“Andrew Garland, Javier Abreu and Jeremy Reger lend their inimitable and powerful skills to compositions by Gabriela Frank and Dmitri Shostakovich here, who transformed Spanish language song via their ingenuity to song craft.

“Cantos de Cifaryel MarDulce (Songs of Cifar and the Sweet Sea)” opens the listen with Garland’s soaring baritone that’s illuminated by Reger’s alluring piano across the diverse 8 chapters, and “Las Cinco Lunas de Lorca” follows with a duet that allows Abreu’s tenor to add another dimension to the emotive and powerful landscape.

“but the quality of the compositions and precise singing and piano prowess make for a captivating listening experience.”

https://takeeffectreviews.com/january-2023-2/2023/1/18/andrew-garlandjavier-abreujeremy-reger

 

“This fine recording features performances of great versatility and power from baritone Andrew Garland”

“Frank’s substantial song cycle, Cantos de Cifar y el Mar Dulce…demands any number of vocal styles and theatrical flourishes, all of which are delivered with total conviction by Garland.”

– Kate Wakeling – BBC Music Magazine – Oct. 4, 2022

“Baritone Andrew Garland proves a committed and expressive exponent of [the songs’] unique amalgamations.”

“Garland alternates resonant lyricism with brash insistence, delicate high notes and occasional falsetto…He’s creepy and insinuating in the deadly interrogation of “Tomasito, el cuque: and brings sweetness to the a cappella ‘El niño que yo fuí.’”

– Joanne Sydney Lessner – Opera News, January 2023

“The enormous fortune of having a baritone of Andrew Garland’s caliber to interpret this delicate music is a winning one. He is the soul of the music, and he is the one who transforms every single interpretation into a special event.”

“One cannot imagine a better interpreter for this score”
“the CD remains an impressive document of the capacity to produce seductive and fascinating music by Gabriela Lena Frank, making it an easy recommendation.”  – EarRelevant.net

“The most distinctive scenes are those involving Andrew Garland and Kirsten Chambers. As the suffering Prior Walter, Garland deployed a versatile, muscular baritone. Garland was at his best in Act II, when he turned into a convincing, if unwilling, prophet  and showed an impressive falsetto.” — Opera News, September 2017