Pablo Heras-Casado (finally) gives De Falla the modern treatment

Pablo Heras-Casado is arguably the most remarkable Spanish conductor nowadays. His versatility is remarkable: he excels at both baroque and contemporary repertoires, and his operatic performances have been praised by critics. He has also released few but very good albums (from which I would stand out his Debussy and Mendelsohn).

For his first recording of a fellow Spanish composer, he has chosen Manuel de Falla, the most international of all Spanish music makers. For the occasion, he decided to tackle El sombrero de tres picos and El amor brujo, definitive landmarks in his catalog.

That being said, the album is significant for the Granada-born conductor and you can feel it when you listen to it. This decidedly modern take on De Falla’s music has long been overdue. Sometimes I feel that composers like De Falla or Bartok (and even Stravinsky!) often get undervalued due to the inclusion of folklore in their works. Since De Falla was able to write music that featured tinges from Flamenco and other traditional Spanish genres, some conductors play it as a gimmick or an artifact -something of lesser value compared to the works of his contemporaries.

Heras-Casado has managed to give justice to De Falla’s compositions by highlighting their modern edge: the fierceness in the strings and the impressionistic tone he got from the winds is nothing but striking; the dynamic range is also meticulously balanced, and one can sense a certain daring approach amongst the musicians.

In this regard, the maestro found a suitable partner in the breathtaking virtuosity of the Mahler Chamber Orchestra. These scores ask for technical proficiency, and the musicians were up to the task. 

El sombrero de tres picos and El amor brujo were conceived as scores for ballets -music that is meant to be danced to. Rhythm is the backbone of these pieces and it is very well managed by Heras-Casado, indeed. However, the richness of De Falla’s music transcends any functionality or extra musical goal other than being appreciated as works of art that thrive on its paradoxes: refined yet wild, sophisticated yet primitive, challenging yet pleasing.

As to previous recordings, many have considered the one made by the Montreal Symphony Orchestra led by Charles Dutoit as the definitive, but while competent, I feel that it does not meet De Falla’s radical intentions (especially with its vocalist’s awkward phrasing).

The choice of Marina Heredia as the singer in El amor brujo is eloquent to the loyalty Casado pays to De Falla’s work. She is a renowned flamenco singer, not a classically trained one, and her impassioned voice impregnates this already mesmerizing music with an alluring authenticity.

Pablo Heras-Casado and the Mahler Chamber Orchestra have finally treated Manuel De Falla’s music with respect. There is no condescendence, no embellishing, no exotism. These are modern masterpieces and they are performed as such: invigorating music that is heard through your skin. 

De Falla by Heras-Casado is a particular sensual experience, one that delights you on the brink of danger.