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James Levine, Metropolitan Opera Orchestra, Renata Scotto, Placido Domingo - Verdi: Luisa Miller (2006/1979)

Posted By: Vilboa
James Levine, Metropolitan Opera Orchestra, Renata Scotto, Placido Domingo - Verdi: Luisa Miller (2006/1979)

James Levine, Metropolitan Opera Orchestra, Renata Scotto, Plácido Domingo - Verdi: Luisa Miller (2006/1979)
NTSC 4:3 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | (Dolby AC3, 6 ch) | 7.64 Gb (DVD9) | 148 min
Classical | Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese

“Levine's version of Luisa Miller consistently demonstrates his Verdian mastery, and not just in the best-known masterpieces…Not only in Levine's conducting but also in the sets and costumes of Nathanial Merrill's production the attractive rustic element of the piece is effectively brought out.” (Penguin Guide)

James Levine, Metropolitan Opera Orchestra, Bryn Terfel, Renee Fleming - Mozart: Don Giovanni (2005/2000)

Posted By: Vilboa
James Levine, Metropolitan Opera Orchestra, Bryn Terfel, Renee Fleming - Mozart: Don Giovanni (2005/2000)

James Levine, Metropolitan Opera Orchestra, Bryn Terfel, Renée Fleming - Mozart: Don Giovanni (2005/2000)
NTSC 4:3 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | (Dolby AC3, 6 ch) | 5.90 Gb + 5.31 Gb (2xDVD9) | 180 min
Classical | Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese

Mozart’s darkest operatic masterpiece with a superb cast featuring Renée Fleming and Bryn Terfel, masterfully conducted by James Levine with Franco Zeffirelli’s beautiful staging.
Bryn Terfel, giving his first Don Giovanni at the MET, received rave reviews for both his singing and his dramatic performance – as the Los Angeles Times puts it: “Terfel is exquisite as the Don, raping and pillaging his way through Europe: His voice, diction and acting are perhaps the best in the role since Cesare Siepi.”

William Christie, Les Arts Florissants - Handel: Orlando (1996)

Posted By: ArlegZ
William Christie, Les Arts Florissants - Handel: Orlando (1996)

William Christie, Les Arts Florissants - Handel: Orlando (1996)
EAC | FLAC | Image (Cue & Log) ~ 831 Mb | Total time: 65:99+51:34+52:13 | Scans included
Classical | Label: Erato | # 2564 67743-0 | Recorded: 1996

The Handel opera boom continues apace. And no wonder. Over the last 20 years singers, directors and audiences have collectively discovered that these musically rich works are also penetrating human dramas. And no Handel opera is more psychologically astute than “Orlando.” … The formidable conductor William Christie, in his 1996 recording, draws a fervent, deeply expressive yet stylistically informed performance from his acclaimed early-music ensemble, Les Arts Florissants, and a fine cast headed by the mezzo-soprano Patricia Bardon in the title role.
- Anthony Tommasini

Estevan Velardi, Alessandro Stradella Consort - Stradella: Qual prodigio e ch'io miri?: Sonata: Lasciate ch'io respiri (2014)

Posted By: ArlegZ
Estevan Velardi, Alessandro Stradella Consort - Stradella: Qual prodigio e ch'io miri?: Sonata: Lasciate ch'io respiri (2014)

Estevan Velardi, Alessandro Stradella Consort - Stradella: Qual prodigio è ch'io miri?; Sonata a otto viole con una tromba; Lasciate ch'io respiri (2014)
EAC | FLAC | Image (Cue & Log) ~ 331 Mb | Total time: 65:10 | Scans included
Classical | Label: Bongiovanni | # GB2474-2 | Recorded: 2000

The first work, ‘Qual prodigio è ch’io miri?’, is often cited, quite correctly, as a source for some of Handel’s ‘plague’ chorus melodies in ‘Israel in Egypt’ – including flies and lice, hailstones and ‘he led them forth like sheep’. But I imagine not all that many listeners will have heard Stradella’s original music, and hearing these passages in their original form is in itself a cause of fascination and delight; for a sample, try the Sinfonia (track 9). The work takes the form of a conversation between two male lovers and the female object of their affections, and is here sung by two sopranos and a bass. All three singers are excellent - as is the superb Alessandro Stradella Consort, directed by Estevan Velardi, who have already brought us several first-class recordings of Italian baroque music including other works by Stradella.

Alexander Weimann, Pacific Baroque Orchestra - Handel: Orlando (2013)

Posted By: ArlegZ
Alexander Weimann, Pacific Baroque Orchestra - Handel: Orlando (2013)

Alexander Weimann, Pacific Baroque Orchestra - Handel: Orlando (2013)
EAC | FLAC | Image (Cue & Log) ~ 674 Mb | Total time: 59:47+48:41+49:29 | Scans included
Classical | Label: ATMA Classique | # ACD2 2678 | Recorded: 2012

The complete version of Orlando, considered to be one of Handel’s most successful operas, is presented for the first time on a Canadian label. Singing the title role is the English countertenor Owen Willetts, a rising figure on the international scene. He is joined by the American soprano Amanda Forsythe, and several of the finest Canadian singers: Karina Gauvin, Allyson McHardy, and Nathan Berg.The Pacific Baroque Orchestra (PBO) is the only professional period-instrument orchestra west of Toronto. Under the direction of renowned conductor and harpsichordist Alexander Weimann, the PBO is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears.” This recording was produced following Orlando’s performances at the 2012 Vancouver Early Music Festival.

Charles Mackerras, Orchestra del Teatro La Fenice - Handel: Orlando (1999)

Posted By: ArlegZ
Charles Mackerras, Orchestra del Teatro La Fenice - Handel: Orlando (1999)

Charles Mackerras, Orchestra del Teatro La Fenice - Handel: Orlando (1999)
EAC | FLAC | Image (Cue & Log) ~ 879 Mb | Total time: 64:00+52:53+53:32 | Scans included
Classical | Label: Mondo Musica | # MFOH 10502 | Recorded: 1985

This is a fine alternative to Christopher Hogwood’s period performance on L’Oiseau-Lyre, and will be welcomed heartily by fans of Marilyn Horne. Orlando is a great role, filled with arias and scenes acrobatic, tender, and exclamatory (he goes mad in Act 2 and stays that way for much of Act 3). In l985, when this present set was taped live at Venice’s La Fenice, Marilyn Horne was still in control of her awesome powers–her breath control, fluidity, big, round tones, impeccable diction, and sheer intelligence still astound after all these years. And she’s certainly superior to the nasty-sounding, if dramatic, James Bowman for Hogwood. Lella Cuberli’s Angelica is fine but is outclassed by Arleen Auger; however, I prefer Jeffrey Gall’s countertenor Medoro to Catherine Robbins’ girly one (both for Hogwood again). Giorgio Surjan is okay as Zoroastro and Adelina Scarabelli’s Dorinda is nicely warbled. Charles Mackerras leads with more rubato and larger, more modern forces than Hogwood, but each makes his point. As I said, it’s hands down, really: Horne fans won’t be able to do without this–and Handel-lovers will be pleased too.
–Robert Levine

Nicholas McGegan, FestspielOrchester Gottingen - Handel: Orlando (2008)

Posted By: ArlegZ
Nicholas McGegan, FestspielOrchester Gottingen - Handel: Orlando (2008)

Nicholas McGegan, FestspielOrchester Göttingen - Handel: Orlando (2008)
EAC | FLAC | Image (Cue & Log) ~ 804 Mb | Total time: 65:29+50:20+50:51 | Scans included
Classical | Label: NDR kultur | Recorded: 2008

Den auf Ludovico Ariosts „Orlando furioso“ (Der rasende Roland/1516) basierenden Stoff hatte ein unbekannter Bearbeiter nach dem Libretto von Carlo Sigismondo Capece (Rom 1711) erstellt und eine ganze Reihe Veränderungen vorgenommen, die Händels Oper zu einer seiner originellsten Londoner Opern werden ließ.
Außer, dass er mit Dorinda eine gänzlich neue Rolle eingeführt hat (und die zu einer ganz zentralen Figur des Stückes wird), bricht das Stück mit vielen Konventionen der opera seria seiner Zeit. So eröffnet nicht der „Held“ die Oper, sondern eine Nebenfigur, der Magier Zoroastro, der zudem noch von einem Bass gesungen wird, wobei dieser Stimmgattung bis dahin sonst nur kleine Partien (oft Diener) vorbehalten waren. Gar eine „Frechheit“ war es demzufolge auch, dass er dieses dann auch noch mit einer heroischen Arie macht. Der Grund dafür war, dass Händel zu dieser Zeit der herausragende und gefeierte Bassist Antonio Montagnana zur Verfügung stand (diesem war letztes Jahr bei den Händel-Festspielen in Göttingen 2007 sogar ein eigenes Konzert gewidmet).

VA - Je n'aime décidément pas le classique, mais ça j'aime bien! (2010) 2CD

Posted By: SuniR
VA - Je n'aime décidément pas le classique, mais ça j'aime bien! (2010) 2CD

VA - Je n'aime décidément pas le classique, mais ça j'aime bien! (2010) 2CD
Mp3 CBR320 kbps | 02:32:28 | 353 Mb (5% Rec.)
Classical, Vocal | Label: RCA Red Seal / Sony Music

Je n'aime décidément pas le classique, mais ça j'aime bien! is a successful series of compilation albums of classical music interpreted by various artists. They were released on RCA / Sony BMG. The set was favourably reviewed by RTL's "classics" radio presenter Charlotte Latour. -–Wikipedia

Pooh - Best Of The Best (2001)

Posted By: popsakov
Pooh - Best Of The Best (2001)

Pooh - Best Of The Best (2001)
2CD | EAC Rip | FLAC (Img) + Cue + Log ~ 1,03 Gb | MP3 CBR320 ~ 353 Mb
Full Scans ~ 271 Mb | RAR 5% Recovery
Pop, Pop Rock | CGD East West / Warner Music #092741990 2

Veteran Italian rock band Pooh formed in Bologna in 1966. During the late '60s, the band featured Roby Facchinetti, Valerio Negrini, Dodi Battaglia, and Riccardo Fogli, but after Negrini left in 1971, the band recruited guitarist, bassist, and vocalist Red Canzian plus drummer and percussionist Stefano D'Orazio, and began a long run as one of the best and most popular Italian rockers of their times. The band recorded for many labels, including CBS, Vedette, CGD (Compagnia Generale del Disco), and Warner Music Italy, selling over 100 million records in the process. Pooh continued to tour and record continually up into the 2010s, but in late 2016 they decided to call it quits by the end of the year, in order to complete their 50-year anniversary as a band.

Christopher Hogwood, The Academy of Ancient Music - Handel: La Resurrezione (1988)

Posted By: ArlegZ
Christopher Hogwood, The Academy of Ancient Music - Handel: La Resurrezione (1988)

Christopher Hogwood, The Academy of Ancient Music - Handel: La Resurrezione (1988)
EAC | FLAC | Image (Cue & Log) ~ 506 Mb | Total time: 61:21+48:16 | Scans included
Classical | Label: DECCA | # 421 132-2 | Recorded: 1981

Christopher Hogwood directs a clean-cut, vigorous performance with an excellent cast. Emma Kirkby is at her most brilliant in the coloratura for the Angel, Patrizia Kwella sings movingly as Mary Magdalene and Carolyn Watkinson as Cleophas adopts an almost counter-tenor like tone. Ian Partridge's tenor has a heady lightness as St John, and David Thomas sings stylishly. Excellent recording.
– Penguin Guide

Nicholas McGegan, Philharmonia Baroque Orchestra - Handel: La Resurrezione (1990)

Posted By: ArlegZ
Nicholas McGegan, Philharmonia Baroque Orchestra - Handel: La Resurrezione (1990)

Nicholas McGegan, Philharmonia Baroque Orchestra - Handel: La Resurrezione (1990)
EAC | FLAC | Image (Cue & Log) ~ 518 Mb | Total time: 62:15+33:35 | Scans included
Classical | Label: Harmonia Mundi | # HMU 407027/28 | Recorded: 1989

Although La resurrezione, composed in Rome in 1708, pre-dates Handel’s more familiar English oratorios by many years, it’s a tremendously vibrant and dramatically compelling score that deserves much wider currency. Certainly Nicholas McGegan’s energetically delivered and beautifully sung performance serves the music to its best advantage.

Marc Minkowski, Les Musiciens du Louvre - Handel: Il Trionfo del Tempo e del Disinganno (1988)

Posted By: ArlegZ
Marc Minkowski, Les Musiciens du Louvre - Handel: Il Trionfo del Tempo e del Disinganno (1988)

Marc Minkowski, Les Musiciens du Louvre - Handel: Il Trionfo del Tempo e del Disinganno (1988)
EAC | FLAC | Image (Cue & Log) ~ 688 Mb | Total time: 65:57+70:19 | Scans included
Classical | Label: Erato | # ECD 75532 | Recorded: 1988

This is Handel's very first oratorio, to a libretto by Cardinal Benedetto Pamphili and with a title that translates as "The Triumph of Time and Disillusionment" (HWV 46a). The work, comprising two sections, was composed in spring 1707 and premiered that summer in Rome. Its most famous aria is "Lascia la spina", later recast as "Lascia ch'io pianga" in his 1711 opera Rinaldo.

Nino Rota, Armando Trovajoli, Piero Umiliani - Boccaccio '70: Original Motion Picture Soundtrack (1962) Reissue 2011 [Re-Up]

Posted By: Efgrapha
Nino Rota, Armando Trovajoli, Piero Umiliani - Boccaccio '70: Original Motion Picture Soundtrack (1962) Reissue 2011 [Re-Up]

Boccaccio '70 - Original Motion Picture Soundtrack (1962) Reissue 2011
music by Nino Rota, Armando Trovajoli, Piero Umiliani

EAC | FLAC (Image) + cue.+log ~ 321 Mb | Mp3, CBR320 kbps ~ 146 Mb | Scans included
Soundtrack, Score | Label: GDM/Legend | # GDM 4201 | 00:56:10

Inspired by the works of Italian medieval writer/poet Boccaccio (the Decameron), Federico Fellini, Luchino Visconti, and Vittorio de Sica each directed a short starring Anita Ekberg, Romy Schneider, and Sophia Loren, respectively; Italian soundtrack heavyweights Nino Rota and Armando Trovajoli provided the necessary musical accompaniment. The result was the film Boccaccio 70 and music that frames a kaleidoscope of styles with dramatic panache. Trovajoli, in particular, mixes it up with cha-cha-chas, march pieces, waltzes, circus themes, and jazz – the highlight, though, is his Latin vocal feature, "Soldi! Soldi! Soldi!," sung by a surprisingly effective Loren. Unlike Trovajoli, Rota doesn't focus on one style per piece, but instead fills his symphonic-worthy sides with a seamless blend of many of the same styles, peppering the landscape with trademark doses of pipe-organ moodiness, can-can rhythms, and dusky string passages. And as far as jazz goes, Rota furnishes the Visconti segment with some very worthy combo ballads redolent of Miles Davis' own soundtrack venture, Ascenseur Pour L'Echafaud.

Carlo Rustichelli - Divorce Italian Style: Original Motion Picture Soundtrack (1961) Limited Edition 2011

Posted By: Efgrapha
Carlo Rustichelli - Divorce Italian Style: Original Motion Picture Soundtrack (1961) Limited Edition 2011

Carlo Rustichelli - Divorce Italian Style (Divorzio all'italiana) (1961)
Original Motion Picture Soundtrack, Limited Edition 2011

EAC | FLAC (Tracks) + cue.+log ~ 224 Mb | Mp3, CBR320 kbps ~ 118 Mb | Scans included
Soundtrack, Score | Label: Kritzerland | # KR 20019-3 | 00:43:46

The film was a sensation and audiences all over the world were entranced. It was hugely influential and ushered in a whole era of Comedy, Italian Style. Aiding and abetting the mischievous fun was the wonderful score by Carlo Rustichelli. Rustichelli, born in 1916, had begun working in film in 1939 and by 1962 had become a hugely popular composer for Italian films. His first film for Pietro Germi was Lost Youth in 1948 and thus began one of the longest and most fruitful director/composer collaborations ever, with Rustichelli composing scores for all but the first of Germi’s films – eighteen in total. He also worked with other directors such as Billy Wilder, Mario Bava, Gillo Pontecorvo, Luigi Comencini, and provided scores for countless sword and sandal films, spaghetti westerns, crime films, and just about every genre imaginable. He was a superb melodist, and Divorce, Italian Style is rife with great themes, which all serve the film perfectly. In fact, the film would be unthinkable without Rustichelli’s wonderful and tuneful score.

Ensemble Oni Wytars - Pentameron (2019)

Posted By: delpotro
Ensemble Oni Wytars - Pentameron (2019)

Ensemble Oni Wytars - Pentameron (2019)
WEB FLAC (tracks) - 304 Mb | MP3 CBR 320 kbps - 126 Mb | 00:54:53
Classical, Vocal | Label: Deutsche Harmonia Mundi

Legends, magic, love and torments in music at the time of the „Tale of tales“. In 1643, in Naples, the probably most important collection of stories and folk tales of all times has been published: the „Pentamerone“ (the five-days-work) or „lo cunto de li cunti“ (the tale of tales) by Giambattista Basile. During five days each day ten tales are told. Basile with this work brought to live the genre of the Fairy Tale wich later on, adopted by the Grimm brothers, Perraut and Brentano, will spread like a wildfire all over Europe.