Habanera -

Elina Garanca

DG 4778776 Buy now

‘Habanera’
Balfe The Bohemian Girl – I dreamt I dwelt in marble halls (arr Chicon) Barbieri El barberillo de Lavapiés – Como nací en la calle de la Paloma Bernstein Candide – I am easily assimilated Bizet Carmen – Séguedille, Près des ramparts de Séville(a); Les tringles des sistres tintaient; L’amour est un enfant bohème (first version of Habanera); L’amour est un oiseau rebelle (final version of Habanera) Chapí El barquillero – Cunado está tan hondo Falla El amor brujo – Canción del amor dolido. Siete Canciones populares españolas – Jota; Nana(b) (arr del Ray) Lehár Zigeunerliebe – Hör’ ich Zymbalklänge Luna El niño judío – De España vengo Montsalvatge Cinco Canciones negras – No 4, Cancion de cuna para dormir a un negrito Obradors Canciones clásicas españolas – El vito(b) (arr Cuello) Ravel Vocalise-étude en forme de Habanera (arr Hoérée) del Rey Canción del amor(b) Serrano Le alegria del battallón – A una gitana presiosa

Elina Garanca mez (a)Roberto Alagna ten (b)José María Gallardo del Ray gtr Regio di Torino Philharmonic Choir; RAI National Symphony Orchestra / Karel Mark Chichon

DG 477 8776GH (68’ • DDD)

Elina Garanca’s third solo release for DG is a triumph on at least three levels: the imaginative and varied programme; the lively and sensitive support she receives from her Italian colleagues led by her conductor husband; and the gorgeous singing voice. The twin themes of the album are gypsies and all things Spanish. The Latvian mezzo (b1976) sets out her stall with the toe-tapping “Come nací en la calle de la Paloma” from Act 1 of El barberillo de Lavapiés, a zarzuela by Francseco Asenjo Barbieri (1823-94). No, I hadn’t either – but believe me, you won’t get it out of your head. There are three rather more familiar items in the shape of arias from Carmen (Roberto Alagna, her Don José in the Met production, joins her briefly in the Séguedille) plus the rarely heard first version of the Habanera which Bizet later replaced with the well-known tune he unwittingly plagiarised from Yradier.

There’s a scintillating Csárdás from Zigeunerliebe (with a full and firm top C) contrasted with two gentle songs by Falla arranged for guitar and accompanied by José María Gallardo del Ray, whose own crossover-cum-jazz “Canción del amor” is deliciously handled by Garanca. For an easeful legato try Balfe’s “I dreamt I dwelt in marble halls” from The Bohemian Girl (Arline was brought up by gypsies and so just about qualifies).

Garanca’s voice has been described as “creamy”, “silken” and “lustrous” (her chest register is superbly produced) but it also has a surprisingly rounded maturity. What sets her apart, however, is the unteachable ability to send shivers down the spine and make grown men salivate. Jeremy Nicholas