Sylvia Telles was the first female bossa nova singer; with Dolores Duran and Maysa, the most influential of her generation. She was the finest interpreter of the songs of one of the greatest songwriters of the twentieth century, the Brazilian master, Antonio Carlos Jobim, and she was his favourite vocalist.
Jordi Savall, viol player, conductor, expert in early music performance practice, and founder of the ensembles Hespèrion XXI and La Capella Reial de Catalunya is responsible for what must be one of the most creatively and sumptuously packaged recordings ever produced. This two-SACD set gathers vocal and instrumental music from the era of Cervantes' Don Quixote, some of it directly related to the novel. Savall and Manuel Forcano selected and adapted sections of the novel and interspersed the music and readings, allowing the listener to follow the events of the novel accompanied and surrounded by appropriate music.
In my copy’s booklet, there’s a translation botch by which the German “alle Stücke, die aus handschriftlichen Ausgaben musiziert werden, basieren auf direkten Konsultationen mit Wiesbaden MS, eingerichtet von Barbara Thornton” becomes “All pieces performed from diplomatic editions based on direct consultation with Wiesbaden Ms, prepared by Barbara Thornton”. How did “diplomacy” get involved with that, I don’t know. No, I take that back, I do know: it's probably "diplomatic" in the now rare sense of "related to diplomatics" (not diplomacy), which are "the science of deciphering old official documents, as charters, and of determining their authenticity, age, or the like".
Asian pop diva CoCo Lee was born January 17, 1974 in Hong Kong; a decade later the family relocated to San Francisco, and she subsequently studied biochemistry at the University of California at Irivne. After winning the Miss Chinese-America Pageant in 1991, two years later Lee returned to Hong Kong long enough to take second prize in the New Talent Singing Contest…
Savall and Hesperion XXI often return to the same material, almost obsessively; yet this repertory - the interface of early Iberian art music and the traditional - sustains endless re-visiting and re-interpretation; there can never be one definitive interpretation of this endlessly rewarding music, as Renaissance and Baroque composers knew - producing as they did endless variations on traditional themes which had woven their way from the popular sphere to the realm of 'art' music. Some of these bass melodies are presented here - the 'Follia' and 'Canaries' -and it is wonderful that Savall has the artistic freedom to perform versions of these again and again on his own label, Alia Vox.