Rial_BL_Layout 1 16/03/11 21:44 Página 2 p h o t o © M Nuria Rial, soprano e r c è R i a cd i: l José Miguel Moreno, vihuelas & Renaissance guitar cd ii: [01-07] Orphénica Lyra Carlos Mena, countertenor Guido Balestracci, Alba Fresno, Sergi Casademunt, violas da gamba Juan Carlos de Mulder, Renaissance guitar Fernando Paz, recorders David Mayoral, percussion José Miguel Moreno, vihuela & direction [08-11] Orphénica Lyra Jordi Domènech, countertenor Fernando Paz, recorders Fahmi Alqhai, viola da gamba Eligio Quinteiro, Renaissance guitar Álvaro Garrido, percussio n José Miguel Moreno, vihuelas, Baroque guitar & direction [12-19] El Concierto Español Emilio Moreno, violin & direction 5 Rial_BL_Layout 1 16/03/11 21:44 Página 4 Nuria Rial 17 Mudarra : Si me llaman a mí 2:52 18 Mudarra : Claros y frescos ríos 4:03 The Spanish Album 19 Mudarra : Beatus ille 0:57 20 Vásquez - Fuenllana : Duélete de mí, señora 3:04 cd i 21 Pisador : La mañana de Sant Juan 2:34 22 Fuenllana : Fantasía [instr.] 2:38 from Claros y frescos ríos, with José Miguel Moreno (complete album) 23 Fuenllana : Passeávase el rey moro 2:46 01 Anonymous : Qué me queréis, caballero 1:12 24 Pisador : Dezilde al caballero 2:05 02 Esteban Daça : Quién te hizo Juan Pastor 3:09 03 Juan Vásquez - Diego Pisador : En la fuente del rosel 0:55 cd ii 04 Daça : A tierras agenas 2:58 05 Mateo Flecha - Miguel de Fuenllana : Teresica hermana 1:56 from Miguel de Fuenllana: Orphénica Lyra , with Orphénica Lyra and José Miguel Moreno 06 Cristóbal de Morales - Fuenllana : De Antequera sale el moro 2:58 01 Flecha - Fuenllana : La Bomba 2:49 07 Daça : Gritos dava la morenica 1:56 02 Luys de Narváez - Fuenllana : Passeávase el rey moro 4:47 08 Anonymous : Diferencias de Conde Claros [instr.] 4:48 03 Diego Ortiz - Jacques Arcadelt - Fuenllana : O felici occhi miei 3:54 09 Alonso Mudarra : O gelosia d’amanti 2:52 04 Vásquez - Fuenllana : No sé qué me bulle 2:08 10 Pisador : Si la noche haze escura 2:29 05 Flecha - Fuenllana : La Girigonça 1:59 11 Mudarra : Ysabel, perdiste la tu faxa 2:15 06 Vásquez - Fuenllana : Con qué la lavaré 6:12 12 Morales - Fuenllana : Benedictus de la missa de Mila regres 1:48 07 Vásquez - Fuenllana : De los álamos vengo, madre 2:32 13 Pisador : Endechas 2:11 14 Fuenllana : Endechas 1:17 from Música en el Quijote , with Orphénica Lyra and José Miguel Moreno 15 Enríquez de Valderrábano : De dónde venís, amore 1:25 08 Luys Milán : Pavana [instr.] 1:50 16 Mudarra : Romanesca [instr.] 3:37 09 Anonymous : Jácaras - No hay que decirle el primor 2:07 4 5 Rial_BL_Layout 1 16/03/11 21:44 Página 6 10 Anonymous : Qué bonito niño chiquito 2:20 11 Juan Arañés : Chacona - A la vida bona 2:40 from Francisco Corselli: Oberturas, Arias... , with El Concierto Español and Emilio Moreno 12 Achille in Sciro: Marcia. Allegro [instr.] 1:03 A ti, invisible ruiseñor canoro 13 Recitado 0:46 14 Aria. Andantino 11:34 Hasta aquí, Dios amante 15 Recitado 1:24 16 Aria. Allegro 6:25 17 Achille in Sciro: Ouverture. Affettuoso [instr.] 1:50 18 Lectio 2ª in Sabato Sancto 12:07 19 Lamentación 2ª del Jueves 6:09 5 Claros y frescos ríos recorded in Cuenca (Iglesia de San Miguel) and San Lorenzo de El Escorial (Antigua Hospedería) in May and September 2000 | Miguel de Fuenllana: Orphénica Lyra recorded in Cuenca (Iglesia de San Miguel) and San Lorenzo de El Escorial (Antigua Hospedería) in February and March 1999 | Música en el Quijote recorded in Cuenca (Iglesia de San Miguel) in November 2004 | Francisco Corselli: Oberturas, Arias... recorded in San Lorenzo de El Escorial (Monasterio) in February 2002 | Recording engineers: Carlos Céster, Isidro Matamoros | Recording producers: Carlos Céster, José Miguel Moreno, Emilio Moreno | Executive producer & editorial director: Carlos Céster | Editorial assistance: Mark Wiggins, María Díaz | Design: Valentín Iglesias | Cover photograph: Mercè Rial | © 2011 MusiContact GmbH 6 7 Rial_BL_Layout 1 16/03/11 21:44 Página 8 English English Vincenzo Galilei), can be felt echoes which reverber - more impressive artistic results from an unaffected that, alas, being a “prophet in her own country”, far ate right up to the present day. And it has been the declamatory style, sweet and warm, but also intimate. too few have been the occasions when she has case (as is well-known), that for some years now – This is a voice accustomed now to leaving multiple appeared on concert stages at home. actually, for some decades – the world of cultured and darts and impressions – however soft they may be – in Nuria Rial, who was born in Manresa, began her learned music has fortunately involved itself in the the listener’s heart, in a way which has turned Rial musical training in Catalonia at the age of 11, with her rediscovery of early forms of singing, those from the into one of Spain’s strongest international stars, situ - talent for singing being given clear sense of direction Renaissance and the Baroque, those of popular songs ated within a vocal scene which currently is undergo - from a point four years later. Her ongoing studies and airs, with their more natural declamatory style ing a profound change in terms of public taste and continued in Basle, not at the specialist early music and their clear accents of spontaneity. In short, with new forms of concert programming; all of which rep - institution which is the famous Schola Cantorum Nuria Rial their freshness and effervescence. As appropriate as resents a forceful alternative to traditional approach - Basiliensis, but rather at the Musik-Akademie, where the vocal forms of the Classical and Romantic eras es. If one also takes into account the undoubted the singer came into contact with musical composi - The Spanish Album certainly are for the majestic works composed in youth of the artist – coming from within the genera - tions from all periods (under the direction of Kurt those times, from a certain way of thinking, they turn tion which has produced other marvellous vocal tal - Widmer), and where she benefitted from the advice out merely to be projections – which are short of ents, from Marta Almajano, Carlos Mena, Raquel and teaching of musicians as esteemed as Christophe grace, simplicity and elegance – when they are Andueza to María Espada, who have equally Coin, Leonard Stein, Oscar Ghiglia and Sergio ... That manner of singing, amongst men, which from the applied, with limited judgement, to music from earli - embraced early music as their principal mode of Azzolini. At the age of 20 she began her collaboration beginning of time had been acquired in a natural manner, er periods. The performers, instrumentalists and expression – one will comprehend that, actually, we with the chamber choir of the Palau de la Música has never ceased to be employed. Tillers of the land and singers, have been persistent in their pursuit of are only listening in here to the exciting initial phas - Catalana, before becoming a member, a little later, of shepherds protecting their flocks through forests and over sonorities as crystal-clear and expressive as they are es of what is surely taking shape as a long and fruitful José Miguel Moreno’s ensemble Orphénica Lyra, mountains also made use of this approach to singing with removed from the leaden and affected, committing professional career. A stage in Nuria Rial’s career making with him her first recordings for Glossa, the purpose of driving that tedium – brought on by their themselves to the research, study and rediscovery of which still can be considered as a time for consolidat - including the celebrated Claros y frescos ríos , with unyielding and heavy fatigues – out from their hearts. In the performance practices of past centuries. ing expressive resources, for creating a repertory pieces by the likes of Fuenllana, Mudarra, Daça, mankind this type of singing has ever prevailed since men However, one has to say that for some performers which she can call her own – for, in truth, it has by no Vásquez, Morales and Pisador. This stage in Rial’s and women were created and all the way down to our this process has not meant a greater level of effort, as means expanded to its full set of possibilities – and career also embraced further recordings which have own times. Such singing will not come to an end until though such singers were able, from the outset, to for that progressive acquisition of vocal nuances and produced examples of her artistry for this present they – or the world itself – cease to be. count on with privileged musical tools and a special textures which only time and experience can bring. survey ( Miguel de Fuenllana: Orphénica Lyra , Música en instinct when it comes to playing on the most subtle On the other hand, this is a period for Nuria Rial el Quijote , and Francisco Corselli: Oberturas, arias, In these words about the need for a form of singing emotional keyboard. Such is the case with Nuria Rial. where the most demanding and punctilious of music lamentaciones... ; the last being with Emilio Moreno removed from rhetorical and exaggerated flourishes The instrument of the Catalonian soprano is a critics have been saluting her with their highest levels and El Concierto Español). Over the following years (which comes from the Dialogo della musica antica e sheeny voice shot through with timbres capable of of approval and where she is being acclaimed in the Rial went on to take part as a soloist in important col - della moderna by the 16th century treatise writer unfurling an exquisite range of colours, achieving most important European concert halls – except laborations with other leading current-day groups, 8 9 Rial_BL_Layout 1 16/03/11 21:44 Página 10 English English such as Il Giardino Armonico, Concerto Vocale, the more recently on Sony Classical.