Duets with Spanish Guitar
| Duets with the Spanish Guitar | ||
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| Studio album by Laurindo Almeida | ||
| Released | 1958 | |
| Genre | Classical | |
| Length | 55:18 | |
| Label | Capitol | |
| Producer | Robert E Myers | |
| Alternative cover | ||
1990 release
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   |
Duets with the Spanish Guitar is an album by the Brazilian guitarist Laurindo Almeida, with the singer Salli Terri and the flautist Martin Ruderman. It was originally released by Capitol Records in 1958.
Allmusic awarded the album with 3 stars. The recording has often been described as a masterpiece and won an award for Best Engineered Classical Album at the 1959 Grammy Awards for the recording engineer, Sherwood Hall III. The singer Salli Terri was also nominated for Best Classical Vocal Performance at the awards. It has been reported that upon hearing her version of "Bachianas Brasilieras No 5" from the album, the composer Heitor Villa-Lobos stated that he considered it to be the best recorded performance of the work. In 2010, Duets with the Spanish Guitar was inducted into the Fanfare Magazine Classical Recording Hall of Fame.
In her recent memoir Simple Dreams, singer Linda Ronstadt discusses Duets With the Spanish Guitar and notes that her aunt, the renowned Spanish singer Luisa Espinel was a friend of vocalist Salli Terri: "Knowing I wanted to sing, Aunt Luisa had sent me a recording, Duets with the Spanish Guitar, which featured guitarist Laurindo Almeida dueting alternately with flautist Martin Ruderman and soprano Salli Terri. It became one of my most cherished recordings." Ronstadt further states that her aunt Luisa was a friend of Terri's and had helped her with research material for her recordings, coached her Spanish pronunciation and loaned her authentic performance costumes.
The recording is also cited in the Diane Wood Middlebrook biography of poet Anne Sexton: "They discovered they shared a passion for Laurindo Almeida’s guitar rendition of Villa-Lobos’ “Bachianas Brasileiras.” For years afterwards, the fluting voice of Salli Terri on that recording expressed for Sexton an epitome of feeling, a purity the poetry could never reach; its wordless rapture stood for the liberty of those days with Anne Wilder."
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Wikipedia