Truly international Turina
Sensitively performed and beautifully-recorded
Gramophone 2:03pm GMT 30th November 2010
Turina
Canto a Sevilla, Op 37. Poema en forma de canciones, Op 19. Farruca, Op 45 No 1. Saeta en forma de Salve a la Virgen de la Esperanza, Op 60
Lucia Duchonová mez NDR Radio Philharmonic Orchestra /
Celso Antunes
Hänssler Classic (F) CD98 608 (55’ • DDD)
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A truly international approach to Turina, this, with Slovakian mezzo Lucia Duchonová and the NDR Radiophilharmonie under Brazilian conductor Celso Antunes. Turina (1882-1949) was a composer who rejoiced in the possibilities of combining richly coloured orchestral writing, inevitably influenced by Debussy, with overt Spanishery. In this he was much less austere than Falla, with whom he nevertheless had much in common; indeed, Falla and Albéniz were friends, and the latter was particularly influential in turning the younger composer’s thoughts towards the culture of his native country.
Lest anyone think that such nationally coloured music might be rather far from the range of such an international team, it is worth recalling that the premiere of Poema en forma de canciones was given in 1919 by Polish singer Aga Lahowska. Hänssler’s team is more than up to the task, and though Duchonová can sometimes sound a little harsh lower down, she has the most sublime high register. Similarly, I occasionally find the NDR orchestra a trifle heavy-handed (for example, the repeated chords in “Cantares” from Poema), but in general the performances are very sensitive and beautifully recorded. Finest of all is the performance of Saeta en forma de Salve, a too-little known jewel, which finds all the performers on top form. Ivan Moody
Comments
Finally, Turina gets some long-deserved recognition.
I've listened to the recording. I find her voice steely-edged and heavy in places where it should be creamy and light. If I am not mistaken either Berganza or Victoria de los Angeles recorded the Poema en Forma de Canciones rather well in the 1970s. The sound in these recordings is perhaps dated, but these singers seem to be making love to the language rather than just pronouncing it correctly. This singer's diction is rather good - for a Slav. I find no fault with the orchestra.
It would be interesting to compare this current recording with this recording I found of it on emusic.com http://www.emusic.com/album/Various-Artists-Joaqu%C3%ADn-Turina-Grabaciones-Hist%C3%B3ricas-MP3-Download/11034316.html
The Canto a Sevilla appears twice in this recording - once with Victoria de los Angeles and again with a singer whose name I don't recognize.