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Arias De Zarzuela Barroca


Release Date: 05/27/2008 
Label:  Naive   Catalog #: 8920   Spars Code: n/a 
Composer:  José NebraVicente Martin y SolerAntonio R. De HitaLuigi Boccherini
Performer:  Maria Bayo
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Number of Discs: 1 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

Utterly persuasive, beautiful singing and exquisite accompaniment.

Some of the names here are relatively unfamiliar; but if you have enjoyed Maria Bayo’s work on recital discs of Handel, Mozart and Rossini, or in any of her many other recordings, you will probably feel confident (and rightly so) that there is much pleasure to be had from this disc too. If you are interested in the development of that distinctively Spanish form of the zarzuela you will probably regard this reissued anthology (it was formerly Naïve E8885) as a compulsory purchase. With material from operas ranging in date from 1728 to 1786, it offers a valuable (if necessarily brief) survey of the early history of the form. But this is no mere
Read more exercise in historical documentation – there is much lovely music here.

Relatively little of the zarzuela repertoire survives from the early years of the eighteenth century and the arias from two works by José de Nebra Blasco are of particular interest. Nebra Blasco was principal organist of the convent of Descalzas Reales and of the royal chapel in Madrid from 1724; he later became head of the royal choir school. His writing of zarzuelas (and related works) belongs to two main periods, 1723-30 and 1737-51; he wrote over fifty such works. Antonio Soler studied with Nebra Blasco. Nebra Blasco’s writing here is both impressively various and accomplished. The dignity and grand elegance of an aria such as ‘¡Ay Amor¡ ¡ay, Clelia mía!’ make it a match for all but the greatest of Nebra Blasco’s contemporaries elsewhere in Europe; it is ravishingly sung by Bayo, with instrumental support beautifully judged.

Like much of the music on this CD, José de Nebra Blasco’s work is not obviously ‘Spanish’, belonging rather in the mainstream of the Italian-influenced idiom which largely held sway in Spain as elsewhere. It was primarily in the middle years of the eighteenth century that the zarzuela began to express Spanish reaction against the prevailing dominance of Italian and French fashions. In some of these later works, the distinctively Spanish idioms are more pronounced – notably in the music from La madrileña o el tutor burlado by Nebra Blasco’s pupil Soler. Violante’s seguidilla ‘Inocentita y niña’ enacts the encounter of Italy and Spain in its music – and in its text:

An innocent little girl
I come from Italy
to encounter the rogues
one meets in Spain.
What will become of me? Oh!
Shall I be ruined? What?
Shall I be deceived? No!
Shall I be the deceiver? Well,
if anyone would like to come closer
I’ll tell him!

Whatever plans Violante the Italian girl may have for her dealings with Spanish men, musically speaking it is Spain that comes out on top in this delightful short aria, the quasi-folk elements pronounced but attractively sophisticated in some subtle vocal and orchestral writing.

Everywhere on this disc there is delight to be had – certainly it whets the appetite for hearing more of the music of composers such as Nebra Blasco and Antonio Rodriguez de Hita, whose music doesn’t come our way too often. In the cases of Soler and Boccherini, more familiar names, Rousset and Bayo have recorded relatively unfamiliar music, very well worth hearing.

Les Talens Lyriques, directed by Christophe Rousset, provide vivid and sensuous accompaniment throughout and Maria Bayo, a very fine soprano, is spectacularly at home in this music. She sings, too, with a kind of evangelical zeal in the rediscovery of the neglected. In a note contributed to the CD’s booklet she complains that “Music historians in Spain have been very unfair to these composers, who have been no more than glimpsed, at best, in the odd set of organ pieces, and are completely unknown in the regular concert circuit”. Her own claim is that, in performance many of these arias reveal an “emotional content … equal to that aroused when we listen to Handel, Gluck or Mozart”. Whether or not one would want to go quite that far, it is surely true that sung as well as they are here – Bayo’s lucidity and brilliant coloratura alike make a forceful case – these are arias which would surely give great pleasure to admirers of any of those composers.

-- Glyn Pursglove, MusicWeb International
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Works on This Recording

1.
Iphigenia en Tracia: Llegar ninguno intente by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 
Written: by 1747; Spain 
2.
Iphigenia en Tracia: Suspéndete tirano by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: by 1747; Spain 
3.
Iphigenia en Tracia: Piedad señor by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: by 1747; Spain 
4.
Il tutore burlato: Overture by Vicente Martin y Soler
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: 1774 
5.
Il tutore burlato: Inocentita y nina by Vicente Martin y Soler
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: 1774 
6.
Amor aumenta el valor: Triste carcel oscura by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 
7.
Amor aumenta el valor: Ay! amor! Clelia mia by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 
Written: by 1728 
8.
La Brisedia: Amor, sólo tu encanto by Antonio R. De Hita
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 
9.
La Clementina, G 540: Overture by Luigi Boccherini
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: 1786; Spain 
10.
La Clementina, G 540: Almas que amor sujeto by Luigi Boccherini
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: 1786; Spain 
11.
La Brisedia: Deyda que las venganzas by Antonio R. De Hita
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 
12.
Amor aumenta el valor: Adios, prenda de mi amor by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 
Written: by 1728; Spain 
13.
Iphigenia en Tracia: Overture by José Nebra
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Classical 
Written: by 1747; Spain 
14.
Amor aumenta el valor: Ms fácil será al viento by José Nebra
Performer:  Maria Bayo (Soprano)
Conductor:  Christophe Rousset
Orchestra/Ensemble:  Les Talens Lyriques
Period: Baroque 

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