Alan Flac

Blackfield - Blackfield V (2017) [FLAC 24/48]  Vinyl & HR

Posted by HDV at April 16, 2017
Blackfield - Blackfield V (2017) [FLAC 24/48]

Blackfield - Blackfield V (2017)
FLAC (tracks) 24-bit/48 kHz | Time - 44:43 minutes | 560 MB
Based on Official Digital Download 24/96 | Artwork: Front cover

Blackfield is the Art Rock collaboration between Israeli songwriter and musician Aviv Geffen, and British musician and producer Steven Wilson. Blackfield V is their fifth studio album, recorded over a year and a half period across 2015 and 2016.

Conti - David (Alan Curtis) [2007]  Music

Posted by Vilboa at April 14, 2017
Conti - David (Alan Curtis) [2007]

Conti - David (Alan Curtis) [2007]
Classical | Virgin 9463788772 | TT: 76.03+79.05 | EAC (FLAC, cue, log) | Covers | 734 Mb

The Florentine Francesco Bartolomeo Conti (1682-1732) was the finest theorbo player in early 18th-century Europe, and spent almost his entire career at the Habsburg court in Vienna. He composed sacred and secular vocal works special enough to warrant the attention of both Bach and Handel. Conti's oratorio David, a setting of a dramatic libretto by Apostolo Zeno, was first performed at Vienna in March 1724. The cast of singers included the tenor Francesco Borosini, soon afterwards a principal cast member for Handel in Tamerlano and Rodelinda (Conti's writing for Borosini descends to a low G, hence the decision here to cast baritone Furio Zanasi as Saul). Alan Curtis speculates that Borosini might have shown Conti's score to Handel because Conti's use of the theorbo to portray David playing the harp to soothe the insanely jealous Saul is neatly reflected in Handel's use of solo harp in his oratorio Saul (1738). Conti's difficult obbligato theorbo part in David's 'Quanto mirabile' is entrusted to the safe hands of Jakob Lindberg; the vocal part is sung by Marijana Mijanovic´, whose tuning and phrasing are better here than in her Handel recordings. Furio Zanasi's top register is stretched a notch too much for comfort at times but this never gets in the way of a convincing performance. Simone Kermes is beautifully emotive as Micol, Birgit Christensen's sparkling soprano is impressive, and Sonia Prina sings with exemplary sense of proportion and melodic line.

Handel - Fernando (Alan Curtis) [2007]  Music

Posted by Vilboa at April 8, 2017
Handel - Fernando (Alan Curtis) [2007]

Handel - Fernando (Alan Curtis) [2007]
Classical | Virgin 0946 3 65483 2 | TT: 71.53+77.26 | EAC (FLAC, cue, log) | Covers | 678 Mb

Fernando is the abandoned first draft of Handel’s opera Sosarme (performed at the King’s Theatre in February 1732)… Curtis’s pacing and shaping of Handel’s music is consistently subtle, astutely rhetorical and firmly connected to the libretto text. Although it might be possible to explore firmer muscularity and create a more vivid sense of surprise in the quicker music, there is something to be said for Curtis’s shrewd reservation of such effects for when it is truly vital for the drama. For instance, Marianna Pizzolato’s powerful arias “Vado al campo” and “Cuor di madre e cuor di moglie” are potently delivered moments of severe agitated passion that are all the more effective for the sweeter elegance that pervades much of this lovely score. The sublime duet “Per le porte” is sung with poetic intimacy by Lawrence Zazzo and Veronica Cangemi. Zazzo sings his elegantly heroic aria “Alle sfere della gloria” with supple clarity. Max Emanuel Cencic is impressive as the reticent Sancio, unwilling to be used as a pawn in his ruthless grandfather Altomaro’s Machiavellian plans to tear the royal family apart. Antonio Abete gives an ideal account of the villain’s arias… Fernando is one of Curtis’s most consistent and pleasing Handel opera recordings. (David Vickers, Gramophone)

Handel - Rodrigo (Alan Curtis) [1999]  Music

Posted by Vilboa at April 7, 2017
Handel - Rodrigo (Alan Curtis) [1999]

Handel - Rodrigo (Alan Curtis) [1999]
Classical | Virgin 7243 5 45897 2 | TT: 79.15+75.34 | EAC (FLAC, cue, log) | Covers | 720 Mb

Until recently, so much of this first opera that Handel wrote for Italy was lost that it was unviable to stage it. The rediscovery of the missing material, a triumph of scholarly detective work, reveals the confident high spirits which characterise so much of Handel’s music during his Italian visit. It lacks the instrumental colours of his more lavish London productions, with many arias supported by continuo alone. All are here, complete (even six which Handel himself discarded), but many are brief and, under Curtis’s lively direction, the dramatic tension builds up splendidly. He has also shortened the recitative, reflecting Handel’s own tendency later, in England, when writing for a non-Italian speaking audience. After a fleeting moment of uncertainty in the Overture, the orchestral playing is superb throughout. Both Banditelli (Rodrigo) and Calvi (Fernando) are well-characterised in their trouser roles, an apt touch of darkness in the voice reflecting Handel’s original castrati. Piau is appealing as Rodrigo’s forgiving wife in some of the most memorable arias – her first with delicate flutes, in Act II, confusing the ear with ambiguous up-beat rhythms. Fedi, as Rinaldo’s rejected mistress, is uncomfortably hard-edged when passions are roused. Outstanding is Müller, duetting alluringly with bassoon, strutting arrogantly in a victory celebration. (George Pratt, BBC Music Magazine)

Alan Hull - Pipedream (1973) Expanded Reissue 2005  Music

Posted by Designol at April 7, 2017
Alan Hull - Pipedream (1973) Expanded Reissue 2005

Alan Hull - Pipedream (1973) Expanded Reissue 2005
EAC | FLAC | Image (Cue&Log) ~ 329 Mb | Mp3 (CBR320) ~ 135 Mb | Scans ~ 84 Mb
British Folk-Rock, Folk, Pop/Rock | Label: Virgin | # CASCDR 1069/0946 3 36953 2 0 | Time: 00::

The debut solo album by the Lindisfarne frontman, cut shortly after that band's initial breakup, Pipedream is very much the son of its father, a faintly folky collection of songs that, one presumes, were originally intended for the next Lindisfarne album before events finally overtook them. As usual with Alan Hull's post-Dingly Dell output, nothing here truly leaps out to grab your attention; rather, Pipedream is a meditative, reflective collection characterized as much by Hull's often-plaintive vocal than by any particular melody. But "Country Gentleman's Wife," "Song for a Windmill" and the gorgeous "Justanothersadsong" are latter-day Hull jewels, while the biting "The Money Game" reflects on the end of the band with grandiose venom. [Originally released in 1973, the LP was reissued on CD in 2005 and includes six bonus tracks.]

The Alan Parsons Project - I Robot (1977)  Music

Posted by v3122 at April 7, 2017
The Alan Parsons Project - I Robot (1977)

The Alan Parsons Project - I Robot (1977)
EAC | Flac(Image) + Cue + Log & MP3 CBR 320Kbps
2016 | MFSL, UDSACD 2174 | ~ 243 or 98 Mb | Scans(png) -> 183 Mb
Progressive Rock

Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential…

Alan Parsons - Try Anything Once (1993)  Music

Posted by v3122 at April 4, 2017
Alan Parsons - Try Anything Once (1993)

Alan Parsons - Try Anything Once (1993)
EAC | Flac(Image) + Cue + Log & MP3 CBR 320Kbps
Arista, 74321167302 | ~ 375 or 142 Mb | Scans(jpg) -> 95 Mb
Progressive Rock

Alan Parsons' Try Anything Once, released in 1993, is made up of beautifully mastered songs that carry their own charisma, thanks to the numerous vocalists that contribute throughout the album…
Beggars Opera – Waters Of Change (1971) Vertigo/6360 054 – DE Pressing - LP/FLAC In 24bit/96kHz

Beggars Opera – Waters Of Change
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Label: Vertigo/6360 054 | Released: 1971 | This Issue: 1974 | Genre: Progressive-Rock

Essential: a masterpiece of progressive rock music
Swimming in mellotron
“Waters of change” was Beggar’s opera’s best album in my opinion, full of strong melodies and well constructed songs. Having introduced themselves with the innovative, classically driven “Act one”, the band invested in a mellotron, which instantly became the dominant instrument in their sound. The band moved away from the intricate symphonic prog of their first album, towards the art rock of the Moody Blues and Barclay James Harvest.
Beggars Opera – Act One (1970) Vertigo/6360 018 – NL Pressing - LP/FLAC In 24bit/96kHz - NEW 2017 RIP!!

Beggars Opera – Beggars Opera Act One
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Label: Vertigo/6360 018 | Released: 1970 | This Issue: 197? | Genre: Progressive-Rock

Excellent addition to any prog rock music collection
What a mindblowing debut-album this is! The very melodic and harmonic music from this five-piece band is based upon an incredible dynamic and propulsive rhythm-section and splendid, very exciting Hammond organ work, often accompanied by a powerful and fiery electric guitar. The interplay between the musicians is magnificent and the excertions on keyboards and guitar are very compelling, in the spirit of the late Sixties and early Seventies.

Handel - Admeto (Alan Curtis) [1998/1978]  Music

Posted by Vilboa at March 12, 2017
Handel - Admeto (Alan Curtis) [1998/1978]

Handel - Admeto (Alan Curtis) [1998/1978]
Classical | Virgin 7243 5 61369 2 | TT: 76.48+79.16+60.43 | EAC (FLAC, cue, log) | Covers | 967 Mb

A warm welcome back for this 1977 recording of Handel’s most successful opera, which ran, in 1727, for an unprecedented 19 performances. Curtis and his team were visionary 20 years ago. Recitative is lively, declaimed rather than fully sung; vocal decorations sound spontaneous, period instruments are played with zest and polish – barely a sour note from the handful of strings; colours include a trio of oboes and bassoon and, accompanying Bowman in fine voice, a pair of horns for what Dr Burney described as ‘one of the best and most agreeable hunting songs that was ever composed’. Jacobs reflects the volatile title role, impassioned in his death-bed scene which opens the opera, virtuosic elsewhere, though his affected swoops become rather predictably mannered. Yakar and Gomez sing Alceste and Antigone, roles which Handel wrote for Faustina and Cuzzoni, whose jealous rivalry led them, on stage, to ‘call Bitch and Whore’ and ‘pull each other’s coiffs’! Here, Faustina could not more beautifully have ‘sung adagios with great passion and expression’ than Yakar, while Gomez surely matches Cuzzoni’s ability to ‘conceal every appearance of difficulty’ – contemporary descriptions of their outstanding powers. You may want to tweak tone controls to moderate the bright, remastered sound. (George Pratt BBC Music Magazine)