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Kremerata Musica/Gidon Kremer: Astor Piazzolla: María de Buenos Aires

Track List

>Alevare - (Spanish, studio)
>Tema de Maria
>Balada Renga Para un Organito Loco
>Yo Soy Maria
>Milonga Carrieguera Por Maria la Nina
>Fuga y Misterio
>Poema Valseado
>Tocata Rea
>Miserere Canyengue
>Contramilonga a la Funerala
>Contramilonga a la Funerala
>Carta a los Arboles y a las Chimeneas
>Aria de los Analistas
>Romanza del Duende Poeta y Curda
>Allegro Tangabile
>Milonga de la Anunciacion
>Tangus Dei
>Tangus Dei

Album Notes

This set was nominated for the 1999 Grammy Award for "Best Opera Recording."

Personnel: Gidon Kremer (violin); Jairo, Julia Zenko (vocals); Ula Zebriunaite (viola); Marta Sudraba (cello); Maria Fedotova (flute); Per Arne Glorvigen (bandoneon); Peter Sadlo (percussion).

Liner Note Authors: Horacio Ferrer; Gidon Kremer.

Recording information: Buenos Aires, Argentina (10/30/1998); Wels (10/30/1998).

Translators: Stewart Spencer; Jean-Claude Poyet; Gidon Kremer.

Although this recording of 'María de Buenos Aires' will probably be found in your store's opera section, it might be more at home elsewhere. Described as a "tango operita" by its creators, this work is more closely allied with cabaret and musical theater styles. María is the tango personified: born in the suburbs of Buenos Aires, she is drawn into the city's lowlife; after dying there, her shadow is condemned to roam the streets. The story is told in a series of flashbacks and vignettes--the Goblin narrates, and it is he who finally effects María's redemption by allowing her to bear a child, also named María.

Gidon Kremer and his Kremerata Musica play this music with an obvious devotion and an earthy elegance appropriate to the music. Argentinean singers Julia Zenko (María) and Jairo (all other vocal roles except the Goblin) sing and speak their roles with ease, giving no hint of the fact that they joined this production just a week before it began rehearsals. Librettist Horacio Ferrer rounds out the ensemble in the spoken role of the Goblin, beginning and ending the tale of María with a worldly, aged tone as well as participating in the drama in between.


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