Manuel de Falla - El Amor Brujo (Marina de Gabarain - ref.record.: Ernest Ansermet / Remastered)

Album available // Falla: El Amor Brujo, El Sombrero de Tres Picos by Ernest Ansermet
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Manuel de Falla (1876-1946) El Amor Brujo, IMF 1 (Ballet-pantomime; Revised version, 1920)
00:00 I. Introducción y Escena, En la Cueva (La Noche)
02:24 II. Canción del Amor Dolido (Voice and Orchestra)
03:56 III. El Aparecido, Danza del Terror
06:13 IV. El Círculo Mágico (Romance del Pescador)
09:09 V. Danza Ritual del Fuego
12:59 VI. Escena
13:55 VII. Canción del Fuego Fatuo (Voice and Orchestra)
15:32 VIII. Pantomima
20:13 IX. Danza del Juego de Amor (Voice and Orchestra)
23:00 X. Final: Las Campanas del Amanecer

Mezzo-soprano: Marina de Gabarain
Orchestre de la Suisse Romande
Conductor: Ernest Ansermet
Recorded in 1955, at Geneva
New mastering in 2023 by AB for CMRR
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The first version of El amor brujo (Love, the magician), Falla's finest distillation of Andalusian gipsy music, was composed between November 1914 and April 1915. It then underwent several revisions. The final form, heard here, was premiered in Paris in 1925, conducted by the composer. From its evocation of night to the bright bells of dawn, the succession of dances, love songs and magic rituals (including the famous "Ritual fire dance") dramatises the story of the young gipsy Candela, who is haunted by the jealous spectre of her dead lover. In the course of the ballet she and her new lover Carmelo exorcise his ghost through sorcery and the power of love. Ansermet's recording is marked, like everything he did, by lucidity and clarity of style, and especially by a sense of dramatic contrast between the different sections of the score.

High Fidelity Magazine: Throughout, Ansermet plays the score more lustily-than ever before and with a keener sense of its mordant humor; the Swiss orchestra now spices its invariable virtuosity with a more spontaneous exuberance ... Furthermore, the present recording gives the sonics an entirely new palpability, as well as added dimensionality, and in the climactic later outbursts they achieve breath-taking dramatic power, size, and above all "presence".

Granados: 12 Danzas Españolas & Goyescas by Eduardo del Pueyo
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