Speaking about Johann Sebastian Bach’s second son Carl Philipp Emanuel (1714-1788), Mozart said “he is the father, we are the children”. Indeed, Carl Philipp Emanuel is one of the major musical figures of this key period, the turning point between the baroque and classical aesthetics. Although he left a large body of work written for instruments of all kinds, the keyboard was always his favourite. He produced a number of collections for it, featuring numerous sonatas and freestyle works such as fantasias, a genre in which he excelled. Aline Zylberajch and Alice Piérot offer a selection of pieces for both violin and keyboard and solo keyboard, all composed during Carl Philipp Emanuel’s mature years, from the 1760s up until his death.
When Carlo Maria Giulini returned to conducting public performances of opera after an absence of fourteen years, he chose for the occasion one of the enduring comic masterpieces - Verdi's Falstaff. The composer was almost eighty when he broke the six-year silence following the premiere of Otello, and startled the musical world by revealing his complete mastery of comic invention. Renato Bruson, the renowned interpreter of Verdi and one of the leading lyric baritones of the day, sings the title role.
…Evidently then, the 2009 Rossini Opera Festival production isn't set during the time of the Crusades but rather, for no apparent reason, takes place in the Grand Hotel Rossini during the Belle Epoque on a set that looks more like La Traviata, with much of the action taking place on a billiard table and there not being any real effort put into making all the disguising and dressing up even half-way convincing. According to the booklet that comes with the DVD/BD release, the explanation for this is that the story of Le Comte Ory is being put on as a parlour game by a theatre group in order to explore their own erotic fantasies. You wouldn't know this otherwise, but even when you do know it, it still seems like a pointless conceit, particularly as the director seems to have forgotten that the work is actually supposed to be a comedy… By Keris Nine
Trash is the 18th studio album released by Alice Cooper in 1989. The album featured "Poison", Cooper's first top ten hit since his single "You And Me" in 1977. After Alice's return to the music industry in 1986 with the successful tour "The Nightmare Returns", Cooper had sought assistance from Desmond Child to create a comeback album. Trash became one of Cooper's biggest albums, accompanied by music videos for "Poison", "Bed of Nails", "House of Fire", and "Only My Heart Talkin'". A successful year-long worldwide concert tour in support of the album was documented in the home video release Alice Cooper Trashes The World. Additionally, much of the album conveys a sexual theme.
The songs of Alice Tegner and Gustaf Nordqvist have been sung and loved by generations of Swedish people, particularly children. Tegner’s songs for children were published into a series which made its way into many schools and homes across Sweden. A lesser-known genre of the two composers is focused on in this new release: music for mixed choir. Both composers held important choral positions, Tegner composing for and leading a chapel choir, and Nordqvist enjoying a respected position in the capitol.