" data-original-title="" title="">Ithamara Koorax has consistently exercised a singing voice that approaches the eternal; Ira Gitler once famously described Koorax's singing as "celestial elegance." On Opus Cl��ssico, that amazing voice finds material to match: Vocal and vocalized melodies written by such master composers as Frederic Chopin, Claude Debussy, Sergie Rachmaninoff and Heitor Villa-Lobos, lovingly and gorgeously rendered by Koorax's astounding voice in tandem with pianist Filipe Bernardo and guitarist Rodrigo Lima (who worked with Koorax on Arirang [2010, EMI]).

Koorax explores the feathered fringes of her ballad style in the breathless "Iluminada/Balada en Sol Menor No. 1," a medley which Bernardo's piano weaves together so seamlessly that it sounds like he's been playing, and Koorax has been singing, it forever. Lima strews guitar notes into a pathway of miniature golden petals that reaches up to guide her vocal through "Prel��dio de Solid?o/ Prel��dio No. 3."

Piano and guitar jointly paint the soft opening shades of "Adagio do 'Concierto de Aranjuez'" and then shift to drive through a more exciting and brilliant, faster tempo, with (almost flamenco) solos and flourishes from Lima's guitar which sound just as dazzling as the voice and song they support. Bernardo's piano introduction lays down a gorgeous, cushioned framework for Koorax's vocal to recline under "The Lamp is Low/Pavane"; the phrase "The lamp is low" flows so thickly and lushly from her lips and mouth, the last "s" of "is" melting into the opening "l" of "low," that it pours into your ear like a thick, heady burgundy.

But the principals save the best for last, an eight-minute medley that opens with "Stranger in Paradise," features a solo verse by trombonist