JOSÉ DE NEBRA Iphigenia en Tracia Madrid, 1747
El Concierto EspañolEmilio Moreno, direction
GCD 920311. 2 CDs
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Performing artists
Marta Almajano, soprano María Espada, soprano Raquel Andueza, soprano Soledad Cardoso, sopranoMarta Infante, mezzo-soprano
El Concierto Español Emilio Moreno, direction
Production details
Recorded live in León and Soria, Spain, in December 2010 Engineered and produced by Manuel Mohino Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Emilio Moreno English - Français - Deutsch - Español
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JOSÉ DE NEBRAIphigenia en TraciaZarzuela en dos jornadas. Madrid, 1747
CD I [53:31]
Primera jornada
01 Obertura (Allegro – Aire de Minué. Allegro cantabile, Allegro) 02 Bailete Pastorela. Cuatro (Allegro): Pues es de esta selva 03 Recitado de Dircea: Este, riscos incultos 04 Area de Dircea (Grave – Allegro vivo): Gozaba el pecho mío 05 Recitado de Polidoro: Oh, cielos, yo perdí 06 Area de Polidoro (Allegro): Vacilante pensamiento 07 Cuatro con Ifigenia y Orestes (Allegro): Ay, joven infelice 08 Duetto burlesco de Mochila y Cofieta (Allegro): Tú, tirana en un monte 09 Recitado de Ifigenia y Orestes: Pero, dioses, ¿qué veo? 10 Area de Ifigenia (Allegro ma non presto): La vida apetecida 11 Seguidillas de Orestes y Dircea (Allegro): Ya se fue, y de mirarla 12 Recitado de Orestes, Ifigenia, Dircea y Polidoro: En fin, ¿otra vez eres mi homicida? 13 Area a Cuatro de Polidoro, Dircea, Orestes e Ifigenia (Allegro): Muera un afecto incierto
CD II [43:06]
Segunda jornada
01 Cuatro (Allegro): Ya que en honor del numen 02 Seguidillas con su estrambote de Cofieta y Mochila (Allegro): ¿Qué han de ser los maridos? 03 Recitado de Ifigenia y Orestes: Yo soy, tirana 04 Area a dúo de Ifigenia y Orestes (Allegro cómodo): ¡Ah, ingrato! 05 Recitado de Cofieta: Hay ciertas doncellitas 06 Area de Cofieta (Allegro, ma non presto): Descolorida, desmadejada 07 Recitado de Orestes: Detente, inútilmente 08 Area de trompas de Orestes (Allegro vivo): Llegar ninguno intente 09 Recitado acompañado de Ifigenia: Suspéndete, tirano 10 Area de Ifigenia (Allegro cómodo): Piedad, señor, piedad 11 Cuatro final: La tirana ley severa
About this CD
Who better to perform a further instalment in the exploration of Spanish Baroque musical life on record than Emilio Moreno and El Concierto Español, whose latest Glossa project tackles the dramatic work Iphigenia en Tracia by one of the leading lights of the time, José de Nebra? Having recently also given us readings of popular musical comedies from the end of the 18th century (La Tirana contra Mambrú) and a royal marriage commemoration by Antonio Caldara when in Barcelona at the start of it (Il più bel nome), Moreno now looks to the middle of that century when Nebra was attracted to one of Euripides’ Iphigenia stories for one of his mythological zarzuelas. What emerges (from the original score held deep within the library of the imposing and omnipresent monastery in Glossa’s own home town of San Lorenzo de El Escorial) is an elegantly-crafted reflection of the musical currents of the time: like in other countries across Europe Spain was in thrall to the Italian style – Farinelli had a leading role in musical tastes in Madrid for over 20 years – but Nebra also injects a scheme of recitatives and arias plenty of characteristic Iberian zest into the proceedings, notably with the witty castizo banter between two comic characters.
And who better on this new Glossa recording to join Moreno and his highly-talented instrumental players to perform such engaging musical – and dramatic – fare than some of today’s leading Spanish vocal stars, such as Marta Almajano, María Espada, Raquel Andueza and Marta Infante?
There is still much work to be done in creating performing editions of Baroque music originating in Spain (and then going out and performing it...), yet this is just one area of musical life today that Emilio Moreno is contributing to. To follow on from delving into the popular culture of the turn of the 19th century, as epitomized by the tonadilla, which he successfully recreated for Glossa on La Tirana contra Mambrú, Moreno – along with El Concierto Español – turns now to the world of allegorical courtly serenatas as the shifting political national landscapes of the 17th century were disintegrating into the War of the Spanish Succession. [read more...]
If Spanish music from the Renaissance has become increasingly appreciated in recent decades that from the turn of the 19th century remains a blur for many. Not so for Emilio Moreno who – in addition to his musical expertise inthe Baroque and Classical, especially that gained through long association with the Orchestra of the 18th Century – has become something of a specialist in the music of the Age of Enlightenment in Spain. Moreno has been combining Herculean labours transcribing the scores of tonadillas from two centuries past with bringing their populist texts and music to audiences of the 21st century – both with singular success. Here he describes the nature of the dramatic genre that is the tonadilla and the level of its original success acting as barometer of the feelings of the ordinary people in Spain, especially those of Madrid. [read more...]
Whether it is as a string player, as a director of ensembles like La Real Cámara or El Concierto Español, or as a teacher and a scholar Emilio Moreno has been applying his talents in the cause of the music that he loves and defends: the previously ignored area of the Spanish Baroque and pre-Classical eras. Fortunately — and through the efforts of musicians such as Moreno — this area is far less of a desert on record than it once was (for Moreno there could still be yet more concerts). Moreno’s wide experience of such music is enhanced by his long-standing involvement with Frans Brüggen’s Orchestra of the Eighteenth Century, where he is the leader of the viola section.[read more...]