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VIKTORIA MULLOVA Stradivarius in Rio ONYX 4130

Toada

Linda Flor

Segue Teu Destino

Vilarejo

Luz Do Sol

Brasileirinho

Dindi

Chovendo Na Roseira

Blada De Um Louco

Tico Tico

Falando De Amor

Rosa

Por Toda Minha Vida

Viktoria Mullova (violin): Matthew Barley (cello); Paul Clkarvis (percussion): with Luis Guello (percussion) and Carioca Freitas (guitar)

Recorded August 2013, Studio Visom Digital, Rio de Janeiro

ONYX 4130 [48:25]

This is violinist Viktoria Mullova’s third non-classical album, but her first as project leader. She chose the songs, and she invited her collaborating musicians and the result is a 13-track album celebrating the best of Brazilian, taking composers such as Claudio Nucci, Jobim (of course) and Caetano Veloso and bringing new arrangements to the table. Her regular partner, cellist Matthew Barley is here, and experienced percussionist Paul Clarvis plays a multitude of instruments ranging from agogo to repanique to his more usual drums. All this add sonic colour. Luis Guello is equally versatile, taking on the pandeiro, tamborim and caixa – just for starters – and Carioca Freitas just concentrates on the guitar.

There’s a laid-back beach vibe to much of the album, simultaneously stripped down but replete with bright colour generated via the battery of Brazilian instrumentation. Toada is a genial example of the atmosphere that the group engenders – a slightly metrical improvisational violin line, one feels, and the classicism in Segue teu Destino resides in her bowing which feels somewhat constraining in this repertoire. Most of the tunes are slow-paced – the wan lyricism of Luz do sol is a perfect example - but rather more engaging when a faster-paced arrangement brings wit, as is certainly the case with Waldir Azevdo’s Brasileirinho. The lightly textured backing affords innumerable examples of instrumental felicity and I’m sure that many will find this selection of songs tasteful and redolent of a real Brazilian atmosphere.

For all that I admire her artistry, I find Mullova’s playing lacks a real improvisatory focus. It doesn’t quite feel as if she is improvising, despite the fact that she says she does. Phrases are a touch four-square and symmetrical, the classical solo violin and the local colouristics from the instrumental group never quite marrying up. It’s all very easy going, but it doesn’t quite convince me.

Jonathan Woolf

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