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Glyn Pursglove
MusicWeb International, August 2020

The five songs of the Ciclo de canciones also make considerable demands on the soloist—the Japanese soprano Ayako Tanaka. Benzecry was, in the words of Benoît Dutuerte “instantly captivated” by Tanaka’s voice at first hearing of it. Tanaka is best known as a coloratura soprano. She has a voice of great agility and of genuine lyrical beauty.

Overall this is an exciting and rewarding disc. Bezecry’s music explores both his own ‘identity’, through some autobiographical allusions, and the nature of what it is to be a Latin-American artist, in terms of what such an artist inherits from the traditions of his/her native land and in terms of modern artistic idioms across the globe. … I was impressed by the musical intelligence and technical competence of both Xavier Inchausti and Mariano Rey; the Lviv National Philharmonic Symphony Orchestra, conducted by Pablo Boggiano, give committed and assured performances. © 2020 MusicWeb International Read complete review

David Denton
David's Review Corner, July 2020

Though born in Portugal in 1970, Esteban Benzecry had Argentinian parentage and grew up there. A music education in Paris, was followed by French citizenship.

From that unusual beginning, he is now regarded as one of today’s most outstanding Latin-American composers following in the footsteps of Ginastera and Villa Lobos, though this disc also portrays a highly progressive avant garde musical voice that is easily accessed by a modern audience. That is immediately established here by the three-movement Violin Concerto, a score that started out as three independent ‘Evocations’—a Dream, a Tango and a Lost World—composed over the period 2006 to 2008. They have seemingly created their own connections from rather exotic and esoteric origins, though you might find little of a conventional tango in the slow central movement. It is not, in conventional terms, a virtuoso score for the soloist, though it is demanding in creating a transcendental atmosphere, and equally in the myriad of notes in the finale. Xavier Inchausti’s performance must surely please the composer as he rides over the often heavyweight orchestral partnership with the help of a close-up recording. Two years later came the Clarinet Concerto, a work from the same mould in creating a series of four very different and imaginative ‘pictures’. Opening with Echoes of the Horizon and ending with Caribbean Toccata, Wagner and Benjamin Britten flash past as forbearers, the writing often demanding of the Argentinian soloist, Mariano Rey. Six years ago the Song Cycle for voice and orchestra uses poems, mainly with nature running through them with the Japanese coloratura soprano, Ayako Tanaka, as soloist. Throughout the Ukrainian orchestra, with conductor, Pablo Boggiano, play with that conviction World Premiere Recordings require, the engineers capturing a massive dynamic range with transparency. © 2020 David’s Review Corner

Records International, July 2020

French-Argentinian composer Benzecry has built up a distinctive body of work, from symphonies to works for solo piano. He stands as a worthy successor to such masters as Ginastera, Villa-Lobos and Chávez, with music that is suffused with ‘imaginary folklore’, flashes of color, fieriness and reverie. The autobiographical Violin Concerto draws on South American folk motifs and rhythms, whereas in Ciclo de canciones he explores the meeting of two cultures, Argentinian and Japanese. The dialogues between soloist and orchestra in the Clarinet Concerto recall Andean and pre-Hispanic times. © 2020 Records International

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