Che Corazon

Che Corazon

ASIN: B00000IMYS

Track Listings

1. Introduction

2. Cristiano

3. I Want You

4. Seven Servants

5. Blue Eyes

6. Eclipse

7. 1812

8. The Woman OnThe Lake

9. Rosa

10. Sweet Glenda

11. Encounter

12. Auld Lang Syne

13. Finale

Editorial Reviews
From Jazziz
Gato Barbieri's last release, the smooth-jazz success Qué Pasa?, reasserted the Argentinian's chart presence after a 10-year absence from recording. However, unlike Philippe Saisse's technology-heavy production for that disc, Che Corazón emphasizes the human quality of barbieri's sound, seemingly affirming the tenor saxophonist's renewed commitment to life.

While his lustrous tone possesses the romantic passion of an operatic tenor, Gato's powerful presence still has the sonic thrill that listeners associate with the tenor saxophone. His sense of the "long line" in improvising - a process that his old associate Steve Lacy once called "taking a line for a walk" - adorns some ravishing melodies here. "Encounter" has warm instrumental colors, courtesy of Mike Ricchiuti's keyboards, and features the ace percussion team of Sammy Figueroa and David Charles. "Seven Servants," a darkly mysterious Barbieri composition, is given an expansive orchestral arrangement by producer Chuck Loeb, who also contributes fluid guitar work throughout.

Loeb is a worthy collaborator on Corazón. His arranging devices, such as the low-register keyboard dance half-way through "The Woman on the Lake" and the seductively mesmeric opening of "I Want You" (done in tribute to Gato's late friend, Marvin Gaye), show him to be a sympathetic elucidator of Barbieri's music. His string writing on Gato's joyful take on "Auld Lang Syne" is an eloquent expression of happiness. The latter permeates all of Gato's music, throughout a rich career that spans more than three decades. Che Corazón is a wonderful gift from a master.

Customer Reviews:

The soprano with the "scimitar glint" in her voice.......2003-11-22

Pilar Lorengar may not be as famous as her Spanish Counterparts, Victoria De Los Angeles and Montserrat Caballe. But, opera afficionados still treasure her. The reasons why are elaborately laid out on this two-disc recital. The first disc is dominated in the first half by Puccini arias. Since these are famous arias, it would be easy to sing them in a conventially pretty manner. Instead, Lorengar offers wonderful interpretations of such arias as Un Bel Di and a personal favorite, Senza Mamma. She may not be able to belt it out like some of her peers, but she invokes a true sense of artistry. The same can be said for her Mozart- just listen to the aching way she sings the first line of Dove Sono- "E Susanna non vien..." Another standout is Come Scoglio, which she sings with great flair and drama. My only gripe, which is why I gave this recital 4 stars instead of 5 is that, alas, there is nothing from one of her greatest roles, Donna Elvira. It is very baffling why the linear essay makes mention of how successful her Met debut as Donna Elvira was, but nary an aria made the cut for the first disc. However, if you want to hear her interpretation of this great role, buy the highlight disc of Don Giovanni, which is readily available, for budget-price. The disc also features Sutherland and Horne.

Two other favorites from this disc are the moon aria from Rusalka, as well as the duet from Arabella, which is heartbreakingly beautiful. Thankfully, she is paired up with Arleen Auger, an accomplished artist in her own right.

The second disc of Zarzuela is wonderful as well. Especially wonderful are the Tonadillas. Just Lorengar's lovely voice, and Alicia Dellarocha's piano. Very relaxing to listen to...

Sadly, Lorengar is no longer with us, but her artistry is her, for us to treasure.

Glorious tribute to sadly neglected singer.......2003-07-08

Although known among opera aficianados, Pilar Lorengar never reached the heights of fame and name recognition as her contemporaries Callas and Sutherland. This has lead to an unfortunate dirth of Lorengar on CD, and which makes this compilation most welcome. Although never an operatic superstar, Lorengar had a magnificent instrument: soft, creamy, dramatic when necessary, and always charming. Fortunately she had a long career with Decca and made some magnificent recordings, many of which appear on this delicious two-CD set. I think few can fail be to moved by her near-perfect Mimi, her touching Cio-Cio San (infused with just the right amounts of pathos and fortitude, her ravishing Mozart interpretations, and her silvery reading of Korngold's "Gluck, das mir verlieb". The second CD is entirely made up of her specialty repertoire of songs from her native Spain, and these, while maybe not quite as familiar, are also a delight. Hopefully this compilation will make her better known to casual opera fans who only listen to Callas or Fleming simply because they're better-known names; this has been a much-needed release!
P.S. - For those who would like an inexpensive introduction to Lorengar in a complete operatic role, it has come to my attention that Decca is re-issuing her fantastic "Cosi Fan Tutte" (conducted by Solti) in its "Compact Opera" series very soon. The cast, which also includes Berganza, is perfect and Solti's conducting right on the mark. Keep your eyes open for it!

One of the great sopranos.......2003-06-16

Pilar Lorengar is the best Spanish soprano of the last fifty years. Her silvery voice, beautiful vibrato, and clear phrasing are something to behold. Her Rossini's Stabat Mater (with Pavarotti, Minton, Sotin, Kertész cond) is the best version of this work. Her Traviata (Maazel cond.), Don Giovanni (Bonynge cond.), and Gounod's St.Cecilia Mass (Hartemann cond.) are superb. But I believe the best Lorengar is in her early zarzuela recordings, where her voice had, apart from all its other qualities, a young, sweet, candid tone that touched the listener, and her vibrato evoked a fountain of fresh, clear water. I hope some recording company produces a CD set with her zarzuela arias, and pieces with other soloists. Meanwhile, the present Decca two-disc release is very welcome.

One of the great sopranos.......2003-06-16

A Passionate and Elegant Soprano.......2003-04-29

At last, Decca has made amends for ignoring this magnificent artist by releasing a 2-disc set of some of her best recordings of the 60s and 70s. Actually I dont think Lorengar ever made a bad or even an uninteresting recording. She was a superb lyric who was the equal of Freni, and far more versatile. A star at the San Francisco and Berlin Staatsoper, Lorengar enjoyed a long and successful career. Her appearances at the Metropolitan Opera were events. I saw her as Desdemona, Elsa, and Fiordiligi, and she was wonderful (how sad that I missed hearing her there in the 60s).

There was some controversy about her singing. Terry McEwen, her great supporter at London records in the United States, loved what her called her "shimmering" top, that reminded him of the great German lyrics, Schwartzkopf, Reining, Lemnitz, Muller, Janowitz,etc. Some found that gorgeously blooming top to contain a beat, or a slight wobble. Nothing could be further from the truth. That top, coupled with her superb diction, and excellent vocal technique and outstanding breathing, made her one of the most distinctive voices of her generation. The top was pure sunshine with a throb. Nobody sounded remotely like her. I loved her singing.

I wish Decca had released all her fine recordings for that company in a multi-disc set. Perhaps they were worried that it wouldn't sell. Her first recital of Italian and French arias, the Prima Donna in Vienna album, as well as her Spanish song recital with the incomparable Alica de Larrocha, and her final Decca recital were all superb, and might have fit on three generous CDs. Here we get bits and pieces from all the LPs, plus arias from some her her complete recordings on Decca. So we're missing such treasures as her arias from THE PEARL FISHERS, DON CARLO, and other important items.

I don't care. Lorengar's superb singing of arias from MADAMA BUTTERFLY, LA BOHEME, LA RONDINE, LOUISE, RUSALKA, LOHENGRIN, DIE ZAUBERFLOTE, COSI FAN TUTTE, ARABELLA (with Arlene Auger!) and others (plus a generous selection of that famous Spanish song recital), make the point abundantly clear. No matter what language Lorengar is singing, she touches the heart.

Today's lyrics could learn a lot from listening to these superb selections. Lorengar's beautiful legato singing is married to the text of each item she sings. Here is a lyric with a strong middle to go along with the bottom and top ranges. She and her conductors never dawdle, pulling at the rubato as though it were Turkish Taffey such as Renee Fleming (who has an compellingly beautiful voice which she undermines with deadly slow tempi and and overly complicated phrasing).

Lorengar was intermittently busy in the recording studios throughout her long career. If you can find her recording of THE BARTERED BRIDE (EMI and in German, rather than the original Czech), grab it. She's a superb Pamina and Fiordiligi for Solti (Decca). On Fritz Wunderlich's Gala CD set, she partners him brilliantly in a live recording of the Act one duet from MADAMA BUTTERFLY. I'm a huge fan of her work on the Maazel-led LA TRAVIATA (also on Decca). She was still in superb voice in the mid to late 80s in a live Zarzuela concert with Placido Domingo (Sony). And near the end of her career, she still stunned in the famous LES HUGUENOTS duet at a Richard Tukcr gala with the emerging Richard Leech. Sadly, she died in her late 50s, a victim of cancer.

Tracks:

Introduction
Cristiano
I Want You
Seven Servants
Blue Eyes
Eclipse
1812
The Woman OnThe Lake
Rosa
Sweet Glenda
Encounter
Auld Lang Syne
Finale

Customer Reviews:

Gato is to be felt .. not analysed.......2006-06-16

This is one of those cd Im glad in having because I do not need any reasons to hear it.. if im going to hear it its because its sensual and Im in the food of feeling good and nothing more..

Great. Best of '99 Smooth Jazz.......2004-01-01

Gato...hit or miss in my opinion. I love this CD. It's more than smooth. It's slick and very sexy. I have never gotten so into a CD as i was with this. I have the cheesy 70's material from him, and it pales immensely next to this music. I love everything with the exception of the bad version of Auld Lang. It just doesnt fit. I love the song Blue Eyes. It takes me to Argentina, and puts a colorful fruit drink in my hands. It makes me feel like i'm standing under a waterfall. How can any song do that you ask? Listen to this one and find out for yourself. Enjoy it. This disc might be the last one to take you on such a journey...at least from this artist. A-

Che So-so.......2000-08-01

I'm a long-time fan of Gato Barbieri and think I've heard everything he's done. Over the years, his albums have ranged from outstanding to insipid. Che Corazon ranks between these extremes. Bernie Mases, an old high school buddy and music maven recommended this to me proclaiming it better than "Que Pasa". In this, I can't agree. The album has some undoubtedly strong points but lacks the overall musical "vision" of its predecessor. One song, "I Want You", single-handedly knocks a star from the rating. I call it "elevator soul", and back-to-back with "Cristianos", the album starts off like it will be full of the soft jazz bilge one hears nationwide on so-called "smooth jazz" stations. "I Want You", as performed here, is 180 degrees from the great instrumental it is on Caliente. Fortunately, the album gets better. Blue Eyes contains shreds of the Gato of old, while Sweet Glenda will take you way back, with a syncopated beat and some stacatto bursts for which Barbieri is famous. Encounter, The Woman on the Lake, and 1812 are also pleasant reminders of how great Gato can be. Auld Lang Syne has no real purpose here and in fact is quite obnoxious. I'm just thankful Gato didn't decide to add Amazing Grace. There is enough good music on the album to make it worth owning, but its quite the mixed bag and should be renamed Che So-so.

Bravo, Gato!.......2000-01-23

"Che Corazon" is wonderful, melodic album. This was second surprise from Latin music. First in 1999 was "Supernatural" Carlos Santana.

Gato's Best Ever!.......1999-12-01

I have been a faithful follower of Gato's music since "Caliente" and the most beautiful love song ever written, "Europa". Gato is such an incredible saxophonist. The passion that he pours into his instrument is like none other. "1812", "Rosa", "Encounter", "The Woman On The Lake", "Blue Eyes" and his remake of Marvin Gaye's classic "I Want You" are spectacular. Gato has taken smooth jazz to another level. Buy this and just let it play...

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