Vivaldi - Virtuoso Cantatas; Heroes: opera arias (Philippe Jaroussky)

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Vivaldi - Virtuoso Cantatas; Heroes: opera arias (Philippe Jaroussky)
Classical | EAC Rip | FLAC, IMG+CUE, LOG | Covers | 2cd, 580.36 MB

Philippe Jaroussky (born 13 February 1978 in Maisons-Laffitte, France)[1] is a French sopranist countertenor. He began his musical career with the violin, winning an award at the Versailles conservatory and then took up the piano before turning to singing. He is noted for a virtuosic coloratura technique and for compelling and enlivened interpretations of baroque cantatas and operas.
Jaroussky was inspired to sing by the Martinique-born countertenor Fabrice di Falco.[2] He received his diploma from the Early Music Faculty of the Conservatoire de Paris. Since 1996, he has studied singing with Nicole Fallien.[3] He has formed his own ensemble called Artaserse, and also often performs with the Ensemble Matheus under Jean-Christophe Spinosi and with L'Arpeggiata under Christina Pluhar.




Vivaldi - Virtuoso Cantatas (Philippe Jaroussky, Ensemble Artaserse) [2005]
EAC Rip | FLAC, IMG+CUE, LOG | Covers
Virgin | 7243 5 45721 2 8 | 1cd, 321.35 MB

This exciting recording of Vivaldi cantatas for solo voice and instrumental ensemble is one of the more compelling releases of the year to date! While the music of the glorious Venetian Antonio Vivaldi is well known, especially the standard repertoire `The Four Seasons' and the choral works and chamber works - even some operas - the cantatas are rarely performed and this CD of his best ones should change that.
Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.
Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.
This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05
By Grady Harp (Los Angeles, CA United States)


Vivaldi – Heroes: opera arias (Philippe Jaroussky, Jean-Christophe Spinosi) [2006]
Virgin | 00946 363414 2 2| 1cd, 259.01 MB

I just recently discovered Jaroussky and and am beyond thrilled. I've never given countertenors much thought beyond an occasional Vivaldi opera but having these pulled together in one album changed it for me, all because of Philippe's incomparable voice and an upper registry clarity to make sopranos green with envy. In a matter of days, I've purchased several of his albums as gifts and found it funny that my two colleagues (with drastically different music tastes, one never having listened to opera before!) were listening to him with the same enthusiasm as I. Can not wait to hear more from him and hope that he'll tour in the MidAtlantic US soon.
By VictoriaPB "Victoria" (Reston, VA)


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J.J. Johnson - J.J. Inc (1960) {1997 Columbia Remaster}

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J.J. Johnson - J.J. Inc (1960) {1997 Columbia Remaster}
EAC rip (secure mode) | FLAC+CUE+LOG -> 459 Mb | MP3 @320 -> 168 Mb
Full Artwork @ 300 dpi (jpg) -> 15 Mb
© 1997 Columbia / Legacy | CK 65296
Jazz / Hard Bop / Trombone

Trombonist J.J. Johnson's 1960 sextet is featured on this Columbia CD. Most notable among the sidemen is a rather young trumpeter named Freddie Hubbard on one of his first sessions; also helping out are tenor saxophonist Clifford Jordan, pianist Cedar Walton, bassist Arthur Harper and drummer Albert "Tootie" Heath. Seven of the compositions (which are joined by Dizzy Gillespie's "Blue 'N' Boogie") are Johnson's and, although none caught on, "Mohawk," "In Walked Horace" and "Fatback" (which is heard in two versions) are all fairly memorable.

The six songs on the original LP are joined by three others from the same dates, two of which were released slightly earlier for the first time on a Johnson Mosaic box set that includes all of this music. A fine straight-ahead set.


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tracklist:
1. Mohawk
2. Minor Mist
3. In Walked Horace
4. Fatback [Short Version]
5. Aquarius
6. Shutterbug
7. Blue ‘N’ Boogie
8. Turnpike (bonus track)
9. Fatback [Long Version] (bonus track)

Personnel: J.J. Johnson (trombone); Clifford Jordan (tenor saxophone); Freddie Hubbard (trumpet); Cedar Walton (piano); Arthur Harper (bass); Albert "Tootie" Heath (drums).

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Sonny Rollins - On Impulse! (1965)

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Sonny Rollins - On Impulse! (1965)
[Analogue Productions Remastered 2011]
EAC rip | FLAC + CUE + LOG | Full Scans | 220 Mb
Genre ~ Post-Bop, Hard Bop, Saxophone Jazz
Label ~ Impulse!/Analogue Productions CIPJ 91 SA

In 1965 and 1966 tenor giant Sonny Rollins issued three albums for the Impulse label. They would be his last until 1972 when he re-emerged on the scene from a self-imposed retirement. This date is significant for the manner in which Rollins attacks five standards with a quartet that included pianist Ray Bryant, bassist Walter Booker and drummer Mickey Roker. Rollins, who's been recording for RCA and its Bluebird subsidiary, had spent the previous three years (after emerging from his first retirement) concentrating on standards and focusing deeply on intimate, intricate aspects of melody and harmony. He inverts the approach here, and digs deeply into pulse and rhythm and leaving melody to take care of itself. This is not a "new thing" date but instead focuses on playing according to the dictates of the rhythm section and on interchanging with Booker and Roker, leaving much of the melodic aspect of these tunes to Bryant. Rollins could never quite leave the melody out of anything he played because of his intense gift as a lyrical improviser; he nonetheless stripped his approach back and played tunes like "On Green Dolphin Street" by improvising according to theme rather than strict melody, where his interplay with the rhythm section becomes based on the dynamic and shifting times played by Roker. While things are more intimate and straight on "Everything Happens to Me," he nonetheless plays the edges, filling the space like a drummer. Melody happens throughout, the tune is recognizable, but it is stretched in his solo to a theme set by the shimmering cymbals and brushed snare work of Roker. The oddest cuts in the set are the last two; spaced out readings of "Blue Room," and "Three Little Words"; they sound as if he were preparing the listener for a true change in his approach. Melody gets inverted, with spaces and syncopation taking the place of notes. The swing is inherent in everything here, but it's clear that the saxophonist was hearing something else in his head, the way he squeezes notes tightly into some phrases where they might be placed elsewhere, and substitutes small, lithe lines inside Bryant's solos which dictate the harmonic intervals more conventionally with his singing approach. And speaking of rhythm, the album's hinge piece is the burning calypso "Hold "Em Joe." Here again, as Bryant's changes play it straight, Rollins shoves his horn inside them and draws out the beat on his horn over and over again. As strange and beautiful as this record sounds, it would have been wonderful if he had chosen to explore this track on his later records, but that restless spirit was already moving onto something else, as evidenced by his next offering, which were his original compositions for the film Alfie with arrangements by Oliver Nelson. If anything, Sonny Rollins on Impulse! feels as if it were a recording Rollins had to get out of his system. But thank goodness for us because it's a winner through and through.

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Tracks List

1. On Green Dolphin Street
2. Everything Happens to Me
3. Hold 'Em Joe
4. Blue Room
5. Three Little Words


Personel

Sonny Rollins (tenor saxophone);
Ray Bryant (piano);
Walter Booker (bass);
Mickey Roker (drums).

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Pat Metheny - Zero Tolerance For Silence (1994)

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Pat Metheny - Zero Tolerance For Silence (1994)
EAC rip | FLAC + CUE + LOG | Scans | 250 Mb (Incl. Recovery)
Genre ~ Free Jazz | Label ~ Geffen Records

When this album was released in 1994, it shocked casual, and even some hardcore, Metheny fans. Recorded in one day, Zero Tolerance for Silence can best be described as semi-organized noise. In fact, it is often compared with Lou Reed's racket-fest, Metal Machine Music. The recording is five tracks of Metheny's improvised riffing on electric guitar with no other accompaniment, and few, if any, overdubs. Pat Metheny has flirted with this mind-bending musical genre many times before, including his work with Ornette Coleman and even in concert with the Pat Metheny Group. At least two theories exist about this album. The first is that this was the artist's last solo record due under his contract with Geffen Records, and this release was his way of saying "screw you" to the label (it should be noted that the last Pat Metheny Group album recorded for Geffen, Quartet, was the least commercial and musical PMG release). Theory two is that this is the album that the artist wished to make at the time. The truth is probably a combination of both theories. The mega-talented guitarist has always been versatile and this further proves that point. The cover and the title of the album are great, but the provocative music is not.

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Tracklist

01 - "Part 1" – 18:32
02 - "Part 2" – 5:17
03 - "Part 3" – 4:19
04 - "Part 4" – 5:13
05 - "Part 5" – 5:53

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Bruno Maderna - The Last Concert - Bartok, Schoenberg: Piano Concertos

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Bruno Maderna - The Last Concert - Bartok, Schoenberg: Piano Concertos - Alfred Brendel (piano)
EAC (FLAC, IMG+CUE, LOG) | Scans 300/600 dpi | 1CD, 276 MB + 19,5 MB (.rar 3% rec.)
Classical | Stradivarius STR 10071, Italy 1993 | (live recording)

On the 5th November 1973, in London, Bruno Maderna conducted his last concert. He died suddenly a few days later in his home town of Darmstadt; he knew he was dying, still the end came far earlier than even the most pessimistic had imagined. On his desk at home, they found untouched the score of Debussy's 'Pelleas et Melisande' which he had planned to conduct in Holland shortly afterwards.
The concert was broadcast by the BBC throughout Europe, as if to confirm the personal philosophy that Maderna had tried to communicate during his life as a conductor and a composter, a belief in a life open to every sort of stimulus and abounding in new possibilities.

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Bruno Maderna - The Last Concert
Royal Festival Hall, London, BBC Symphony Orchestra, piano: Alfred Brendel
Conversation with George Stone and Alan Stout (abridged version) from WEFM Radio of Chicago on January 23, 1970.

01. Bela Bartok / Piano Concerto 1 - 1 Allegro moderato [09:37]
02. Bela Bartok / Piano Concerto 1 - 2 Andante [09:05]
03. Bela Bartok / Piano Concerto 1 - 3 Allegro molto [07:31]
04. Arnold Schoenberg / Piano Concerto op 42 [20:44]
05. A conversation with Bruno Maderna [25:05]

Until today many listeners of classical music still won't believe that Alfred Brendel has ever played (or even recorded) works by Bartok (e.g. the Sonata for two Pianos with Charlotte Zelka) or some other 'modern' composers, except perhaps Schoenberg. Unfortunately this suspicions got more or less confirmed by Brendel's former record label Turnabout/Vox, because his early Bartok recording has not been included in the CD re-releases so far.
In fact, however, he never recorded any of the Bartok concertos, and since the early 1970s he has nevermore played these works in concert. This live recording represents a rare document of his discography.

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Beethoven: Symphony no. 9 in D minor, op. 125 (The Solti Collection)

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Beethoven: Symphony no. 9 in D minor, op. 125 (The Solti Collection) [XRCD24]
Chicago Symphony Orchestra & Sir Georg Solti
XLD Rip - FLAC, CUE, LOG --> 386.33 MB | Full Booklet (PDF) --> 12.41 MB
Decca/London VICJ-025-4382 (Japan) | 76:30 | Classical | 1972, 2008 (XRCD release)

Sir Georg Solti, KBE (pronounced /ˈdʒɔrdʒ ˈʃɒlti/; 21 October 1912 – 5 September 1997) was a Hungarian-British orchestral and operatic conductor. He was a major classical recording artist, holding the record for having received the most Grammy Awards, having personally won 31 as a conductor, including the Grammy Lifetime Achievement Award. In addition to his recordings he is probably best known for leading the Chicago Symphony Orchestra from 1969-91. He is widely regarded as one of the greatest conductors of the second half of the 20th century.

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Tracklist:

Symphony no. 9 in D minor, op. 125
1. Allegro ma non troppo, un poco maestoso (17:39)
2. Molto vivace (13:57)
3. Adagio molto e cantabile (19:46)
4. Presto (24:59)

Total timing: 76:30

Music composed by Ludwig van Beethoven (1770-1827)

Chicago Symphony Orchestra
(Chorus director: Margaret Hillis)
Sir Georg Solti

Recording location: Krannert Center, University of Illinois, May 1972






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Tchaikovsky: Symphonies, Orchestral Works (Claudio Abbado) [2002]

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Tchaikovsky: Symphonies, Orchestral Works (Claudio Abbado) [2002]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 6cd, 1.33 GB
Classical | Label: Sony

Claudio Abbado is one of the leading conductors of the late twentieth and early twenty-first centuries. He has held a number of prestigious posts, any one of which would be a crowning achievement for a conductor, and his musical presence in both concert and recordings has left an undeniable legacy of excellence. His family traces its roots to a prominent Moorish family expelled from Spain in 1492 and is said to include the architect of the Alhambra. His father was Michelangelo Abbado, a violinist and teacher who gave both Claudio and his brother, Marcello Abbado, their first piano and music lessons (Marcello has gone on to become a pianist and composer). Claudio was educated at the Milan Conservatory, graduating in 1955 with a certificate in piano. While a student there, he also studied conducting with Antonio Votto. In 1955, he studied piano with Friedrich Gulda in Salzburg, and then (from 1956-1958) attended Hans Swarowsky's conducting classes at the Vienna Academy of Music. In 1958, he made his conducting debut in Trieste, and won the Koussevitzky Competition at Tanglewood. This led to his engagement in several provincial opera houses and orchestras, as well as a teaching position at Parma Conservatory. After winning the 1963 Dimitri Mitropoulos Prize, he was awarded a five-month position on the staff of the New York Philharmonic, with which he made his American professional debut on April 7, 1963. The year 1965 marked his debut with the Vienna Philharmonic at the Salzburg Festival, but more so for his return to his hometown of Milan to conduct at La Scala. He would conduct there again in 1967, become the company's resident director in 1968, and be named music director in 1971. Abbado was credited with raising the performing standards at La Scala, and for broadening its repertory. He also organized its orchestral players into the Orchestra della Scala, whose performances of works by such composers as Schoenberg, Nono, Ligeti, Stockhausen, and Berio brought Abbado special acclaim as an interpreter of modern works. In 1971, he was appointed principal conductor of the Vienna Philharmonic. Soon after, he formed a relationship with the London Symphony Orchestra, of which he became principal conductor in 1979, and finally music director, a post he retained until 1988. Other activities during this period included the founding of the European Community Youth Orchestra, the Chamber Orchestra of Europe, and the Gustav Mahler Youth Chamber Orchestra. For the period 1982-1986, Abbado served as principal guest conductor at the Chicago Symphony Orchestra, after which he was appointed music director of the Vienna State Opera. The Viennese further honored him by appointing him general music director of the city. During his tenure, he founded (1988) the Wien Modern music festival, which has now grown to encompass all forms of contemporary art. Abbado succeeded Herbert von Karajan as music director of the Berlin Philharmonic in 1989. In 1991, he relinquished his position at the Vienna State Opera, but he has maintained a presence in the city by founding the annual Vienna prize for young composers. In 1994, he succeeded to another post once held by Karajan, namely the directorship of the Salzburg Easter Festival. Following a bout with cancer in 2000, Abbado formed the Lucerne Festival Orchestra in 2003 with the orchestra's artistic and executive director, Michael Haefliger. Though Abbado briefly suspended his activities in 2007, he took up the baton again after a two month absence. Abbado is an exciting conductor who relishes the beauty of tone. His extensive discography includes the complete symphonic works of Mahler, Schubert, Ravel, Tchaikovsky, Mendelssohn, and Beethoven, and dozens of other recordings.

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Tracklisting:
CD1:
Symphony No.1 in G minor, Op. 13 "Winter Dreams"
1. I. Allegro tranquillo
2. II. Land of Desolation, Land of Mists - Adagio cantabile ma non tanto
3. III. Scherzo. Allegro scherzando giocoso
4. IV. Finale. Andante lugubre - Allegro moderator - Allegro maestoso - Allegro vivo
The Nutcracker, Op 71a
1. I. Ouverture. Allegro giusto
2. II. Danses caracteristiques - a. Marche. Tempo di marcia viva
3. II. Danses caracteristiques - b. Danse de la Fee Dragee. Andante non troppo
4. II. Danses caracteristiques - c. Danse Russe Trepak. Molto vivace
5. II. Danses caracteristiques - d. Danse Arabe. Allegretto
6. II. Danses caracteristiques - e. Danse Chinoise. Allegro moderato
7. II. Danses caracteristiques - f. Danse des Mirlitons. Moderato assai
8. III. Valse des Fleurs. Tempo di valse
CD 2:
The Tempest, Op. 18 (Symphonic Fantasy after Shakespeare)
1. Andanto con moto – Allegro moderato – Andante con moto
Symphony No. 2 in C minor, Op. 17 "Little Russian"
2. I. Andante sostenuto - Allegro vivo
3. II. Andantino marziale, quasi moderato
4. III. Scherzo. Allegro molto vivace
5. IV. Finale. Moderato assai - Allegro vivo
CD3:
Symphony No. 3 in D Major, Op. 29 "Polish"
1. I. Introduzione. Moderato assai (Tempo di marcia funebre) – Allegro brilliante
2. II . Alla Tedesca. Allegro moderato e semplice
3. III. Andante. Andante elegiaco
4. IV. Scherzo. Allegro vivo
5. V. Finale. Allegro con fuoco (Tempo di Polacca)
“1812” Overture, Op. 49
6. Largo – Andante - Allegro giusto
7. Largo - Allegro vivace
CD4:
Symphony No. 4 in F minor, Op. 36
1. I. Andante sostenuto - Moderato con anima – Moderato assai, quasi Andante – Allegro vivo
2. II. Andantino in modo di canzona
3. III. Scherzo. Pizzicato ostinato. Allegro
4. IV. Finale. Allegro con fuoco Romeo and Juliet (Fantasy Overture after Shakespeare)
5. Andante non tanto quasi Moderato – Allegro giusto – Moderato assai
CD5:
Symphony No. 5 in E minor, Op. 64
1. I. Andante - Allegro con anima
2. II. Andante cantabile, con alcuna licenza – Moderato con anima – Andante mosso – Allegro non troppo – Tempo I
3. III. Valse. Allegro moderato
4. IV. Finale. Andante maestoso - Allegro vivace – Molto vivace – Moderato assai e molto maestoso – Presto
The Voyevoda, Op. 78 (Symphonic Ballad)
5. Allegro vivacissimo – Moderato – Allegro vivacissimo
CD6:
Symphony No. 6 in B minor, Op. 74, "Pathetique"
1. I. Adagio - Allegro non troppo – Andante – Moderato mosso – Andante – Moderato assai – Allegro vivo – Andante con prima – Andante mosso
2. II. Allegro con grazia
3. III. Allegro molto vivace
4. IV. Finale. Adagio lamentoso – Andante Marche Slave, Op. 31
5. Moderato in modo di marcia funebre – Piu mosso. Allegro – Andante molto maestoso – Allegro risoluto


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Offenbach: Les Contes d'Hoffmann [1992]

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Offenbach: Les Contes d'Hoffmann (Jeffrey Tate, Francisco Araiza, Jessye Norman, Anne Sofie von Otter) [1992]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 3cd, 717.48 MB
Classical | Label: DECCA

It would be hard to find an opera in any area of the repertory that presents so many textual problems as Les conies d'Holfmann, largely stemming from the fact that the composer died four months before the premiere early in 1881, leaving the score incomplete. The traditional text, bringing in extra material, much of it unauthentic, and leaving out a lot, was only established this century. Arthur Hammond with the Carl Rosa Company was a pioneer in attempting to sort out a more acceptable text, and his work formed the basis of the English National Opera production at the Coliseum and also the Richard Bonynge recording for Decca. Since then the discovery of no less than 1,250 autograph pages allowed Fritz Oeser to produce his monumental edition, as used extensively in the Cambreling recording for EMI (12/88 —nla). That extended the piece to Wagnerian lengths, but since then still more material has been uncovered, involving some 350 more manuscript pages, which have been researched by Michael Kaye to form the basis for his new edition published by Schott in 1991. Though the edition was not complete at the time the Dresden recording sessions were held (June 1987-June 1989), this new Philips set is based on his material, aiming in Jeffrey Tate's words to come "as close as we can to envisage the score and the drama that Offenbach conceived before his untimely death".
One big difference here from the complete Oeser edition, as presented by Cambreling, is that dialogue replaces all the recitatives written by Ernest Guiraud. The Bonynge text similarly replaces recitative with spoken dialogue, but this new set uses far more. As with Oeser the Prologue is more extended, showing the transformation of the Muse into Nicklausse, with extra material in the Olympia and Antonia acts too, much as the striking trio for Hoffmann, Nicklausse and Coppelius. Also, Tate points out that "the Giulietta act contains music that shows conclusively that Offenbach would have wanted a single voice to embody all of Hoffmann's female infatuations". A fascinating illustration of that comes in the jaunty couplets, "L'amour lui dit: la belle", leading into exchanges and a duet reprise with Hoffmann. It is a jolly little piece, close in style to earlier Offenbach, which in its lightness and use of high coloratura radically alters one's conception of the character of the Venetian femme fatale. Needless to say, Cheryl Studer, has no problems here over high coloratura, but in context it does tend to take you by surprise.

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Tracklisting:
CD1
1. Prélude. Acte I. Introduction: Glou!... (les esprits invisibles)
2. La vérité, dit-on, sortait d'un puits (la Muse, les esprits invisibles)
3. Dialogue: Allons! mes enfants, préparez cette sale! (Lindorf, Andrès)
4. Voyons: Pour Hoffmann! (Lindorf)
5. Récit: Deux heures devant moi (Lindorf)
6. Vive Dieu! (Nathanael, les étudiants, Hermann…)
7. Bonjour amis! (Hoffmann, Nicklausse…)
8. Chanson et Scène: Il était une fois à la cour d'Eisenach (Hoffmann, les étudiants…)
9. Finale: Peuh! cette bière est detestable! (Hoffmann, les étudiants…)
10. Duo: Et par où votre diablerie (Hoffmann, Lindorf, Nicklausse…)
11. Je vous dis, moi, qu'un malheur me menace! (Hoffmann, Lindorf…)
12. Entr'acte
13. Acte II. OLYMPIA. Là! charmante! (Spalanzani, Hoffmann)
14. Allons! courage et confiance (Hoffmann, Nicklausse)
15. Une poupée aux yeux d'émail (Nicklausse, Hoffmann)
16. Récit et Trio: C'est moi, Coppélius (Coppelius, Nicklausse, Hoffmann)
17. Je me nomme Coppélius (Coppelius, Hoffmann, Nicklausse)
18. Serviteur (Hoffmann, Coppelius, Nicklausse)
19. Tout est prêt (Spalanzani, Hoffmann)
20. Choeur et Couplets: Non, aucun hôte vraiment
21. Couplets: Les oiseaux dans la charmille (Olympia, les invités)
22. Ah! mon ami, quel accent (Hoffmann, Nicklausse, Spalanzani…)
CD2
01. Scène et Romance: Ils se sont éloignés, enfin! (Hoffmann, Olympia)
02. Tu me fuis? (Hoffmann, Nicklausse, Coppélius)
03. Voici les valseurs (Spalanzani, Cochenille, Hoffmann...)
04. Acte III. ANTONIA. Entr'acte. Romance: Elle a fui, la tourterelle! (Antonia)
05. Dialogue: Malheureuse enfant! (Crespel, Antonia, Frantz)
06. Couplets: Jour et nuit, je me mets en quatre (Frantz)
07. Dialogue: Voilà ce brave Frantz (Hoffmann, Franrz, Nicklausse)
08. Romance: Vois sous l'archet frémissant (Nicklausse)
09. Dialogue: Ah! tu doutes de tout! (Hoffmann, Nicklausse, Antonia)
10. Pourtant, ô man fiancée (Hoffmann, Antonia)
11. C'est une chanson d'amour (Antonia, Hoffmann)
12. Dialogue: Qu'as to donc? Tu souffres? (Hoffmann, Antonia, Crespel, Frantz)
13. Trio: Pour conjurer le danger (Miracle, Hoffmann, Crespel, Antonia)
14. Dialogue - Mélodrame: Ne plus chater!... Voilà son arrêt! (Hoffmann, Antonia)
15. Trio: Tu ne chanteras plus? (Miracle, Antonia)
16. Ta mère? Oses-tu l'invoquer? (Miracle, la voix, Antonia)
17. Finale: Mon enfant! Ma fille! (Crespel, Antonia, Hoffmann, Nicklausse, Miracle)
CD3
01. Acte IV. GIULIETTA. Entr'acte et [Barcarolle]
02. Messieurs, silence! (Hoffmann)
03. Belle nuit, o nuit d’amour (Nicklausse, Giulietta, les gondoliers)
04. Récit et Couplets: Et moi, ce n'est pas là ce qui m'enchante (Hoffmann, les invités)
05. A merveille, madame (Schlemil, Giulietta, Dapertutto, Nicklausse, Hoffmann)
06. Chanson: Tourne, tourne, miroir (Dapertutto)
07. Dialogue: Charmante! (Dapertutto, Giulietta, Schlemil"
08. Giulietta, palsembleu! (les invités, Hoffmann, Schlemil, Dapertutto...)
09. L'amour lui dit: la belle, vos yeux étaient fermés! (Giulietta, Hoffmann, Schlemil...)
10. Tiens, mes cartes! (Hoffmann, Nicklausse, Pitchinaccio...)
11. Morbleu! (Schlemil, Dapertutto, Pitchinaccio)
12. Il a ma clé (Giulietta, les gondoliers, Nicklausse, Hoffmann, Schlemil)
13. Duo: Ton ami dit vrai (Giulietta, Hoffmann)
14. Romance: O Dieu, de quelle ivresse (Hoffmann)
15. Jusque là, cependant (Giulietta, Hoffmann)
16. Dialogue - Mélodrame: La voilà, donc (Giulietta, Dapertutto, Hoffmann)
17. Acte V. STELLA. Folie! Oublie tes douleurs! (les étudiants)
18. Dialogue: Voilà, mes amis (Hoffmann, Nathanael, Hermann...)
19. Pour le coeur du Phryné (Hoffmann, les etudiants)
20. Dialogue - Finale - Apothéose: Arrière, tous (la Muse, tous)

Performers:
Hoffmann – Francisco Araiza
Lindorf/ Coppélius/ Dapertutto/ Miracle – Samuel Ramay
Spalanzani – Riccardo Cassinelli
Crespel – Boris Martinovitch
Peter Schlemil – Jean-Luc Chaignaud
Andrés/ Cochenille/ Pitichinaccio/ Frantz – Georges Gautier
Luther – Rolf Tomaszewski
Nathanaël – Peter Menzel
Hermann – Jürgen Hartfiel
Olympia – Eva Lind
Antonia – Jessye Norman
Giulietta – Cheryl Studer
Nicklausse/La Muse – Anne Sofie von Otter
La voix de la mère d’Antonia – Felicity Palmer
Rundfunkchor Leipzig
Staatskapelle Dresden
Conductor - Jeffrey Tate

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Rossini: Armida (Riccardo Frizza, Renee Fleming) [2010]

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Rossini: Armida (Riccardo Frizza, Renee Fleming) [2010]
NTSC 16:9 (720x480) VBR Auto Pan&Scan | Italiano (LinearPCM, 2 ch), (DTS, 6 ch)
4,20+5,85 Gb (DVD5+DVD9)
Classical | Label: DECCA | Sub: English, Francais, Deutsch, Espanol, Chinese | 183 min

Renée Fleming continues her reign as `Queen of the MET', starring in a bel canto rarity specially staged for her - a showcase for her extraordinary vocal virtuosity as well as one of the most beautiful voices of our time. This four-hour bel canto extravaganza is presented here on 2 DVDs. In addition to the great prima donna title role, Armida uniquely features no fewer than six tenor roles, here led by the acclaimed young American tenor Lawrence Brownlee(previously featured on the DG DVD of the Met's La Cenerentola.)In Mary Zimmerman's magical new production, supported by striking sets and colorful costumes and a fully-staged ballet, the `real world' of the Crusaders and the fantastical realm of Armida's enchanted island are clearly contrasted. Of Renée Fleming's performance, the The Opera Critic said: "The beautiful singing and appearance of Fleming make this an event worth seeing... She was especially brilliant in her long final scene which calls for rich legato singing as well as flashy ornamentation".

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Performer:
Goffredo - John Osborn
Eustazio - Yeghishe Manucharyan
Armida - Renée Fleming
Idraote - Peter Volpe
Gernando - Barry Banks
Rinaldo - Lawrence Brownlee
Astarotte - Keith Miller
Ubaldo - Kobie van Rensburg
Carlo - Barry Banks
Love - Teele Ude
Revenge - Isaac Scranton
Ballet Rinaldo – Aaron Loux
Violin Solo – David Chan
Cello Solo – Rafael Figueroa
The Metropolitan Opera Orchestra, Chorus and Ballet
Conductor – Riccardo Frizza

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David Bowie - Singles Collection (10 CDS, 1993-2003)

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David Bowie - Singles Collection (10 CDS, 1993-2003)
EAC Rips | 10x FLAC+CUE+LOG | Full Scans | 1,22 GB Rock / Art-Rock / Pop
TT - 166:39 minutes | Labels & Cat.

A collection of a some David Bowie's singles from the 1993-2003 period. Includes Black Tie White Noise, Miracle Goodnight, The Buddha Of Suburbia, Hallo Spaceboy, Thursday's Child, Survive, Slow Burn, and Never Get Old.

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The cliché about David Bowie says he's a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s...

Bowie returned to a solo career in 1993 with the sophisticated, soulful Black Tie White Noise, recording the album with Nile Rodgers and his now-permanent collaborator, Reeves Gabrels. The album was released on Savage, a subsidiary of RCA, and received positive reviews, but his new label went bankrupt shortly after its release, and the album disappeared. Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career, as was the largely instrumental 1994 soundtrack The Buddha of Suburbia. In 1995, he reunited with Brian Eno for the wildly hyped, industrial rock-tinged Outside. Several critics hailed the album as a comeback, and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger, alternative audience, but his gambit failed; audiences left before Bowie's performance and Outside disappeared. He quickly returned to the studio in 1996, recording Earthling, an album heavily influenced by techno and drum'n'bass. Upon its early 1997 release, Earthling received generally positive reviews, yet the album failed to gain an audience, and many techno purists criticized Bowie for allegedly exploiting their subculture. hours... followed in 1999. For 2002, Bowie reunited with producerToni Visconti and released Heathen to very positive reviews. He continued on with Visconti for Reality in 2003.

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Sonny Stitt, Booker Ervin, Don Patterson - Soul People (1964-69) {Prestige Remaster 1993}

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Sonny Stitt, Booker Ervin, Don Patterson - Soul People (1964-69) {Prestige Remaster 1993}
EAC rip (secure mode) | FLAC+CUE+LOG - 391 Mb | MP3 @320 - 150 Mb
Full Artwork @ 300 dpi (jpg) - 11 Mb
© 1993 Prestige / Fantasy
Jazz / Bop / Soul Jazz / Saxophone

According to prevailing modern jazz wisdom, when one locked horns with altoist-tenor player Sonny Stitt (1924-1982), one had to be armed to the teeth with licks. Booker Ervin (1930-1970), whose tenor saxophone cry was among the most urgent sounds of the post-to-free-bop era, was solely on the basis of that sound, more than equal to the task of jamming with Stitt. Backed expertly by organist Don Patterson (1936-1988), who had worked extensively with Stitt, Soul People (which also includes a previously unreleased Patterson feature, the mellow bossa reading of “There Will Never Be Another You”) is a consistently rewarding set.

There are dozens of Sonny Stitt records available at any particular time; this CD reissue is one of the better ones. Mostly sticking to tenor, Stitt battles fellow tenor Booker Ervin with assistance from the fine organist Don Patterson and drummer Billy James on five selections and a ballad medley from 1964. Because both Stitt and Ervin always had very individual sounds, their tradeoffs are quite exciting and end up a draw. Among the "bonus" cuts of this CD are a feature for Patterson with a trio in 1966 ("There Will Never Be Another You") and a collaboration between Stitt, Patterson, James and guitarist Grant Green on a 1966 version of "Tune Up." Enjoyable and generally hard-swinging music.

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Personnel: Sonny Stitt (alto & tenor saxophones); Booker Ervin (tenor saxophone); Don Patterson (organ); Grant Green, Vinnie Corrao (guitar); Billy James (drums).

tracklist:
01. Soul People 10:00
02. Sonny's Book 9:50
03. C-Jam Blues 4:12
04. Medley: I Can't Get Started / I'm Afraid The Masquerade Is Over
05. Flyin' Home 5:12
06. Tune-Up 3:12
07. There Will Never Be Another You 5:00

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Mozart: Die Entfuhrung aus dem Serail (Gustav Kuhn) [2005]

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Mozart: Die Entfuhrung aus dem Serail (Gustav Kuhn) [2005]
NTSC 4:3 (720x480) VBR | Deutsch (LinearPCM, 2 ch) | 7,49 Gb (DVD9)
Classical | Label: Art Haus | Sub: Deutsch, English, Espanol | 140 min

Glyndebourne's production of Mozart's opera looks and sounds ravishing. The airy sets and gorgeous costumes set a frame for a superb ensemble cast to give of their very best. Top of the list has to be Valerie Masterson's Constanze. She sang the part for her Sadlers Wells Opera debut back in the early 1970s and then developed her interpretation over the next ten years. Here she gives an object lesson in singing, characterisation and stagecraft. She looks as good as she sounds and that is saying a great deal. A figure of simple dignity, she fills out the character of Constanze with great skill and she sings like an angel, plumbing the depths of "Traurigkeit" with wonderful expression and feeling, and then capping that with a fiery, confident and thrilling "Martern alle Arten". She sings gloriously in ensemble and duet. This is a great performance from a great British soprano and should not be missed. Why she was not more recorded or filmed is one of the mysteries of the record industry, so make the most of her performance here - it is wonderful. You can also catch her artistry on DVDs of the ENO's Xerxes and Julius Caesar, and very early in her career in the D'Oyly Carte Mikado. The rest of the cast is excellent: Ryland Davies as a fluent Belmonte (who looks good with Masterson as a convincing young couple); Lillian Watson, a dream as Blondchen; Willard White, a wonderful Osmin and James Hoback as a college-boy Pedrillo. Conducting is loving and expressive but above all don't miss this record of one of the very best sopranos to have graced our stages giving of her very best in this most testing of parts. Masterful Masterson!

Performer:
Belmonte - Ryland Davies
Constanze - Valerie Masterson
Blonde - Lillian Watson
Osmin - Willard White
Pedrillo - James Hoback
Selim - Joachim Bissmeier

The Glyndebourne Chorus
London Philharmonic Orchestra
Conductor - Gustav Kuhn
Recorded 1980

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Count Basie Big Band - Farmers Market Barbecue (1982)

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Count Basie Big Band - Farmers Market Barbecue (1982)
EAC V1.0 beta 1 | FLAC ( Secure Mode ) Image + Cue + Log - 242 MB
FULL SCANS - 12 MB (600dpi) | Recovery Record + 3%
Genre: Jazz / Big Band | Label: Pablo

Farmers Market Barbeque represents the later period in Count Basie's career. Basie always maintained a firm grasp on his music; his concept never wavered or faltered when it came to good, down-home swing. Basie's music always contained elements of group interplay. In his later years, his music was much more highly arranged; however, an impromptu approach to jazz still pervaded his work. If spontaneity was the mark of the Kansas City days, lightheartedness permeated his later efforts.This is most clearly displayed on tracks such as "Lester Leaps In" and "Jumpin' at the Woodside." On the latter, the Count and his orchestra sustain a light and buoyant swing while still infusing the music with lively improvisations. Tenor saxophonists Kenny Hing and Eric Dixon trade choruses on these jazz anthems in a blithe and playful manner.

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Personnel:

Count Basie (piano);
Freddie Green (guitar);
Danny Turner (saxophone, alto saxophone);
Bobby Plater (alto saxophone);
Kenny Hing, Eric Dixon (tenor saxophone);
John Williams (baritone saxophone);
Dale Carley, Chris Albert, Sonny Cohn, Bob Summers (trumpet);
Mitchell Wood, Grover Mitchell , Dennis Wilson , Bill Hughes (trombone);
Freddie Green (guitar);
James Leary (bass);
Gregg Field (drums).

TRACK LIST:


01. Way Out Basie [0:04:24.53]
02. St. Louis Blues [0:07:18.00]
03. Beaver Junction [0:04:47.52]
04. Lester Leaps In [0:05:03.73]
05. Blues For The Barbecue [0:10:31.52]
06. I Don't Know Yet [0:04:14.63]
07. Ain't That Something [0:04:20.37]
08. Jumpin' At The Woodside [0:03:23.50

Recording Time: - 44:05

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Jeff Beck Group - Rough And Ready (1971)

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Jeff Beck Group - Rough And Ready (1971)
FLAC: 220 MB | Artwork: 20 MB | MP3: 90 MB | 5% WinRAR Recovery
Year & Label: 1971/2008, Sony BMG Music Entertainment/Legacy

Recouping after a car crash and faced with the loss of Rod Stewart and Ron Wood, Jeff Beck redefined what the Jeff Beck Group was about, deciding to tone down the bluesy bombast, adding keyboardist Max Middleton for a jazz edge, then having Bob Tench sing to give it an overblown early-'70s AOR edge. As expected, these two sides are in conflict and Tench can be a little overbearing, but there are moments here that bring out the best in Beck. Namely, these are the times when the group ventures into extended, funk-inflected, reflective jazzy instrumental sections. These are the moments that point the way toward the success of Blow by Blow, yet this remains an unabashed rock record of its time, and it falls prey to many of its era's excesses, particularly lack of focus. Still, there are moments that are as fine as anything Beck played here.

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Jeff Beck - guitars, bass Bobby Tench - vocal, rhythm guitar Max Middleton - piano,keyboards Clive Chaman - bass Cozy Powell - drums

Track List:

01. Got The Feeling [4:46]
02. Situation [5:27]
03. Short Business [2:34]
04. Max's Tune [8:25]
05. I've Been Used [3:40]
06. New Ways / Train Train [5:53]
07. Jody [6:06]

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Jeff Beck Group - Jeff Beck Group (1972)

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Jeff Beck Group - Jeff Beck Group (1972)
FLAC: 250 MB | Artwork: 15 MB | MP3: 100 MB | 5% WinRAR Recovery
Year & Label: 1972/2008, Sony BMG Music Entertainment/Legacy

Continuing with the same group lineup as on Rough and Ready, Jeff Beck Group was slagged off by critics for Steve Cropper's admittedly lazy production. However, several of the songs hold up masterfully, including the skronky "Ice Cream Cakes," the superlative redo of Don Nix's "Going Down," and the beautifully sad and wistful instrumental, "Definitely Maybe." Beware of early, poor-sounding versions.

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Jeff Beck - guitar
Bobby Tench - vocals
Clive Chaman - bass
Max Middleton - keyboards
Cozy Powell - drums


Track List:

01. Ice Cream Cakes [5:40]
02. Glad All Over [2:58]
03. Tonight I'll Be Staying Here With You [4:59]
04. Sugar Cane [4:07]
05. I Can't Give Back The Love I Feel For You [2:43]
06. Going Down [6:51]
07. I Got To Have A Song [3:27]
08. Highways [4:41]
09. Definitely Maybe [5:01]

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