Nina Pastori

Es un disco con una calidad musical apreciable. Es un ritmo poco común pero muy agradable al oido.

I think these popsongs show the typical Spanish. I'm a teacher of Spanish and I want to include the music and the texts into my teaching.

I treasure this CD and listened to it all summer long, looking forward to everytime I could get in my car alone and sing along at the tops of my lungs. I am a fan of world music of many sorts, french and latino female vocalists, as well as singers like Sade and Gilberto. I have always loved Flamenco and all the percussions. This CD seems to have been meant for me, blending together a mixture of both raw and glamorous, simple and grand, sexy slow and at other times, fast, dance music. Her voice is so sensuous and deep. As stated, I have a lot of fun listening to Nena. She transports me and makes me feel myself in an exotic place and mental space.

I found Niña Pastori by chance. She is wonderful, her interpretations of these song are extraordinary. I love all, but especially ¨Lo Eres Todo¨
Bravo Niña, Ole!

I bought this album because of the first three songs:
-The version of "Burbujas de Amor", originally sung by Juan Luis Guerra, which I heard over the radio here in Lima.
- The version of "Vivir sin aire" a Song from Mana, a Mexican group.
- Lo Eres Todo

I discovered a beautifully performed version of Ana Torrona's (Ex Mecano) "Hoy Igual que Ayer", which, I think, outperforms the first three.

Then you have Serrat's Mediterraneo. What can I say? Beautiful.

Well, my sugestion, get this Jewel!.
Great CD.

I have several of Nina Pastori's albums and was curious to see what this latest release was about. Her fifth album ("no hay quinto malo") seemed to me a couple of notches below the fourth one so I was reluctant to get this one, especially when I found out it was a cover versions cd. I said to myself "ouch, there she goes too....lack of inspiration, go for the cover of classics". I have heard so many top artists doing that with poor results that I was highly skeptical for this one...

This happens to be a remarkable album. Nina interprets ten selected masterpieces of Spanish songs (by that meaning not only from Spain, but also from other Spanish speaking countries-artists), and the result is unexpectedly brilliant. You will find her own version of Mediterraneo from Joan Manuel Serrat, an older tune, but also fairly recent songs such as "Cuando nadie me ve" from wonder boy Alejandro Sanz. These two artists are from Spain, but you will also hear a lively version of Dominican Juan Luis Guerra's "Burbujas de amor". Or a cover from a song from Mana (Mejico). The strength of this cd is that it is innovative (I don't remember anybody else doing this type of covers before), and that it is not the typical cover cd: either carbon copy of the original tracks (what's the point then?) or completely tasteless and dull, and we also get a load of that every now and then. In fact, this is a great tribute to artist who create and express themselves in Spanish. Sure, you get the "nuevo Flamenco" touch on each track, but the performance is on target, as well as the production, making it a wonderful 38 minutes journey.

My personal favourites ? "lo eres todo", "Mediterraneo" and "Pajaros de barro". But the whole album is in fact a great one and you should also get it. Thanks Nina for risking yourself in these marvelous woods of great songs and giving them a new life ! Un abrazo.

not an expert on flamenco music, but this is probably one of my favorite cds now!!

each song is just cute, the lyrics are nice and the cd is very enjoyable. I have listened to it more than a 1000 times.

I love number 2.. Una Cartita de amor. that is the sweetest song I have ever heard.

I really hate to be the guy to give this album a lower rating, but.... Yes, "La Nin~a" has a very flamenco voice, is an accomplished singer, etc. - but unfortunately so much of what she has to offer is wasted in this album. This is flamenco kitsch, specially engineered to appeal to a youthful Spanish mass market by the album's producer, Paco Ortga, a man with much more of a nose for money than an ear for flamenco. However, trying to make La Nin~a Pastori into a Spanish Britney Spears seemed to help make this album become the biggest seller of any flamenco singer in Spain. Nevertheless, just because an album is immensely popular and enjoys commercial success in Spain does not automatically establish its merit within the flamenco idiom, whether "new" or traditional, and this recording follows in the footsteps of albums past produced by other flamenco artists who enjoyed great success by commercializing (i.e., "dumbing down") their product; e.g., Peret, Marisol, Bambino, even the legendary and indisputably great Manolo Caracol.

Thankfully, "La Nin~a" broke with Paco Ortega and has followed-up on the success of "Eres Luz" with her latest release, "Can~ailla" ((c)2000, #7 4327155402 6) an album that is also very modern but much more infused with the authentic earthiness of flamenco, due in no small part to the ablum's new producers, which include Jose Miguel Carmona. You'll hear on "Can~ailla" what Nin~a Pastori is really capable of, starting with the first cut, a buleria on which you can hear Vicente Amigo sing (and damn well at that). "Can~ailla" is "new flamenco" at its best, not the kitschy pap that most of the cuts on "Eres Luz" represent. I hope Amazon.com will start carrying it soon so that it will be available to a wider audience - and because compared to "Eres Luz" it will be a revelation.

Imagine Carmen Linéares voice with music in the style of Cameron de la Isla.

I was in Spain on holidays when this CD was released. The stir that it created, even amongst the Spaniards was nothing seen with typical western music. After the first bars of the opening song I was instantly hooked on the Pastori spirit. Her musicians are amazing at bringing such skill and passion to a voice created by the history of gypsy folklore. Grab this CD, close your eyes and become swept away by the spirit that is Andalucia and its character.

Well, I am not the first in comment this disk, then I will say something in Spanish, in order to be the first to do it in Spanish. Niña Pastori promete muchísimo, es aún muy joven, tiene la voz flamenca necesaria para triunfar y personalidad en su canto. En América aún es desconocida, pero este excelente disco apunta a que pronto triunfará por estos lares.

I like the music but if I could hear the whole album I'm sure I'd enjoy it better. The CD is defective and I've written to titanmusic about it, but they have not replied to me!

Nina Pastori has created a mesmerizing blend of styles, including flamenco, pop, and hints of Cuban piano and rap. The more traditional flamenco production on Aire de Molino and Dulce Canela are held together by shimmering flamenco guitar of Jerez guitarist Moraito and the sharp handclaps knowns as "palmas." Other songs such as Gira y que gira feature edgier electric guitars, or hyped-up flamenco like De boca en boca, which preserves the rhythmic handclaps, but pushes a more aggressive sound through drums and electric bass. The quiet, haunting De mil colores features a layered chorus accompanied only by flamenco guitar and percussive handclaps. Tu dime opens with an electric violin solo, but again is buoyed by handclaps and guitar, albeit with a more modernized flamenco sound. At times, she plays with traditional flamenco rhythms, stretching them out, or tossing in Cuban piano in Tu dime.

Pastori's voice is capable of carrying most of the songs, but on occasion, as I find to be common with other flamenco singers, she comes off as nasal and thin and nearly off-key. However, it seems to be a common feature in the rough, vocally demanding style of cante jondo, and did not interfere with my enjoyment of the CD. Pastori really shines on slower ballads, and the excellent flamenco guitar makes up for any other shortcomings.

I liked Eres Luz a lot and Maria is just as beautiful and well put together. True talent and quality from la Nina Pastori

Nina Pastori's Maria is an incredible disc that integrates musicality into flamenco music. While Pastori's 1998 release Eres Luz consisted solely of guitar and vocals, Maria incorporates new elements such as jazz and salsa which makes for an exciting, diverse CD. I also discovered Nina Pastori while in Spain, she being a favorite singer of my boyfriend and all the locals. With strong, beautiful vocals and intoxicating melodies, Nina Pastori's Maria is bound to be a favorite..

For any Nina Pastori fan, or anyone just interested in flamenco. While this genre ("Nuevo Flamenco") has it's critics, it's increasing popularity has made it a way for people of all ages and backgrounds to experience music that is also very much a part of Spain. I first heard of "La Nina" while there two years ago; she has become so popular there since. While my favorite is still "Canailla" (mostly for sentimental reasons), this album is more of Nina's flamenco-pop fusion, although perhaps even more impressive. ("Tu Dime" even has a rap!) Of all the tracks, "De Mil Colores" stands out as the closest to true flamenco with a haunting, beautiful melody. From the rumbera "Amor de San Juan" to the beautiful "Valgame Dios" this album will transport you to the most beautiful parts of Spain, even if you're listening to your Walkman in the middle of Times Square. . .

I like the music but if I could hear the whole album I'm sure I'd enjoy it better. The CD is defective and I've written to titanmusic about it, but they have not replied to me!

Nina Pastori has created a mesmerizing blend of styles, including flamenco, pop, and hints of Cuban piano and rap. The more traditional flamenco production on Aire de Molino and Dulce Canela are held together by shimmering flamenco guitar of Jerez guitarist Moraito and the sharp handclaps knowns as "palmas." Other songs such as Gira y que gira feature edgier electric guitars, or hyped-up flamenco like De boca en boca, which preserves the rhythmic handclaps, but pushes a more aggressive sound through drums and electric bass. The quiet, haunting De mil colores features a layered chorus accompanied only by flamenco guitar and percussive handclaps. Tu dime opens with an electric violin solo, but again is buoyed by handclaps and guitar, albeit with a more modernized flamenco sound. At times, she plays with traditional flamenco rhythms, stretching them out, or tossing in Cuban piano in Tu dime.

Pastori's voice is capable of carrying most of the songs, but on occasion, as I find to be common with other flamenco singers, she comes off as nasal and thin and nearly off-key. However, it seems to be a common feature in the rough, vocally demanding style of cante jondo, and did not interfere with my enjoyment of the CD. Pastori really shines on slower ballads, and the excellent flamenco guitar makes up for any other shortcomings.

I liked Eres Luz a lot and Maria is just as beautiful and well put together. True talent and quality from la Nina Pastori

Nina Pastori's Maria is an incredible disc that integrates musicality into flamenco music. While Pastori's 1998 release Eres Luz consisted solely of guitar and vocals, Maria incorporates new elements such as jazz and salsa which makes for an exciting, diverse CD. I also discovered Nina Pastori while in Spain, she being a favorite singer of my boyfriend and all the locals. With strong, beautiful vocals and intoxicating melodies, Nina Pastori's Maria is bound to be a favorite..

For any Nina Pastori fan, or anyone just interested in flamenco. While this genre ("Nuevo Flamenco") has it's critics, it's increasing popularity has made it a way for people of all ages and backgrounds to experience music that is also very much a part of Spain. I first heard of "La Nina" while there two years ago; she has become so popular there since. While my favorite is still "Canailla" (mostly for sentimental reasons), this album is more of Nina's flamenco-pop fusion, although perhaps even more impressive. ("Tu Dime" even has a rap!) Of all the tracks, "De Mil Colores" stands out as the closest to true flamenco with a haunting, beautiful melody. From the rumbera "Amor de San Juan" to the beautiful "Valgame Dios" this album will transport you to the most beautiful parts of Spain, even if you're listening to your Walkman in the middle of Times Square. . .

not an expert on flamenco music, but this is probably one of my favorite cds now!!

each song is just cute, the lyrics are nice and the cd is very enjoyable. I have listened to it more than a 1000 times.

I love number 2.. Una Cartita de amor. that is the sweetest song I have ever heard.

I really hate to be the guy to give this album a lower rating, but.... Yes, "La Nin~a" has a very flamenco voice, is an accomplished singer, etc. - but unfortunately so much of what she has to offer is wasted in this album. This is flamenco kitsch, specially engineered to appeal to a youthful Spanish mass market by the album's producer, Paco Ortga, a man with much more of a nose for money than an ear for flamenco. However, trying to make La Nin~a Pastori into a Spanish Britney Spears seemed to help make this album become the biggest seller of any flamenco singer in Spain. Nevertheless, just because an album is immensely popular and enjoys commercial success in Spain does not automatically establish its merit within the flamenco idiom, whether "new" or traditional, and this recording follows in the footsteps of albums past produced by other flamenco artists who enjoyed great success by commercializing (i.e., "dumbing down") their product; e.g., Peret, Marisol, Bambino, even the legendary and indisputably great Manolo Caracol.

Thankfully, "La Nin~a" broke with Paco Ortega and has followed-up on the success of "Eres Luz" with her latest release, "Can~ailla" ((c)2000, #7 4327155402 6) an album that is also very modern but much more infused with the authentic earthiness of flamenco, due in no small part to the ablum's new producers, which include Jose Miguel Carmona. You'll hear on "Can~ailla" what Nin~a Pastori is really capable of, starting with the first cut, a buleria on which you can hear Vicente Amigo sing (and damn well at that). "Can~ailla" is "new flamenco" at its best, not the kitschy pap that most of the cuts on "Eres Luz" represent. I hope Amazon.com will start carrying it soon so that it will be available to a wider audience - and because compared to "Eres Luz" it will be a revelation.

Imagine Carmen Linéares voice with music in the style of Cameron de la Isla.

I was in Spain on holidays when this CD was released. The stir that it created, even amongst the Spaniards was nothing seen with typical western music. After the first bars of the opening song I was instantly hooked on the Pastori spirit. Her musicians are amazing at bringing such skill and passion to a voice created by the history of gypsy folklore. Grab this CD, close your eyes and become swept away by the spirit that is Andalucia and its character.

Well, I am not the first in comment this disk, then I will say something in Spanish, in order to be the first to do it in Spanish. Niña Pastori promete muchísimo, es aún muy joven, tiene la voz flamenca necesaria para triunfar y personalidad en su canto. En América aún es desconocida, pero este excelente disco apunta a que pronto triunfará por estos lares.