Pascal Valois NAPOLI 1810

 

NAPOLI 1810

Noemi Gyori / Katalin Koltai TRANSFORMING TRADITIONS

It’s rare for the kiss of the muses to reach us in such pure and unadulterated form as it does on this album featuring treasures for flute and guitar. On their GENUIN debut release, Noemi Gyori (flute) and Katalin Koltai (guitar) present above all their own arrangements of classical works: originally written for piano, these pieces by Haydn, Mozart, and Beethoven flow so clearly and naturally from the speakers that the Viennese composers seem to have been mistaken in their choice of instrument. The arrangements feature beautiful flute melodies and crystal-clear accompaniment in the guitar. If only this joy of listening would never end!

Kathleen Kim / Jong Ho Park CON AMORES

Kathleen Kim made her Metropolitan Opera debut in 2007 and has since been the subject of both glowing reviews and intense international interest.  She has been heralded as “spectacular” by Opera News and “a revelation” and “tiny dynamo” by the Chicago Sun-Times.  The Chicago Tribune raved that Ms. Kim “nailed her stratospheric coloratura aria with a precise, penetrating soprano.”  Such critical acclaim reflects the excitement Kathleen Kim generates at many of the world’s premiere opera houses and concert halls.  Ms. Kim’s extensive career at the Met includes performances as Olympia in Bartlett Sher’s production of Les contes d’Hoffmann, conducted by James Levine; as Zerbinetta in Ariadne auf Naxos conducted by Kirill Petrenko; and as Oscar in Un ballo in maschera, conducted by Gianandrea Noseda in 2007 and by Fabio Luisi in 2012.  She was hailed by critics for her role as Chiang Ch’ing in the Met’s iconic premiere of Nixon in China, directed by Peter Sellars and conducted by John Adams.  Ms. Kim has also reprised her acclaimed portrayal of Zerbinetta in Ariadne auf Naxos in the Met’s popular Elijah Moshinsky production, conducted by Fabio Luis and in 2016, Ms. Kim sang Blondchen  in Die Entführung aus dem Serail with James Levine.

Marta Almajano / José Miguel Moreno LAS MUJERES Y CUERDAS

The album title is that of the final song, Sor’s Las mujeres y cuerdas, with its caveat that both women and strings need ‘tuning’ – but carefully. The cover is adorned with Madrazo’s painting (1853) of the Countess of Vilches (seated in the luxurious surroundings appropriate to her rank), whose demeanour suggests that she may be dreaming of romantic love, or perhaps listening to musical expressions of it. The gentle guitar was at that time popular as an accompanying instrument in the home or salon, incapable of supporting anything vulgar or excessive; the publishing of guitar-accompanied songs was a flourishing trade. The song by Martin y Soler, a composer of opera buffa, was published with the 

option of guitar or keyboard; all the others were composed or arranged by guitarists. Giuliani, the darling of the Viennese salons, exercised his (Italian) gift of melody in responding generously to the market, whilst Sor worked as a singing teacher during his sojourn in London, from which time the songs in this recording (and many others) date.
These graceful and sometimes coquettish songs of the joys, frustrations and pains of love are punctuated by suitably day-dreaming guitar solos. Marta Almajano sings them beguilingly though not without sacrificing consonants to beauty of tone, but the texts are printed in the substantial booklet, as are a number of charming reproductions of paintings. Moreno’s contribution is excellent in all respects. This well-recorded and lavishly produced album should appeal to all who care to share the dreams of the Countess of Vilches, in whatever surroundings they may find themselves.' (John Duarte / Gramophone)