Isabel Lüdi Roth

ALMA ESPAÑOLA presents GRAMMY Award-winning singer Isabel Leonard and GRAMMY Award-winning guitarist Sharon Isbin in an all-Spanish recording for voice and guitar, including twelve arrangements by Ms. Isbin in their premiere recordings. Duos by Federico García Lorca, Manuel de Falla, Xavier Montsalvatge, Agustín Lara and Joaquín Rodrigo, with guitar solos by Granados and Tárrega, are heard in performances that evoke the rich and magnificent tradition of Spain. The Philadelphia Inquirer described Leonard & Isbin's performance as “Feasts of beautifully sculpted phrases… glimpses of heaven", and The New York Times referred to the “Soulful depth" of their interpretations. The collaboration of Isabel Leonard and Sharon Isbin brings together one of today's brightest vocal stars, heard on the stages of the Metropolitan Opera, Vienna State Opera, and Paris Opera, with a guitar virtuoso acclaimed as “the pre-eminent guitarist of our time."

Recent scholarship on Luis Misón (Mataró, 1727–Madrid, 1766) demonstrates the growing interest among the musicological community in studying the life and work of one who is an essential composer in the history of Spanish music. Musical historiography has extolled Misón's contribution to the genre of the tonadilla escénica, a genre widely appreciated in his time and which must have had a notable influence on his instrumental music, about which less is known.

Paris, early Twentieth Century: in the space of three ballets, a previously unknown Russian composer revolutionised the music of his time. With The Firebird and Petrushka, respectively fairytale and folktale, and of course The Rite of Spring, a telluric invocation with its insanely innovative harmonies and rhythms, Stravinsky dynamised the Late Romantic orchestra, taking it to literally unheard-of places.

The choice of repertoire is more or less predictable. There are no lesser known arias, and Gott sei Dank they have been grouped by opera but, within the operas, not in the order of appearance. The ordering of the operas seems haphazard, too. "What an ungrateful nit-picker!" I can hear readers mumble. "Of course they have decided the order to achieve as much variety as possible". But I am not so sure. Why, in that case, start the recital, after the Zauberflöte overture with two arias in a row sung by Russell Braun?

Acclaimed American composer Mark Abel’s sixth album for Delos extends his growing command of chamber writing while also delivering three major new vocal works. Celebrated sopranos Isabel Bayrakdarian (four times a Juno Award winner) and Hila Plitmann (a pair of Grammys and a longtime Abel collaborator) are joined by mezzo Kindra Scharich in presenting the song cycles Trois Femmes du Cinema and 1966, and debuting Two Scenes from “The Book of Esther,” a provocative excerpt from an opera in development. The album’s impressive array of instrumentalists includes pianist Carol Rosenberger (making the final recording of her epic career); fellow pianists Dominic Cheli, Sean Kennard and Jeffrey LaDeur; Alexander String Quartet violist David Samuel; Pacific Symphony concertmaster Dennis Kim and young cello star Jonah Kim.