Julieth Lozano Rolong, João Araújo - Alma: Ibero-American Songs (2025) [Hi-Res]

Tracklist

01. Milonga de dos hermanos
02. Canción de cuna India
03. Alma mía
04. Te quiero dijiste
05. Uirapuru
06. Azulão, Op. 21
07. 5 Canções nordestinas do folclore brasileiro: No. 1, O' kinimbá
08. 5 Canções nordestinas do folclore brasileiro: No. 5, Engenho novo
09. 7 Canciones: No. 1, La noria
10. 6 Canciones portuguesas: No. 2, Ai que linda moça
11. Canciones españolas antiguas: No. 5, Las morillas de Jaén
12. Canciones españolas antiguas: No. 8, Nana de Sevilla
13. Canciones clásicas españolas, Vol. 3: No. 6, El vito
14. Clavelitos
15. Canción de cuna para dormir a Albertico
16. Rojo
17. Promesas para que duermas
18. Rima
19. La campesina
20. Cuatro preguntas
21. 3 Canções, Op. 7: No. 1, Os salgueiros
22. Canções do sol poente: No. 2, Embalando o menino

SOMM Recordings is excited to explore the fascinating and largely unknown repertoire of Ibero-American art songs.

A shared passion for showcasing hidden jewels of Latin American song inspired the collaboration of Colombian soprano Julieth Lozano Rolong and Portuguese pianist João Araújo, who began their partnership while studying at the Royal College of Music. Julieth received the 2018 RCM President’s Award presented by RCM President, HM King Charles III. She won the Dame Kiri Te Kanawa Audience Prize in the 2023 Cardiff Singer of the World competition and was recently named one of Opera Wire’s Top Ten Rising Stars. João was awarded best collaborative pianist prizes at the Concours Musical International de Montréal in Canada and the Maureen Lehane Vocal Awards at Wigmore Hall, and he has been nominated for the Gerald Moore Award.

Their recital includes songs in Spanish and Portuguese from seven countries. Reflecting Argentina is “Dance of Two Brothers” by the Impressionistic composer Carlos Guastavino, and “Canción de cuna india,” a haunting lullaby by Gilardo Gilardi, inspired by Argentina’s indigenous music. María Grever was the first Mexican female composer to gain international success. Her innate melodic gifts are evident in “My Soul” and “You Said ‘I Love You’.” “Uirapuru,” by Brazilian composer Waldemar Henrique, describes the song of the so-named musician wren, while the evocative “Bluebird” by compatriot, Jayme Ovalle, was embraced by sopranos like Victoria de los Ángeles and Montserrat Caballé, and baritone Gérard Souzay. Ernani Braga’s gift for transforming Afro-Brazilian musical elements is underscored in a song reflecting Brazilian folk religion and a sugar-mill workers’ song.

The simple originality of Spanish composer, María de Pablos Cerezo, who tragically spent her final decades in a mental institution, is heard here in “The Water Wheel.” Ernesto Halffter’s much-admired arrangement of a popular fado, “Oh, What a Beautiful Girl” is followed by two selections arranged by the Spanish poet and playwright, Federico García Lorca: “The Moorish girls from Jaén” and “Sevillian Lullaby.” Barcelona native Fernando Obradors conjures the Andalusian dance, “El vito,” and from zarzuela composer, Joaquin “Quinito” Valverde Sanjuán, we have his sublime “Carnations.” “Lullaby to Put Albertico to Bed” and “Rojo,” a description of sunset, reflect the folkloric research by Venezuelan musicologist-composer, Modesta Bor. Colombia is represented by the haunting lullaby, “Promises So You Can Sleep” from Luis Carlos Figueroa Sierra; a loving picture of a country girl, “La campesina,” by Jaime León Ferro; and “Four Questions” from a heartbroken lover by Pedro Morales Pino. The recital ends with two songs from Portugal. “The Willows” by Luis Costa is one of the gems of Portuguese art song. Finally, from António Fragoso, a victim of the 1918 influenza epidemic, we have “Cradling the Little Boy.”

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