Of the many available renditions of Joaquín Rodrigo's evergreen Concierto de Aranjuez, few stand out like guitarist Sharon Isbin's impressive performance with José Serebrier and the New York Philharmonic. Isbin's exquisite playing carries the piece, and her refined technique, clear execution, subtle timbral control, and tasteful expression sustain interest throughout. She especially holds the listener's attention in the Adagio by playing the ornamental lines with a great variety of colors and carefully nuanced dynamics. The ...
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Of the many available renditions of Joaquín Rodrigo's evergreen Concierto de Aranjuez, few stand out like guitarist Sharon Isbin's impressive performance with José Serebrier and the New York Philharmonic. Isbin's exquisite playing carries the piece, and her refined technique, clear execution, subtle timbral control, and tasteful expression sustain interest throughout. She especially holds the listener's attention in the Adagio by playing the ornamental lines with a great variety of colors and carefully nuanced dynamics. The orchestra's bright accompaniment also must be commended, and Serebrier's tight pacing prevents the work from slipping into ponderousness or sentimentality. Concierto de Aranjuez is clearly the main draw, but the more interesting pieces are the technically quirky but dramatically effective Concerto by Heitor Villa-Lobos and the dynamically orchestrated Concierto del sur by Manuel Ponce -- two fabulous guitar concertos that may hold appeal if Rodrigo's classic seems old hat. Isbin...
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