It was pretty clear that Billy Joel had run out of steam by 1993's River of Dreams. He had shown signs of wearing on its predecessor, Storm Front, but his trademark melodic gift disappeared on River of Dreams and his words, even performances, were bone-tired – he even called the last song "The Last Song (No More Words)." So, it was no great surprise that he did not rush to record a follow-up, and when he started murmuring toward the end of the decade that perhaps he wasn't interested in pop music anymore, nobody who paid attention could have been surprised.
Alan Stivell is a Breton musician and singer, recording artist and master of the celtic harp who from the early 1970s revived global interest in the Celtic (specifically Breton) harp and Celtic music as part of world music.
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)