiful adaptation of traditional sounding rustic Spanish melodic-harmonic strains.
The present recording is very solid and convincing in the hands of Max Bragado-Darman, a host of soloists, the Wexford Festival Opera Chorus and the National Philharmonic Orchestra of Belarus.
Diana Venonese, in the principal role, takes some getting used to for her vibrato-heavy explosiveness, but one finds oneself adjusting in time. The production as a whole is first-rate and gives us a vibrant reading of the extraordinarily fetching work.
Anyone taken by Granados in particular and Spanish Nationalism in general will I believe readily respond to the work. Admirably well constructed, movingly lyric and emotionally direct, in is vintage Granados at his best.
Posted by Grego Applegate Edwards at 5:43 AM
Labels: granados at his finest, granados maria del carmen max bragado-darman wexford festival chorus national orch of belarus gapplegate classical-modern review, spanish nationalist modern opera 1898
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