11 canciones, 1 hora 8 minutos


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5.0 de 5
2 valoraciones

2 valoraciones

Julio Cesar4508 ,

Fanfare Magazine

One doesn’t think of star guitarists as coming from the former Soviet Union. Anna Likhacheva may change that. This young woman in her early 20s has the capacity for communication which marks a major artist. Like most performers in that category, she was a prodigy. YouTube has a charming video of Likhacheva singing while accompanying herself on a child’s guitar at age four. It is clear she was a born performer. Unlike some prodigies, she has not devoted herself to the mere surface aspects of her craft, but has grown into a serious and dedicated practitioner of her art. YouTube also features a March 2015 concert performance of the Fernando Sor work on this CD. It will fill you with hope and admiration for this young guitarist.
If you turn to solo guitar albums for a cultivated easy listening experience, Likhacheva’s CD is not for you. She is a richly expressive and emotional artist. Likhacheva possesses a big, deep sound, with an unusually wide dynamic range. At times her playing is volatile and impetuous, although she never compromises her acute sense of style. She can be profound and even romantic in Bach, while her Sor is filled with the elegance of the aristocratic salon. Her touch is exquisitely varied; she has a remarkable feeling for color. The qualities of romance and passion, combined with a big technique, that we associate with Russian trained violinists and pianists are exuded by Likhacheva. Whether this is the product of education or temperament, I cannot say. She also has a searching intellect, finding meaning in music that non-guitar aficionados might dismiss as mere virtuoso bagatelles. Likhacheva already seems like a Gilels of the guitar. Her future is bright.
Playing Stanley Yates’s transcription of selections from Bach’s Second Cello Suite, Likhacheva makes a sound reminiscent of the cello. Bach’s love for the instruments he wrote for rarely has been so well conveyed. In Sor’s Introduction and Variations on a Theme by Mozart, Likhacheva paces the introduction beautifully, building up anticipation. The variations are filled with huge washes of color. Pepe Romero’s version is less theatrical, and perhaps less truthful to the work’s spirit, although he makes some passages sound more fluent. Neither Likhacheva or Romero is as ruthless as Christopher Parkening, who lops off the introduction. Julian Árcas’s Fantasy on Themes from Verdi’s La Traviata finds Likhacheva suggesting Violetta’s delicate health in music from the Act One Prelude. She presents Violetta’s arias with rich emotion and color. In Luigi Legnani’s Fantasia, she holds together the work’s loose structure, fulfilling its virtuoso demands with taste and imagination. Sergei Rudnev’s The Old Lime Tree is a delicately shaded study in grays, played with wonderful subtlety. There’s even a moment evoking the balalaika. Johann Kaspar Mertz is known to me mainly for his transcriptions of Schubert songs for guitar. Likhacheva finds a Lisztian romance and beauty in his Elegy. Mario Castelnuovo-Tedesco’s Capriccio Diabolico is a homage to Paganini. Likhacheva always makes its virtuoso requirements produce an expressive quality, down to the quote of La campanella at the end. Compared to her, Norbert Kraft sounds colorless in this work.
The recital closes with two brief pieces by Manuel Ponce, performed with delicacy and tenderness. For the adventurous among you, I recommend the Latin dance band version of Ponce’s Estrellita by Edmundo Ros on his album, Hi Fi-esta. The sound engineering made by Rodolfo Berrelleza on Likhacheva’s CD is excellent, rich and warm. She is not merely an instrumentalist but a force to be reckoned with. I can think of few guitar recitals that have pleased me more than this one. Dave Saemann

Julio Cesar4508 ,

Excelente disco!

Magnifica manera de tocar de esta hermosa guitarrista!