One of the most grown-up review sites around

54,514 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

Founder: Len Mullenger                                     Editor in Chief: John Quinn              

Some items
to consider


paid for


100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas

Mozart Brahms
Clarinet Quintets

Deaconoff; Stockhausen

Live at the Clifton Festival

Choir at Clifton Cathedral


New Releases

Naxos Classical

Click to see New Releases
Get 10% off using code musicweb10

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


REVIEW Plain text for smartphones & printers

Support us financially by purchasing this disc from

Canciones españolas
Enrique GRANADOS (1867-1916)
La maja y el ruiseñor from Goyescas [6:32]
Canciones amatorias [18:18]
Manuel de FALLA (1876-1946)
Siete canciones populares españolas [13:15]
Joaquín TURINA (1882-1949)
Tres arias, Op. 26 [13:21]
Danielle Talamantes (soprano), Henry Dehlinger (piano)
rec. 2013, Vienna Presbyterian Church, Vienna, Virginia
Sung texts with English translations enclosed
MSR CLASSICS MS1476 [51:18]

“Soprano” says the cover of this CD and Danielle Talamantes certainly sings soprano roles but her vocal timbre, as heard in this programme, is rather a dark mezzo. Many of the great interpreters of this repertoire have also been mezzos, Conchita Supervia and Teresa Berganza to name but two. She opens with The Maiden and the Nightingale from the opera Goyescas, originally a suite for piano inspired by the paintings of Goya, but later reworked to an opera. You notice at once the delicious piano playing and the deeply involved singing, slow with heavy rubato, almost improvisatory. The fairly short opera has never been established in the standard repertoire but is occasionally performed. It was premiered at the Metropolitan Opera on 28 January 1916 in a double bill alongside Leoncavallo’s Pagliacci, with Giovanni Martinelli and Giuseppe De Luca in the cast. The premiere was so successful that the composer was invited by President Woodrow Wilson to give a piano recital at the White House, which indirectly caused Granados’s death. He had to postpone his voyage home to Europe and the ship he and his wife later chose was torpedoed by a German submarine in the English Channel on 26 March.

Canciones amatorias (Love Songs) from 1915 are mostly settings of anonymous poems but there are also some known poets from the early 17th century, one of them being Lope de Vega (tr. 8). Mira que soy niña (Look, I’m just a little girl) is sung with fine dynamic shading, Mañanica era (It was daybreak) is slow and atmospheric with hypnotic accompaniment. Serranas de Cuenca (Mountain girls of Cuenca) is lively and dancing. Gracia mia (My graceful one) has very clear Spanish flavour. Lloraba la niña (The girl wept) is sad and the listener doesn’t miss that, even without knowing the text “The girl wept, and with reason”. The Lope de Vega setting also deals with weeping – a very intense song.

Manuel de Falla’s Seven Spanish Folk Songs is well-known territory and I have to admit that Danielle Talamantes’ readings are competitive, even against the really great names. Her beautiful inward Asturiana is something to return to, as is the wild Jota and the caressing Nana.

Joaquín Turina’s Tres arias were composed in 1923. The first is a long “frontier ballad”, where the central character is a Moor, who has just defeated the Christians at Toledo. The second is a fisherman singing to his beloved, while Gustavo Adolfo Bécquer’s Rima is a poem where the poet is caught by the eyes of some unknown creature. I feel myself led by your eyes / But where they lead me, I do not know. The latter is a strong piece impressively sung. It actually haunted me for quite some time after my listening session. Talamantes certainly has that hard-to-define capacity to communicate with the listener. The support Henry Dehlinger provides at the piano further enhances this in no unimportant way. A disc to savour.

Göran Forsling

Track listing

1. La maja y el ruiseñor from Goyescas [6:32]
2. Mira que soy niña [2:54]
3. Mañanica era [3:07]
4. Serranas de Cuenca [1:57]
5. Gracia mía [2:31]
6. Descúbrase el pensamiento [3:46]
7. Lloraba la niña [2:31]
8. No lloréis, ojuelos [1:29]
9. El paño moruno [1:15]
10. Seguidilla murciana [1:22]
11. Asturiana [2:31]
12. Jota [3:11]
13. Nana [1:42]
14. Canción [1:22]
15. Polo [1:39]
16. Romance [6:29]
17. El Pescador [4:48]
18. Rima [2:03]


Advertising on

Donate and keep us afloat



Recordings of the Month


Conner Riddle Songs

Rodzinski Sibelius

Of Innocence and Experience


Symphonies 1, 2, 3



Aho Symphony 5

Dowland - A Fancy


Rachmaninov_ Babayan