Roberto Sierra has been on the scene for some time and has notched some major successes like the Missa Latina (2006). Yet his music ought to be better known than it is, and this trio of works, all composed in 2014 and 2015, gives an idea of why. The opening Cantares, with Aztec religious texts, including one in the Quechua language, are big, accessible choral works of the type in which Sierra has specialized, and they are highly recommended to choirs looking to diversify their repertory. The music gets idiomatic ...
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Roberto Sierra has been on the scene for some time and has notched some major successes like the Missa Latina (2006). Yet his music ought to be better known than it is, and this trio of works, all composed in 2014 and 2015, gives an idea of why. The opening Cantares, with Aztec religious texts, including one in the Quechua language, are big, accessible choral works of the type in which Sierra has specialized, and they are highly recommended to choirs looking to diversify their repertory. The music gets idiomatic performances by the unusual combination of the Xalapa Symphony Orchestra and the strong Cornell University Chorus and Glee Club. Even more interesting are the instrumental works, which involve an unusually deep fusion of Afro-Caribbean rhythms, especially of Sierra's native Puerto Rico, with quite rigorous modern harmonic worlds. The list of classical compositions employing Latin rhythms is long, but the fusion has rarely been so well thought out. The city of Loíza, the namesake of Sierra's...
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![Sierra: Cantares [Trío Arbós; Cornell University Choir and Glee Club; Orquesta Sinfónica De Xalapa; Lanfranco Marcelletti] [Naxos: 8559876]](https://www0.alibris-static.com/cover/o63808r8txd_t.jpg)
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