This is the third album by Sicilian art rockers Homunculus Res. It is a 2018 work that exquisitely mixed Canterbury style stylish technical and Italian singing. Although skillful meter is intertwined, with its own style with translucency as a warm heart, the wind instruments of flute, clarinet, oboe, horn etc are exchanged for guitar and vintage synth, and Melotron and charming female vocal are added. Including lyrics, the poetic deepening aiming for Canterbury spiritual increased. Hat off with precise content recorded by members close to 20 including Yao Paolo Botta.

This is a reissue of a recording that was previously issued by Nuova Era and Mondo Musica. It allows us to hear Marilyn Horne in one of her signature roles, and it was presumably for her that this production was mounted at Venice’s La Fenice. Horne’s performance is what one would expect; she tosses off the coloratura with ease, and her performance is very assured. Her colleagues provide generally good support. Gasdia does not make as strong an impression as some of her recorded competition as Almirena, but her singing is technically assured.

Two highly dramatic short works by Monteverdi, Combattimento di Tancredi e Clorinda and Ballo delle ingrate are performed by distinguished French soloists with Jean-Claude Malgoire directing La Grande Ecurie et La Chambre du Roy.

Perfetto is the thirteenth studio album by Italian singer-songwriter Eros Ramazzotti, released on 12 May 2015 by Universal Music. The album released in 60 countries around the world - contains 14 new songs made between Milan and Los Angeles, with a central vision of the good life; love is in all its forms and manifestations, and elevates the soul to a perfect condition like "save the world". The album is available in three versions: the classic version in Italian, the Spanish version, and a special deluxe edition, which includes both versions of the songs, sung in Italian and then Spanish.

Mozart's fourth opera - written when he was only 14 - displays all the hallmarks of the fresh, inventive writing that was to flourish into extraordinary genius in his later works and, with a cast as good as this, The Royal Opera's production takes Mitridate, re di Ponto to the highest levels of operatic achievement. Based on a play by Jean Racine, it is a story of jealous love and political intrigue.

This is the 45th title in the Vivaldi Edition, 3 years after the first recording dedicated to Vivaldi scores discovered in Europe between 2000 and 2007, now in its 12th year. This second volume features the most recent discoveries in world premiere recordings and will further contribute to complete one of the most fascinating jigsaw puzzles in musical history Federico Maria Sardelli is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi at the Fondazione Cini in Venice, for which he has published numerous scholarly essays. In July 2007 Peter Ryom chose him to continue his monumental work of cataloguing the music of Antonio Vivaldi; since then, Sardelli has been the editor of the Vivaldi Werkverzeichnis (RV).

Giovanni Ferrandini seems to have been something of a child prodigy. By the time he was 12 he had left his home town of Venice to take up a paid court appointment as oboist in Munich. What should be remarked upon is not just his age but that the Elector of Bavaria was paying him; this was an age when young people could be expected to take on the role of assistant or student without salary.

Since (at least) the Greeks, humorists, moralists and satirists have been fascinated by the artistic game of inversion, of “the world turned upside down”, which is how one might translate the title of this largely forgotten opera by Salieri. It here gets its first ever recording. Present an image of society turned on its head and you enable your audience/reader/viewer to see the actual way of things in a whole new light. Your aims may be to expose the follies and errors of the actual, to propose a better way of doing things, or simply to get some laughs from the resulting improbabilities and surprises - or, of course, a mixture of all these motives and more.

In continuing the great tradition of Decca's magnificent Met Opera DVDs, Giordano's Andrea Chénier is captured here in excellent quality, showcasing Luciano Pavarotti, the premiere opera star of his day in one his most memorable performances, alongside Maria Guleghina and Juan Pons, with the Metropolitan Opera Orchestra and Chorus, conducted by James Levine. One of the great verismo operatic dramas, Andrea Chénier is notable for the title role's two great solo arias, 'Un di all'azzurro spazio' (also known as 'L'improvviso') and 'Come un bel di di maggio', as well as the overwhelming final duet, 'Vicino a te'. Truly a legendary and unique performance from the great tenor.

Demofoonte dates from the early Milan years of Christoph Willibald Gluck (1714-1787), long before the radical reform operas for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal.

My late, lamented colleague, Michael Oliver, would have exulted at the prospect of reviewing this hardly-ever-heard example of verismo, a genre (like so many others) of which he made a speciality. Ponchielli’s last opera appears never to have been recorded before, and has received few performances, even in Italy, after its comparatively successful première at La Scala in 1885.

Alfred Deller - The Complete Vanguard Recordings, Vol.5 - English, French and Italian Madrigals (2009) {6CD Set}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.94 Gb | MP3 @320 -> 0.99 Gb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 2009 Vanguard Classics / Musical Concepts | MC 196
Classical / Choral / Vocal Music / Madrigals

I grew up listening these recordings in LP. I always loved these charming performances of selected English, French, and Italian madrigals. At last we have these musical treasures in six Vanguard boxes. The dean of the countertenors, Alfred Deller, didn`t have a beautiful voice, but, as Callas among the sopranos, was instead, a very great singer and performer. Everything he and the ensemble sing is witty or moving. Not all the voices singing in the Deller Ensemble were really fine, but there is an outstanding unity in every piece and in the whole thing.

Conductor Wilhelm Furtwangler already enjoyed a worldwide legendary standing during his lifetime - he was considered the German conductor and performances were greeted with rapturous applause. Today, more than 50 years after his death, Wilhelm Furtwangler is still an icon and his work has become an integral part ofthe music scene.