"...Clearly, Cuatro Corridos is not for the faint of heart. This is powerful, compelling, excruciatingly dramatic music. Although each composer has his or her own voice, the fact that they share both the subject and the instrumentation manages to give the work a strong artistic unity... Cuatro Corridos is music that demands your full attention, .... the work has a surprisingly strong overall shape.
The first, Herbert Vázquez’s Azucena, begins with music that clearly is rooted in the folk music of Mexico... Vásquez’s vocal writing is particularly effective and powerful.
Dalia is next, by Arlene Sierra, and is the most starkly dramatic scene in some ways... inner torment, guilt, and pain is searingly reflected in Sierra’s music.
Rose’s monologue covers a huge range..Liang’s music is unbearably searing, making wide use of the colors available to him in the percussion instruments and writing a jagged vocal line that conveys the bitterness and frustration in the text.
Last is Violetta, who tells a story of both herself and a murdered friend, Iris. This is the most horrible of all the stories, the immediacy of its impact made conveyed by both the words and by Hilda Paredes’s music.
The performance seems ideal. Narucki manages the huge vocal and dramatic demands with ease, displaying an ability to sing softly and at full throttle without ever losing tonal body, and an equal ability to invest what she is singing with meaning. Her instrumental partners are completely committed and perform brilliantly.
This is a work of art that demands engagement, requires that you give it 100% of your intellectual and emotional attention. If you do, I believe you might find it as rewarding as I did—chilling, at moments horrifying, but, yes, rewarding. It is clearly not music for everyone. But for those with an adventurous soul, open to various strands of music being written today, this one is highly recommended."
- Henry Fogel, Fanfare