Español

This is first recording for Challenge Classics by the very highly-rated Al Ayre Español and its conductor Eduardo López Banzo - and the beginning of a longterm partnership. The sacred cantatas performed on this Hybrid SACD are by José de Nebra, the ‘father’ of Spanish opera and Zarzuela.

Al Ayre Español is a vocal and instrumental ensemble formed in 1988 by the conductor Eduardo López Banzo. The ensemble plays period instruments and has brought back to life Spanish Baroque Music music, renewing the interest of contemporary audiences. The name of the band ('ayre' is an ancient word for 'aire') makes reference to playing music 'the Spanish way' ('con aire español').

A signal moment in the arrival of Italian music on Spanish soil came in the summer of 1708 when Antonio Caldara, finding his opportunities for providing dramatic works for the opera-loving Duke of Mantua limited by the War of the Spanish Succession, headed off to Barcelona to take on acommission for putting on an operatic work from Archduke Charles (“Carlos III”), who was preparing his own wedding festivities at the court he had established in order to contend for the Spanish throne.

Ambroisie presents a new edition of one of Handel's Italian period masterpieces, Rodrigo, with an exceptional cast led by Maria Riccarda Wesserling in the title role, María Bayo as his wife Esilena, Sharon Rostorf-Zamir as his young lover Florinda and Max Emanuel Cencic as Fernando. Following Amadigi di Gaula earlier this year, Rodrigo is the second Handel opera on the label conducted by Eduardo López Banzo. The release follows a European tour with the same cast and orchestra, Al Ayre Español, resulting in an interpretation that will undoubtedly lead to a new understanding of the piece almost exactly 300 years after it was written.

Amadigi di Gaula had its premiere in London in 1715. Its libretto, based on a medieval legend and encompassing such effects as a magically appearing sorceress, reflects the then-fashionable English taste for spectacle in operatic production. Musically, however, the opera is of chamber dimensions, involving just five soloists, and takes in some emotionally intimate moments. In this backward-looking piece – it even ends with a brief ballet – Handel doesn't attempt any structural innovations: the arias and duets are cast firmly in the tripartite da capo format. Still, he finds room for the occasional imaginative touch, as when he uses French-overture gestures in a few of the ritornelli to suggest tragic breadth, or has the two voices in a hitherto contrapuntal duet launch the "B" section in straight thirds.

Lalo Schifrin - Piano Espanol (1958) {Tico–Universal 176 160 397-2 rel 2006}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 236 Mb | MP3 @320 -> 84 Mb
Full Artwork @ 300 dpi (jpg) -> 30 Mb | 5% repair rar
© 1958, 2006 Tico / Protel / Universal | 176 160 397-2
Jazz / Bop / Latin Jazz / Bossa Nova / Piano

A very unusual early chapter in the career of Lalo Schifrin – and a record that's a fair bit different than most of his famous bossa, jazz, and soundtrack work! The sound here is much more New York Latin than the Brazilian modes that show up in other Schifrin work – with orchestrations that nicely set the scene for bolder piano lines on the keys – often in a style that's a bit more dramatic than you'd expect from Lalo, and underscored by some great hard percussion at the bottom! Most tunes are quite lively, with a really crackling Latin groove – and titles include "Jungle Fantasy", "Hulablues", "Caravan", "Capricho Espanol", and "El Cumbanchero".