Maria de Buenos Aires
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Music CD Cover
Edition: Music CDFormat: Live
CD Release Date: 1998-09-29
Music Label: Teldec
Soundtracks:
Music CD 1
- Maria de Buenos Aires: Part One: Scene 1: Alevare
- Maria de Buenos Aires: Part One: Scene 2: Theme Of Maria
- Maria de Buenos Aires: Part One: Scene 3: Lame Ballad For A Crazy Hurdy-Gurdy
- Maria de Buenos Aires: Part One: Scene 3B: I Am Maria
- Maria de Buenos Aires: Part One: Scene 4: Carriegan Milonga For The Child Maria
- Maria de Buenos Aires: Part One: Scene 5: Fugue And Mystery
- Maria de Buenos Aires: Part One: Scene 6: Waltzed-Poem
- Maria de Buenos Aires: Part One: Scene 7: Accusation Toccata
- Maria de Buenos Aires: Part One: Scene 8: Canynegue Miserere Of The Old Gutter Thieves
- Maria de Buenos Aires: Part Two: Scene 9: Funeral Countermilonga For The First Death Of Maria
- Maria de Buenos Aires: Part Two: Scene 10: Tangata At Dawn
- Maria de Buenos Aires: Part Two: Scene 11: A Letter To The Trees And The Chimneys
- Maria de Buenos Aires: Part Two: Scene 12: Aria Of The Psychoanalysts
- Maria de Buenos Aires: Part Two: Scene 13: Romanza Of The Drunken Poet Goblin
- Maria de Buenos Aires: Part Two: Scene 14: Allegro Tangabile
- Maria de Buenos Aires: Part Two: Scene 15: Milonga Of The Annunciation
- Maria de Buenos Aires: Part Two: Scene 16: Tangus dei
Free Music Notes for Maria de Buenos Aires
Free Music Review: In reply to Daniel Pinkerton's review
Hit: 4 Stars
I know it may be a little late to correct this mistake, but I'll do it anyway.Mar?a de Buenos Aires was composed (for an 11 musicians ensamble), first played and recorded in 1968. This original version was published in Argentina by Trova Ediciones Musicales (on LP as TL-20/2; reissued on CD as 5013 and 5014), and was never published in other countries (except for a 1990 edition in Spain by Alfa, AFCD-14/15).
In November 1987, the operita was completely rearranged (and in a certain sense, "re-composed") for an homage to Piazzolla, and staged at Theatre Municipale de Tourcoing. This arrangement not only included about 30 musicians and more than five singers, but also altered the original parts of the work; the intended effect was somewhat more "operatic" than the original. Unfortunately, _this_ one was the only available version in most countries until 1998.
In consequence, Gidon Kremer's version IS based upon the original, and NOT the Milan one. I do not certainly love this Desyatnikov's rearrangement; I think that the original percussion and drums really added to the sound, and it seems that the bandone?n can't reach here the intense feeling of the original, despite its technicial perfection. Anyway, I can't deny the relevance of this album; it's still the only available version of the original operita in most countries, and I certainly think that Mar?a de Buenos Aires is Piazzolla's masterpiece, even when not his most complex work.
Maria de Buenos Aires Poster
Composed more than 30 years ago, this "little tango opera" remains a work of stunning originality. Indeed, the alchemy achieved here by tango master Astor Piazzolla--whose avant-garde, quasi-symphonic meditations on this vital dance form have achieved renewed popularity--and librettist Horacio Ferrer involves a particular amalgam of music and surrealist poetry that is part cabaret, part smoky Sprechstimme, and ultimately sui generis. Violinist Gidon Kremer and a tight ensemble of colleagues show keen empathy for this symbolist allegory of an ambiguous, archetypal journey of the soul. --Thomas MayCity gives birth to girl. City loses girl to shadowy underworld. City reunites with girl's spirit. That is the story of Mar?a de Buenos Aires, a 30-year-old Spanish-language operetta composed by Astor Piazzolla, the foremost proponent of modern tango. This recording was encouraged by violinist Gidon Kremer, resulting in an elegant new arrangement (down from the original eleven musicians to eight, including the late Piazzolla's beloved bandoneon) and the appearance of Horacio Ferrer, who wrote the libretto, to perform the role of Goblin (or El Duende), the narrator. Ferrer's textured spoken baritone brings a weary romance to the work, contrasting with Julia Zenko's robust Mar?a, who can enunciate pizzicato syllable-for-syllable runs without losing the meaning of her phrases, and who trills her r's with an emphasis equal parts street-wise and regal. For much of the operetta, Mar?a is actually the shadow spirit of Mar?a, cursed to wander the city; if Zenko's ethereal Mar?a seems more passionate than most mortals do, one must assume that Ferrer approves of the interpretation. The ensemble is exceptional, with particular emphasis given to Vadim Sakharov's jazzy piano and Kremer's elegiac violin. The production shows a tremendous amount of emotional restraint, in contrast with the Mar?a on Milan Records. At times, Ferrer's phantasmagoric poetry proves hysterically surreal. Who else, besides perhaps Woody Allen, could have composed an "Aria of the Anyalysts" in which Mar?a confronts her memories. --Marc Weidenbaum
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