also be searchable as "Daniel Catan", Fuentes-Berain, Doss Florencia in the Amazon Genre:Classical Mexican composer Daniel Catan's Florencia was an enormous hit when it was premiered in Houston in 1996, and it's easy to see why. The plot of the 99-minute opera involves a riverboat sailing up the Amazon to the opera hous... more »e in Manaus. Onboard are the diva, Florencia (in disguise), who, 20 years before, left the area and Cristobal, the man she loved; a writer named Rosalba, who is writing a biography of Florencia, but does not recognize her; a middle-aged couple trying to rekindle the love they once had; and the captain, his nephew, and a mysterious river creature named Riolobo. There is a violent storm, and at the end, no one can leave the ship because there's been an outbreak of cholera in Manaus. All along, there had been tinges of mysticism, but it really takes hold in Florencia's final scene--her spirit wafts towards her long-lost love. The librettist refers to the story as "magical realism," and it's an apt description. Catan's harmonies and melodies are exquisite, the orchestration is as lush as the Rain Forest, the vocal lines singable and memorable. The entire cast is wonderful; Patricia Schumann's Florencia is particularly moving, and Mark S. Doss as the mysterious Riolobo is properly fascinating. Highly recommended. --Robert Levine« less
Mexican composer Daniel Catan's Florencia was an enormous hit when it was premiered in Houston in 1996, and it's easy to see why. The plot of the 99-minute opera involves a riverboat sailing up the Amazon to the opera house in Manaus. Onboard are the diva, Florencia (in disguise), who, 20 years before, left the area and Cristobal, the man she loved; a writer named Rosalba, who is writing a biography of Florencia, but does not recognize her; a middle-aged couple trying to rekindle the love they once had; and the captain, his nephew, and a mysterious river creature named Riolobo. There is a violent storm, and at the end, no one can leave the ship because there's been an outbreak of cholera in Manaus. All along, there had been tinges of mysticism, but it really takes hold in Florencia's final scene--her spirit wafts towards her long-lost love. The librettist refers to the story as "magical realism," and it's an apt description. Catan's harmonies and melodies are exquisite, the orchestration is as lush as the Rain Forest, the vocal lines singable and memorable. The entire cast is wonderful; Patricia Schumann's Florencia is particularly moving, and Mark S. Doss as the mysterious Riolobo is properly fascinating. Highly recommended. --Robert Levine
CD Reviews
Lyric Beauty and Magical Realism
Allen Ruch | Brooklyn, NY USA | 01/08/2003
(4 out of 5 stars)
"A work of great beauty and power, Daniel Catán's "Florencia en el Amazonas" is the composer's second opera. Loosely inspired by Gabriel García Márquez's "Love in the Time of Cholera," the opera follows the story of Florencia Grimaldi, an aging opera singer who embarks upon a steamboat journey down the Amazon River. As the journey progresses, the boat is beset by pink rain, foul waters, and the threat of a cholera epidemic. As Florencia and her fellow travelers are carried deeper into the jungle, they experience various revelations, until finally the diva's spirit is transformed into a vast, emerald butterfly."Florencia en el Amazonas" is, in a word, beautiful. Free from the mawkish sentimentality that too often passes for beauty in today's world of pop ballads, film scores, and Disneyfied neo-Romanticism, "Florencia" possesses the artful beauty of traditional opera; a form that, at its best, values grace, craftsmanship, and lyricism over the sugar-high of instant gratification. Comparisons with late Puccini are inevitable and certainly apt, but much of Catán's score touches upon the flowing Impressionism of Debussy and the vibrant colors of Ravel as well. It also contains some engaging touches quite compelling to the modern ear -- frequent marimbas add a slightly exotic flavor, and the percussion section underscores the music with intriguing Latin rhythms. Catán scores the opera for a relatively small orchestra, which adds a sense of precision and punch -- the strings never dominate, and each instrument is clearly articulated. The music simply shimmers, occasionally opening up into an expanse of surging sound, floating the vocals aloft on an iridescent wave of color.Happily, Catán's vocal writing is well-matched to his orchestral fluency. Catán is a believer in old-school lyricism, and while much may be said for the astringent vocal gymnastics or Broadway influences of some modern opera, it comes as a delight to hear a work that takes pure, unadulterated pleasure in a flowing, beautiful line. Arioso blooms to aria with an unaffected grace, voices entwine around each other like lovers, and not a line feels clumsy or out of place. Still, while "Florencia's" lyricism might represent a welcome return to the Italian mode, there's really no single moment that particularly stands out. If "Florencia" has echoes of both "Turandot" and "Pelléas et Mélisande," I would have liked to hear a little more of the former than the latter, at least in the vocal writing.But again, compared to the vibrant tapestry of the whole, this comes as only a minor quibble. "Florencia" is a wonderful work, one that deserves to find its voice through numerous productions. Its subject matter, too, is worth a few words of praise: it is a delight to see a modern opera so full of innocence and wonder; and if the soprano has to die in the end, then what's wrong with transforming into a giant butterfly? "Florencia en el Amazonas" stands as a hopeful reminder that love, faith, and beauty can be liberating powers in a world all too trapped in its own cynicism and irony."
A very well defined operatic voice
ldfr79 | Toledo, OH United States | 03/10/2003
(5 out of 5 stars)
"I first discovered this opera during a car ride on a Saturday afternoon. It was one of those NPR moments that so many of us have: I couldn't leave the car until I found out what this amazing music was! After I heard the title, I called a friend of mine who was in the process of calling me to tell me he thought I would love this new opera. Both of us were held captivated by this unusual music.The first word that comes to mind in regards to this opera is LUSH. The orchestration is full and inventive. The vocal writing is straight out of Puccini, colored by Copland and the Latin melodies of South America. While both operas are very good, this ones clearly is a leap ahead of it's sibling "Rappacini's Daughter". The pace is more flowing, the contour more smooth, and the performing forces much more comfortable in the opera medium.You cannot go wrong with this recording, and I anxiously await Catan's next masterpiece."
Gorgeous Music!
Ralph B. Ellis | Los Angeles, CA | 06/21/2003
(5 out of 5 stars)
"I saw this opera four times when it premiered in Los Angeles and loved every minute of it. I have been waiting years for a recording. Loved this recording!"
Beautiful music!
D. J. Edwards | Cheshire, CT United States | 08/02/2005
(5 out of 5 stars)
"I can't help wondering why this great work has not appeared in New York, either at City Opera or at the Met! To me it is virtually a miracle that a composer in late 20th century can compose such beautiful flowing melodies with a good plot in the bargain. Patricia Schuman has luscious music to sing and she does it brilliantly. There is not a weak link in the performance. Summers and the orchestra walk away with the highest of honors doing justice to themselves and to the score Catan has composed for them. I cannot imagine a more superb production and presentation of this opera which absolutely belongs on your opera shelf. In this August's "Opera News", the author, Gavin Bortchert gives all the credit do to Albany Records for recording this work and to Houston Grand OPera for having the foresightedness to join albany in this Cd release. Seattle Opera and Houston Grand Opera have had a series of sellout premiere's and revivals of this work. While we wait for it locally, we have these wondrous CD's to enjoy and revel in. This recording is worth your hearing and purchase!!!!"
Impressionist Florencia
S. Skalany | Houston, TX United States | 10/31/2004
(4 out of 5 stars)
"The music in Florencia reminds me a lot of Debussy and Satie. The music displays a lot of impressionistic influences. Even though the music is beautiful, mostly the voice seems to take precedence throughout the piece.
I recently attended the world premiere of Catan's new opera "Salsipuedes" in the Houston Grand Opera. I enjoyed it much more than Florencia. It has a lot of Caribbean sounds and the arias are well paired with the music. I look forward to a release of Salsipuedes, do not miss it if it comes to a city near you."
