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Ingrid Matthews, Seattle Baroque - Alessandro Scarlatti: Agar et Ismaele Esiliati (2003)

Posted By: ArlegZ
Ingrid Matthews, Seattle Baroque - Alessandro Scarlatti: Agar et Ismaele Esiliati (2003)

Ingrid Matthews, Seattle Baroque - Alessandro Scarlatti: Agar et Ismaele Esiliati (2003)
EAC | FLAC | Image (Cue & Log) ~ 355 Mb | Total time: 78:46 | Booklet pdf
Classical | Label: Centaur | # CRC 2664 | Recorded: 2001

This opera-pretending-to-be-oratorio (opera was banned in Rome during the period in which the work was composed) offers an excellent way to discover and appreciate Alessandro Scarlatti’s vocal/dramatic facility and his engaging manner of setting melody to appropriately varied, effectively complementary accompaniment. We enter the famous Abraham/Sarah/Hagar/Ishmael story (from Genesis, chapter 21) at the point where Abraham’s wife Sarah insists that he must banish the slave Hagar and her son Ishmael to protect their own son Isaac’s inheritance. (Ishmael was fathered by Abraham at the urging of the then-barren Sarah, who later–to everyone’s surprise–bore a son, Isaac.) The anguished father very reluctantly agrees to banish the two, who end up nearly dying in the desert but are eventually, at the oratorio’s end, saved by an Angel. All of the drama in this two-part work centers on the interaction of the four main characters (plus the Angel, who delivers the final aria)–there are no choruses or significant orchestral sections save for the opening four-minute Sinfonia. Its 78-plus minutes contain well-written arias (both accompanied by continuo and by orchestra), smoothly flowing recitatives, and occasional duets. It’s a very compact, tightly constructed piece of theatre that moves right along, and it’s filled with lovely music.

Quatuor Girard, Guillaume Bellom - QQuatuor a Cordes N 1/Quintette avec Piano (2019)

Posted By: Fizzpop
Quatuor Girard, Guillaume Bellom - QQuatuor a Cordes N 1/Quintette avec Piano (2019)

Quatuor Girard, Guillaume Bellom - QQuatuor a Cordes N 1/Quintette avec Piano (2019)
WEB FLAC (Tracks) 295 MB | Cover | 59:36
Classical | Label: B Records

Entre le quintette et le quatuor de Saint-Saëns, il y a toute une vie de compositeur, des joies, des douleurs, des idées, des motifs, la construction d'une existence et d'une esthétique. C'est cette substance éminemment sensible que le Quatuor Girard, une des formations françaises les plus prometteuses du moment, accompagné du jeune pianiste Guillaume Bellom, a voulu saisir dans ce nouveau disque B Records, enregistré dans l'atmosphère douce et feutrée de la Fondation Singer-Polignac.

Pera Ensemble, Mehmet C. Yeşilçay - Jerusalem (2018)

Posted By: tirexiss
Pera Ensemble, Mehmet C. Yeşilçay - Jerusalem (2018)

Pera Ensemble, Mehmet C. Yeşilçay - Jerusalem (2018)
EAC | FLAC (image+.cue, log) | Covers Included | 67:20 | 340 MB
Genre: Classical | Label: Glossa | Catalog: GCD 923515

The Pera Ensemble, the recipient of enthusiastic critical reactions on account of its refined mixture of fragrances and flavors and a two-way exploration and enrichment of soundscapes, takes its name from a district of Istanbul which has been a melting pot of cultures and religions for more than two millennia.

Fabio Biondi, Europa Galante - Alessandro Scarlatti: Humanita e Lucifero (1995)

Posted By: ArlegZ
Fabio Biondi, Europa Galante - Alessandro Scarlatti: Humanita e Lucifero (1995)

Fabio Biondi, Europa Galante - Alassandro Scarlatti: Humanità e Lucifero (1995)
EAC | FLAC | Image (Cue & Log) ~ 321 Mb | Total time: 60:42 | Scans included
Classical | Label: Opus 111 | # OPS 30-129 | Recorded: 1995

Thirty-five of Scarlatti’s oratorios are extant, a mere handful yet recorded. Biondi’s championing of them is very welcome, as this excellently recorded disc vividly demonstrates. His sterling research has uncovered date and place (1704, Rome) for the first performance of this mini-drama – the Virgin Mary, single-handedly and contrary to Christian doctrine, defeating the power of Lucifer and sentencing him ‘to eternal weeping and cries of pain’. Two Corelli trio sonatas serve as interludes within the oratorio. Rossana Bertini celebrates the Virgin’s birthday with a lovely fresh voice. Lucifer, unusually tenor rather than bass, is a taxing role – Crispi flags momentarily, though he is agile and well cast. The music is entrancingly dramatic and colourful, its style bringing to mind that of the young Handel, clearly infected by it when he reached Rome two years later: Lucifer’s first aria is unexpectedly interrupted by recitative; elsewhere, a delicate trumpet obbligato matches violin and voice with which it duets; ‘winds weep in pitiful murmurings’ with sopranino recorder. Lucifer sings his final aria accompanied by strikingly energetic unison strings, and Humanity ends the work with too great a surprise to give away in a review – you must buy the disc to discover it!
–George Pratt

Gianni Morandi - 24 Greatest Hits (1995)

Posted By: Designol
Gianni Morandi - 24 Greatest Hits (1995)

Gianni Morandi - 24 Greatest Hits (1995)
EAC | FLAC | Image (Cue&Log) ~ 428 Mb | Mp3 (CBR320) ~ 167 Mb | Scans included
Italian Pop, Adult Contemporary | Label: Avokado | # ND 70423 | Time: 01:12:15

Italian pop culture icon Gianni Morandi worked his way up from the bottom of the entertainment industry. Born in 1944, as a child Morandi sold soda and candies at the local movie theater in his native town of Monghidoro to make ends meet. He made his performance debut at age 12, singing in the public square on New Year's Day, 1956. His noticeable musical talent caused his parents to move him from traditional schooling to a school in Bologna, where he studied song and performance with master vocalist Alda Scaglioni. He made his official debut in 1958 in Alfonsine, Ravenna; three years later Morandi formed a band, and was soon referred to as the Italian Paul Anka. In 1962, Morandi won a small talent competition where he met and impressed boxing and entertainment promoter Paul Lionetti, who arranged an audience with RCA executives. That same year, the world was introduced to Morandi via his premier 45, "Andavo a Cento All'ora." Morandi's popularity blossomed in 1969 with his win at the Canzonissima Festival. Although he experienced a slight decline in popularity during the 1970s, the next decade was a great era for Morandi, punctuated with his winning performance at the prestigious Sanremo Festival in 1987. Over the course of his career, it is estimated that Morandi has sold more than 30 million records.

Orchestra Nazionale Jazz Giovani Talenti - Oscene Rivolte (2019)

Posted By: varrock
Orchestra Nazionale Jazz Giovani Talenti - Oscene Rivolte (2019)

Orchestra Nazionale Jazz Giovani Talenti - Oscene Rivolte (2019)
WEB FLAC (tracks) - 403 MB | Tracks: 16 | 79:30 min
Style: Jazz, Classical | Label: Parco Della Musica Records

The National Jazz Young Talents Orchestra, headed by Paolo Damiani with the Oscene Rivolte project, returns to the Casa del Jazz. The ONJGT ensemble is composed of eleven young talents under 35 guided by the experience of the great musician Paolo Damiani and proposes an original repertoire gathered around the etymological idea of ​​'obscene', that is “ob skené”, “out of the scene” intended as institution, academy, stage routine, almost an 'out of place' but more provocative.

Natalie Dessay, Emmanuelle Haim, Le Concert d'Astree - Delirio: Handel's Italian Cantatas (2005)

Posted By: ArlegZ
Natalie Dessay, Emmanuelle Haim, Le Concert d'Astree - Delirio: Handel's Italian Cantatas (2005)

Natalie Dessay, Emmanuelle Haïm, Le Concert d'Astrée - Delirio: Handel's Italian Cantatas (2005)
EAC | FLAC | Image (Cue & Log) ~ 297 Mb | Total time: 62:02 | Scans included
Classical | Label: Virgin Classics | # 0946 332624 2 3 | Recorded: 2005

Two decades ago Handel's early Italian-language cantatas were little known, but sopranos have discovered that they provide a top-level vocal workout while offering more than a hint of the mature Handel's genius. This disc by French singer Natalie Dessay, one of the hottest sopranos on the scene, is going to be hard to beat. Dessay shares the credit with the period-instrument ensemble Le Concert d'Astrée and its conductor Emmanuelle Haïm, who has been turning out one groundbreaking Baroque disc after another.

Eric Serra - The Fifth Element: Original Motion Picture Soundtrack (1997) [Re-Up]

Posted By: Efgrapha
Eric Serra - The Fifth Element: Original Motion Picture Soundtrack (1997) [Re-Up]

Eric Serra - The Fifth Element: Original Motion Picture Soundtrack (1997)
EAC | FLAC (Image) + cue.+log ~ 315 Mb | Mp3, CBR320 kbps ~ 144 Mb | Scans ~ 135 Mb
Soundtrack | Label: Epic/Sony | # ESCA 6748 | Time: 01:02:54

While The Professional marked the American breakthrough of populist French director Luc Besson (and his long-time composer, Eric Serra), the ambitious, futuristic sci-fi adventure The Fifth Element proved to be Besson's stateside sophomore jinx at the box office. Still, Serra's score shouldn't be overlooked. Easily the composer's most digitally daring studio concoction, The Fifth Element offers up a brave stew of synth beats, orchestral flourishes, and ethnic influences ranging from Middle Eastern modalities to Italian operatic arias.

James Levine, Metropolitan Opera Orchestra, Placido Domingo, Mirella Freni - Verdi: Don Carlo (2005)

Posted By: ArlegZ
James Levine, Metropolitan Opera Orchestra, Placido Domingo, Mirella Freni - Verdi: Don Carlo (2005)

James Levine, Metropolitan Opera Orchestra, Plácido Domingo, Mirella Freni, Grace Bumbry, Nicolai Ghiaurov - Verdi: Don Carlo (2005)
NTSC 4:3 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | (DTS, 6 ch) | 213 min | 5,34+6,71 Gb (2xDVD9)
Classical | Label: Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese | Recorded: 1983

Filmed in 1983, this DVD captures the Metropolitan Opera’s sweeping sets, its army of authentically costumed singers, and a cast of glowing soloists led by Plácido Domingo, Mirella Freni, Grace Bumbry and Nicolai Ghiaurov.
Verdi’s drama of private passions played out against a backdrop of intense political battles becomes extra vivid in this immense staging. This Met version, sung in Italian, includes the oft-omitted Fontainebleau scene, as well as the Prelude and Introduction.

Emmanuelle Haim, Le Concert d’Astree, Sabine Devieilhe, Lea Desandre - Handel: Italian Cantatas (2018)

Posted By: ArlegZ
Emmanuelle Haim, Le Concert d’Astree, Sabine Devieilhe, Lea Desandre - Handel: Italian Cantatas (2018)

Emmanuelle Haïm, Le Concert d’Astrée, Sabine Devieilhe, Léa Desandre - Handel: Italian Cantatas (2018)
EAC | FLAC | Image (Cue & Log) ~ 497 Mb | Total time: 53:25+42:45 | Scans included
Classical | Label: Erato | # 0190295633622 | Recorded: 2018

Handel's Italian cantatas date from early in his career, with few exceptions (none on display here). As a group they are less well-known than his operas, but they're equally virtuosic, and performances of the cantatas whole, as with the three here, are a bit more satisfying than with the operas. The cantatas were composed for parties among powerful Roman cardinals, and they catch the young Handel at the peak of his first success, as Roman audiences hailed him as "il caro Sassone" (the dear Saxon). The arias are fancy and a bit brash, and one key to a good performance is to catch this quality. Both the singers here, French soprano Sabine Devieilhe and French-Italian mezzo Lea Desandre, are up-and-comers, and they offer fine, dramatically enthusiastic performances. The highlight is perhaps the first cantata of the set, Aminta e Fillide, HWV 83, where the contrast between the sparkling Devieilhe and the silvery-voiced Desandre is a pleasure in itself. This is a pastoral where the long-suffering shepherd gets the girl, for a change, even though she dismisses Cupid's charms (sample Desandre in "Fu scherzo, fu gioco," with its quiet high notes). The second and third works are solo cantatas, one for each singer, and Desandre effectively changes gears for subtle interactions with an active continuo cello. Both singers are aided superbly by Le Concert d'Astrée under Emmanuelle Haïm, a veteran group by this time but one that sounds entirely fresh in this delightful vocal program.
–James Manheim

Nicholas McGegan, Philharmonia Baroque Orchestra - Handel: Arianna in Creta (1999)

Posted By: ArlegZ
Nicholas McGegan, Philharmonia Baroque Orchestra - Handel: Arianna in Creta (1999)

Nicholas McGegan, Philharmonia Baroque Orchestra - Handel: Arianna in Creta (1999)
EAC | FLAC | Image (Cue & Log) ~ 942 Mb | Total time: 64:36+78:55+55:50 | Scans included
Classical | Label: NDR kultur | Recorded: 1999

Nach dieser Produktion könnte man durchaus auf den Gedanken kommen, die Oper müsse eigentlich Teseo in Creta heissen, so beherrschend und überlegen gestaltet Wilke te Brummelstroete die Partie des Teseo! Neben ihrer Fähigkeit, sich dem Stil von Händels Musik anzupassen kommt ihre ungeheure Bühnenpräsenz und Ausdruckskraft, die sie zur alles beherrschenden Figur der Oper werden liess.
Die eigentliche Hauptpartie, die der Arianna, kann da schnell als eine ungewöhnlich umfangreiche Nebenrolle verblassen. Dass dieses in Göttingen nicht geschah, ist der aussergewöhlich begabten Sopranistin Sophie Daneman zu verdanken. Trotz der "Passivität" der Rolle konnte sie allein schon durch ihre stimmlichen Möglichkeiten an Technik, Ausdruck und Modulationsfähigkeit überzeugen. Dadurch, dass ihre darstellerischen Talente aber ebenfalls ungeheuer ausgeprägt sind, gehört sie zweifelsfrei zu den begnadetsten Sängerdarstellerinnen ihres "Faches".

Nicholas McGegan, The Hanover Band & Chorus - Handel: Serse (2009)

Posted By: ArlegZ
Nicholas McGegan, The Hanover Band & Chorus - Handel: Serse (2009)

Nicholas McGegan, The Hanover Band & Chorus - Handel: Serse (2009)
EAC | FLAC | Image (Cue & Log) ~ 903 Mb | Total time: 68:47+65:41+42:27 | Scans included
Classical | Label: Sony | # 88697532062 | Recorded: 1997

'Serse' comes late in the Handel opera list, with only two more attempts at the form remaining. Adapted from the libretto originally prepared for Cavalli's 'Xerses' in 1655 (itself a great opera), 'Serse' remains true to its Venetian roots. The action, which is largely comic, moves fluidly through short arias, ariosos and ariettas. Serse is a parody of the self-important ruler; "Ombra mai fu,' possibly Handel's most famous setting of Italian words, is in fact a love song to a plane tree originally intended to be sung by a man who had been castrated. Irony does not go much deeper than this. The characters that surround Serse are an uncommonly varied lot with the plain-speaking Atalanta a particular joy.
Nicholas McGegan leads a fine performance derived, as most of his are, from a series of live performances at the Göttingen Festival. The cast, a nice mix of veterans and newcomers, do splendid justice to Handel's sparkling writing. Of particular note are the comic turns of David Thomas, as a comic servant, and Lisa Milne as the waspish Atalanta.

The Golden Age of the Piano (1993) [Re-Up]

Posted By: Efgrapha
The Golden Age of the Piano (1993) [Re-Up]

The Golden Age of the Piano (1993)
DVD9 | VIDEO_TS | NTSC, 4:3 (720x480) VBR | 115 min | 7.51 Gb | Scans included
Audio: English LPCM 2.0 | Subs: Deutsch, Français, Español, Italiano, 中文
Genre: Classical, Documentary | Label: Philips | # 075 092-9 PH

A documentary on the great pianists of the twentieth century, introduced, written and narrated by David Dubal. Featuring the music of Bach, Beethoven, Chopin, Clementi, Debussy, Field, Grainger, Liszt, Mendelssohn, Padarewski, Rachmaninov, Schubert, Scriabin and Weber. Featuring musicians Claudio Arrau, Alexander Brailowsky, Van Cliburn, Alfred Cortot, Glenn Gould, Percy Grainger, Myra Hess, Josef Hoffmann, Vladimir Horowitz, Wanda Landowska, Ignacy Paderewski, Artur Rubinstein, and Rudolf Serkin. Bonus: Claudio Arrau Centenary reissued of Beethoven's Piano Concerto No. 4 with Riccardo Muti and the Philadelphia Orchestra.

Andrea Andermann, Zubin Mehta, Symphony Orchestra of Rome RAI - Puccini: Tosca (2013/1992) [BDRip]

Posted By: Vilboa
Andrea Andermann, Zubin Mehta, Symphony Orchestra of Rome RAI - Puccini: Tosca (2013/1992) [BDRip]

Andrea Andermann, Zubin Mehta, Symphony Orchestra of Rome RAI, Malfitano, Domingo, Raimondi - Puccini: Tosca (2013/1992) [BDRip]
Classical | BluRay-rip | AVC | MKV 1920x1080 / 6215 kbps / 29,970 fps | 114 min | 8,67 Gb
Audio: Italiano / PCM / 6ch / 48.0 KHz / 16 bits
Classical | Warner Classics | Sub: English, French, German, Italian

Contemporary Rome is the setting for this unique and highly innovative version of Puccini’s Tosca, performed in the Roman locations – and at the same times of day – as Puccini had written into his score. Thus the action opens in the beautiful 16th-century church of Sant’Andrea della Valle at noon, where Cavaradossi (Domingo) meets the fugitive Angelotti, moves to the Farnese Palace that evening where Tosca (Catherine Malfitano) dramatically makes a pact with the lustful Scarpia (Ruggero Raimondi), and finally to the battlements of the Castel Sant’Angelo at dawn the following day where the final drama is played out.

Ennio Morricone - C'era una volta il West (Once Upon a Time in the West) (1969) Expanded Remastered 2005 [Re-Up]

Posted By: Efgrapha
Ennio Morricone - C'era una volta il West (Once Upon a Time in the West) (1969) Expanded Remastered 2005 [Re-Up]

Ennio Morricone - C'era una volta il West (Once Upon a Time in the West) (1969/2005)
EAC | FLAC (Image) + cue.+log ~ 349 Mb | Mp3, CBR320 kbps ~ 196 Mb | Scans included
Score, Soundtrack | Label: GDM Music | # GDM 2062 | Time: 01:05:00

Arguably a milestone for both director Sergio Leone and his musical cohort Ennio Morricone. After deconstructing the classic American western by way of The Good, the Bad & the Ugly and A Fistful of Dollars, Leone distilled his intentions with 1968's Once Upon a Time in the West. For his part, Morricone framed Leone's meditative camerawork and mythic narrative with a mix of hauntingly spacious pieces and reconfigured snatches of old-timey tunes. Just within the stretch of the first four pieces here, Morricone evokes the endless expanse of the West with a Copland-esque aria (the main title theme), weaves some twisted grit into the showdown theme with loads of guitar fuzz ("As a Judgment"), ingeniously combines whistling and a clippity-clop rhythm for a respite piece ("Farewell to Cheyenne"), and conjures the surreal end of the cowboy mythos via a wonderfully disjointed serial-style number ("The Transgression"). And whether sounding upbeat or stark, Morricone informs it all with the dry and windswept vacancy of the West. Beautiful and stunning.