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Arturo Reverter
Scherzo, March 2017

GRANADOS, E.: Orchestral Works, Vol. 1 - Suite sobre cantos gallegos / Torrijos (Barcelona Symphony and Catalonia National Orchestra, Gonzalez) 8.573263
GRANADOS, E.: Orchestral Works, Vol. 2 - Dante / La nit del mort / Goyescas: Intermezzo (Barcelona Symphony, González) 8.573264
GRANADOS, E.: Orchestral Works, Vol. 3 - Liliana / Suite Oriental / Elisenda (Barcelona Symphony, González) 8.573265

Expansive interpretation, full of action and verve, with moments of logical self-reflection, from the Barcelona Symphony Orchestra under the affirmative direction and energetic momentum of Pablo González. © 2017 Scherzo



Stephen Wright
American Record Guide, November 2016

…both vocal soloists are pleasant and full of character. The orchestra is gorgeous, flexible, supple, recorded close and detailed. Maestro González’s leadership and control is impressive: he starts the three Spanish pieces deliberately, then slowly ratchets up the tension until the last bar, and his band is always alert and engaged, even through the longueurs of the two big tone poems. © 2016 American Record Guide Read complete review on American Record Guide



Peter J. Rabinowitz
Fanfare, November 2016

…well played by an orchestra that clearly relishes the chance to widen our knowledge and appreciation of an underappreciated composer. The vocal contributors—especially the supple Gemma Coma-Alabert—make a good impression, too. …Warmly recommended. © 2016 Fanfare Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, August 2016

…[disc] spotlights some fine performances of the Barcelona Symphony Orchestra under Pablo González—plus soloists—that will be manna for all who appreciate the composer.

…very enjoyable and at times brilliant. Nice one! © 2016 Gapplegate Classical-Modern Music Review Read complete review



John France
MusicWeb International, August 2016

All the music is finely played and performed by the soloists, the chorus and the Barcelona Symphony Orchestra under Pablo González. …stunning performance by Gemma Coma-Alabert in the ‘Dante’. © 2016 MusicWeb International Read complete review



Richard Bratby
Gramophone, August 2016

…[the] first section shows González and his orchestra at their best, with grainy strings, piquant soft-edged woodwinds and a natural, musicianly way of shaping a phrase. Those qualities are all in evidence in two short gypsy dances and the familiar Goyescas Intermezzo; the slightly hazy Naxos sound complements performances that are affectionate and characterful but which, in the last analysis, smoulder rather than blaze. © 2016 Gramophone Read complete review on Gramophone




Remy Franck
Pizzicato, July 2016

…the performances are of good quality, allowing the listener to discover some pieces from Granados that are not so typical for him. © 2016 Pizzicato



Lisa Flynn
WFMT (Chicago), July 2016

Revered as one of the greatest Spanish composers for the piano, Enrique Granados also wrote a wide-ranging body of orchestral music. His one-act opera Goyescas contains an intensely lyrical Intermezzo that is his most popular work and one of the best-loved pieces in all Spanish music. The gypsy-tinged orientalism of Danza de los ojos verdes and Danza gitana contrast with the somber and epic La nit del mort and the ambitious large-scale symphonic poem Dante. © 2016 WFMT (Chicago)



Jerobear
Review Corner, July 2016

The CD opens with Intermezzo from his one-act opera Goyescas, apparently one of the best-loved pieces in Spanish music. It’s easy to see why: its string flourishes and Spanish percussion are evocative of men with tight trousers and dangerous women; it was written overnight when he had a sudden gap to fill in the opera, apparently. Impressive. © 2016 Review Corner Read complete review



The Chronicle, June 2016

The CD opens with Intermezzo from his one-act opera Goyescas, apparently one of the best-loved pieces in Spanish music. It’s easy to see why: its string flourishes and Spanish percussion are evocative of men with tight trousers and dangerous women; it was written overnight when he had a sudden gap to fill in the opera, apparently. © 2016 The Chronicle



Rob Barnett
MusicWeb International, June 2016

The performances are bright-eyed and bushy-tailed; nothing routine here… © 2016 MusicWeb International Read complete review



David Denton
David's Review Corner, June 2016

Commemorating the centenary of Enrique Granados’s death, this second disc in his orchestral works includes Dante, one of his most extended symphonic scores. Completed in 1908, it had taken its inspiration from Dante’s The Divine Comedy, though Granados made clear it was not a word-for-word reincarnation of the the literary masterpiece, but the impression it had made upon him. Originally intended to be in four parts, only two were completed, the second including a part for mezzo-soprano. The first, titled Dante e Virgilio, is often dramatic and brightly orchestrated; the second, Paolo e Francesca, speaks of love and is in a soft grained context until we reach one moment of vibrant passion, the vocal role coming straight from the opera stage. Lasting over half an hour, the work enjoyed early success, but is now seldom performed, and for today’s audiences the lack of a ‘big’ ending robs it of a commerciality. A pity, as it is beautifully crafted. Becoming increasingly sombre and dark in content, La nit del morte (Night of the dead man) is scored for tenor and chorus, and warns the girl of the coming death of her beloved young man in battle. Of its kind it is a cameo masterpiece. We move to three pieces in a much lighter mood, including one of his best known pieces, the Intermezzo from the opera, Goyescas, and two dances, Dance of the green eyes and Gypsy Dance, originally intended for a stage presentation in a flamenco style. The two soloists, Gemma Coma-Alabert, and Jesús Álvarez Carrion, are admirable, and, as with the previous disc, the playing of the Barcelona orchestra is both transparent and of the highest quality. Hugely recommended. © 2016 David’s Review Corner





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