“We’re not struggling to understand why she wrote what she wrote and why she titled it,” says pianist Joanne Polk. “It’s right there and it co-ordinates beautifully.”
[Click here to see my full interview with Joanne Polk on Examiner.com]
The cover image for the recording – Portrait du marquis d’Afflitto (1925) – sets the tone perfectly and might inspire a context for the entire album. Painted by the most celebrated female artist of the Deco period, Tamara de Lempicka – in a single glance, I know everything about this guy. Track 1, the title track – La lisonjera, Op. 50 (1890) – confirmed my impressions. The marquis looks to be one of those very chic and tailored hand-kissing types, the variety they used to call “continental” – the kind that knows how to get under your skin, really fast.