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VÁLOGATÁS
LOS PAJAROS PERDIDOS
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1. Duerme Negrito by Anonymous
Performer: Philippe Jaroussky (Countertenor)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
2. Alfonsina y el mar by Ariel Ramirez
Performer: Lucilla Galeazzi (Voice)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
Period: 20th Century
Written: Argentina
3. Montilla by Anonymous
Performer: Luciana Mancini (Mezzo Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
4. Pájaro Campan by Anonymous
Performer: Quito Gato (Theorbo), Lincoln Almada (Harp)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
5. Los pájaros perdidos by Astor Piazzolla
Performer: Philippe Jaroussky (Countertenor)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
Period: 20th Century
Written: Argentina
6. Pájarillo Verde by Anonymous
Performer: Luciana Mancini (Mezzo Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
7. Isla Sacá by Anonymous
Performer: Quito Gato (Theorbo), Lincoln Almada (Harp)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
8. La embarazada del viento by Constantino Ramones
Performer: Luciana Mancini (Mezzo Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
9. Zamba para no morir by Quito Gato
Performer: Vincenzo Capezzuto (Voice)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
10. Ay, este azul by Pancho Cabral
Performer: Philippe Jaroussky (Countertenor)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
11. El Curruchá by Juan-Bautista Plaza
Performer: Vincenzo Capezzuto (Voice), Luciana Mancini (Mezzo Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
12. Caballo Viejo/Alma Llanera by Anonymous
Performer: Quito Gato (Theorbo), Lincoln Almada (Harp)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
13. La Cocoroba by Luis Mariano Rivera
Performer: Vincenzo Capezzuto (Voice)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
14. Zamba del Chaguanco by Antonio Nella Castro
Performer: Philippe Jaroussky (Countertenor)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
15. Como un pájaro libre by Adela Gleijer
Performer: Vincenzo Capezzuto (Voice)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
16. Como la Cigarra by María Elena Walsh
Performer: Philippe Jaroussky (Countertenor), Raquel Andueza (Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
17. Ojito de Agua by Otarolo Domínguez
Performer: Raul Orellana ()
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
18. Polo margariteño by Anonymous
Performer: Luciana Mancini (Mezzo Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
19. Fandango for Keyboard by Antonio Soler
Performer: Sarah Ridy (Harp)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
Period: Classical
Written: 18th Century; Spain
20. Besame Mucho by Consuelo Velásquez
Performer: Raquel Andueza (Soprano)
Conductor: Christina Pluhar
Orchestra/Ensemble: L'arpeggiata
Publisher: EMI, VIRGIN CLASSICS
Released: 2012.05.25.
Style: Latin/Folk
Since founding L'Arpeggiata in 2000 as an early music ensemble, Christina Pluhar has taken it in some directions not usually associated with the rarified world of historically informed performance practice, particularly into the traditions of Southern European folk music and jazz. In Los Pájaros Perdidos: The South American Project, she ventures even further afield into the world of modern Latin American popular song and folk song. She argues persuasively that the Renaissance and Baroque instruments the Spanish introduced to the New World in the 16th and 17th century remained essentially the same, while back in Europe they developed in entirely new directions so that the difference between the sound of an early music ensemble and a popular South American instrumental group is less significant than one might expect. Based on the sound of this album, she seems to be right. She uses both European and Latin American instruments and although the results are clearly not exactly the same as they would be with either group on its own, they're awfully close, certainly close enough to make the project entirely persuasive. Each of the songs or instrumentals uses instruments from both worlds and the blend is often magical. The addition of the European psaltery and distinctive American percussion in particular expand the traditional sound of either culture.
The singers are all members of L'Arpeggiata and succeed in varying degrees in hitting the swing of the Latin rhythms. Countertenor Philippe Jaroussky is perhaps the least effective, although his singing is consistently beautiful. It's only in contrast to Lucilla Galeazzi, Luciana Mancini, Vincenzo Capezzuto, and Raquel Andueza, who sound like they have this idiom in their blood, that Jaroussky sounds less that fully effective. Mancini is especially impressive; her gutsy alto is ideally suited to fiery, passionate songs like Montilla, while Capezzuto shines in the sunnier songs, and Galeazzi and Andueza excel in the languid, achingly poignant ballads. Andueza's yearning Besame mucho is one of the highlights of the album. L'Arpeggiata and the quartet of Latin American instruments headed by Quito Gato play their hearts out. Virgin Classics' sound is immaculate, finely detailed, and warmly intimate. Highly recommended.
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