Canadian soprano Agathe Martel has a dark, rich timbre, full-bodied sound, and flowing legato delivery that perfectly suits these sensual, fluid melodies and the vowel-laden Spanish and Portuguese texts. Although there’s an overall commonality of style–which actually is a combination of styles and national influences–from song to song and composer to composer, the music never becomes tiresome or lacks interest, due as much to the imaginative melodies and engaging, seductive rhythms as to Martel’s thoroughly involving and technically assured performances. If you’re a singer, you’ll be very interested in this repertoire–scarcely-known but absolutely first-rate, eminently singable, instantly appealing songs that honor the voice and charm the ear. And if you’re “merely” a listener, well, just spend a couple of minutes with this disc and you’re bound to stay around for the remaining 70.
Influences are everywhere, from jazz and blues to Latin American dance forms and idioms drawn from 19th and 20th century French, Italian, Spanish, and Portuguese folk and popular music. Guitar-like references mark the piano accompaniment here and there, especially notable in Villa-Lobos’ Serenata and Adeus Êma; and Camargo Guarnieri’s Não sei–a simple, lovely little two-minute gem–could be mistaken for one of Gershwin’s more inspired tunes. In fact, the highlight of the disc is the set of six Canções by Guarnieri, a 20th-century Brazilian composer/conductor/teacher (he died in 1993) whose other works include symphonies, concertos, chamber works, piano pieces, cantatas, and a comic opera (type Q5267 in Search Reviews for a review of some of his orchestral music). These songs, heard here in what the label claims are world-premiere recordings, are as attractive and finely crafted as any singer or recital audience could hope for, and they deserve wide and enthusiastic attention. (And apparently, Guarnieri wrote several dozen more!)
However, this hearty endorsement shouldn’t detract from the rest of the music–especially the opening set of eight songs by Carlos Guastavino (1912-2000), or several other impressive world-premieres by Carlos Buchardo (1881-1948). And on top of it all is Martel, another in a long line of world-class contemporary Canadian singers who is as captivating in this repertoire as she is generally confident and communicative in technique and delivery. Her piano partner, Marc Bordeau, requires special mention for his assured, stylish playing–and the well-balanced if slightly bright engineering completes a near-perfect package. Highly recommended. [3/15/2003]
