Sentimiento Latino

Sentimiento Latino

Sentimiento Latino
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Music CD Cover

Composer: Noel Estrada
Composer: Carlos Gardel
Composer: Chabuca Granda
Composer: Maria Grever
Composer: Pedro E. Gutierrez
Composer: Jose Alfredo Jimenez
Composer: Agustin Lara
Composer: Ernesto Lecuona
Performer: Juan Diego Flórez
Performer: Karen Basrak
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2006-03-14
Music Label: Decca
Soundtracks:
  1. Alma Llanera
  2. Ella
  3. La Flor De La Canela
  4. El Dia Que Me Quieras
  5. Granada
  6. La Jarra De Oro
  7. Princesita
  8. Jurame
  9. Estrellita
  10. Fina Estampa
  11. En Mi Viejo San Juan
  12. Siboney
  13. Aquellos Ojos Verdes
  14. Bello Durmiente
  15. Mexico Lindo Y Querido

Free Music Notes for Sentimiento Latino

Free Music Review: Young Peruvian Tenor Revitalizes Latin-American Songs!
Hit: 5 Stars


Peruvian tenor Juan Diego Flórez here offers us his take on a good selection of mostly quite familiar Latin-American songs, some sung for decades by such varied artists as Nat King Cole and Tito Schipa. To assist him he calls upon the forces of the Fort Worth Symphony and a variety of additional musicians and groups, even adding his own bongos on one track.

This application of a fine operatic voice to the songs invites comparison with two other Spanish-language contemporaries: Plácido Domingo and José Carreras, but whereas the other two are basically Iberian, Flórez is a born and bred product of the New World. (Domingo lived 13 years in Mexico, age 8-21.) Moreover, Flórez has a strong family claim to Latin-American music, from his father Rubén and others.

For purposes of comparison I took time to revisit several of Domingo's recordings of Spanish-language songs. (Of the 15 presented here I found nine among my Domingo CDs, along with many others of a similar character.) Though I have enjoyed the Domingo performances for years, and hold them in high esteem, I greatly appreciate the fresh treatment Flórez brings us. Furthermore, I don't think he has to take a back seat in any sense to his seniors, for he brings unique gifts to the music. For one thing, he has a more naturally brilliant, ringing tenor voice than Domingo, who started as a baritone and maintains a somewhat richer, yet less brilliant tone. For another, he excels in youthful dynamism, facility, and flexibility, being praised for his bel canto work. His interpretive talents are likewise fully equal to any challenges presented here. Finally, he has also the historic advantage of a career played out in an era of advanced recording technology. (It's too bad that some of the older Domingo recordings could not have been made using today's high-quality digital techniques.)

As for the music here, a quick analysis shows that Mexico is the predominant source, with 5 songs (#2, #5, #8, #9, #15). Peru comes close with 4 (#3, #6, #10, #14), while Cuba rates 2 (#12, #13) and the rest only 1 each: Venezuela (#1), Argentina (#4), Puerto Rico (#11), Spain (#7). Flórez sings them all with "seseo" (Latin-American pronunciation in which the letters z and soft c are pronounced as English ss). (Domingo and Carreras generally prefer the Iberian pronunciation, as English th.) The distinction is not all that great, but I suspect Latin-American listeners prefer Flórez' seseo.

Overall, Flórez sings the songs very well indeed, with the classic restraint and style we expect of a concert tenor (not like a club or popular singer). I applaud this choice. If we want a club singer's rendition we can find it easily enough in a cantina, but singers like Flórez are rare and should be heard for what they are. That said, Flórez brings plenty of passion and drama to the music where appropriate, as his operatic training and experience have prepared him to do. He also sings the songs in ways suited to their varied styles and moods, revealing a high order of interpretive and artistic intelligence. The only possible faults I find in his performances are a couple of small cases where his intonation sounds a bit questionable to my ears. (The last note of "Princesita" seems a trifle below pitch in an otherwise lovely ending; likewise the last note of "Estrellita.") Regarding dynamic levels and effects, I disagree with Levine's criticism, and do not find Flórez' performances in any way lacking. In sum, I can offer only high praise for this relative newcomer to the ranks of world-class tenors and wish him a long and fulfilling career of bringing artistic delight to the millions who may hear him over the next several decades.

The musical settings here are varied, colorful, imaginative, appropriate and well-played. Mr. Gálvez distinguishes himself with brilliant guitar playing on 5 of the pieces; the entry of mariachi in "Ella" provides welcome color and authenticity. The Ft. Worth Symphony's playing is quite beautiful and often gorgeous!

The liner notes for this CD are generous in providing details on the songs, their composers, and Flórez' relationship to them, along with the original Spanish song texts and literal English translations for all songs except the very last. (In "Alma LLanera" I would have preferred the translation of "primorosa" to be something more like "exquisite" than "pristine." But the important point regarding texts and translations is that the latter inevitably miss some of the poetic artistry inherent in the original Spanish. Still, the English translations will give a good idea of the subject and character of the songs to those with little or no Spanish.) There is also a small slip in the liner notes when Mr. Farach-Colton refers to "Lecuona's Aquellos Ojos Verdes," instead of properly attributing that song to Nilo Menéndez and Adolfo Utrera, Lecuona's countrymen.

To those who prefer Domingo or Carreras, I offer no objection; tastes differ and equally sensitive ears will vary in their preferences. I do not see the world of recorded music as a zero-sum game: to enjoy Flórez does not require a disparagement of Domingo, nor vice versa. While I'm not about to give up my Domingo recordings, I will complement them with the newer recordings of Flórez, and feel myself just that much richer in aesthetic enjoyment.

What the above remarks haven't conveyed adequately, perhaps, is the utter charm and loveliness of this disk. It is a no-brainer to rate it as a five-star addition to the world of Latin-American song. If you like the songs, you should delight in these recordings.

Al Sr. Flórez digo con todo entusiasmo: Bravo! Encore!

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