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.
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.
Dai cieli all'uomo. Shakespeare e Galileo, Bruno e Newton all'alba della nostra modernità hanno scorto nella volta celeste un Grande Libro in cui erano scritti, "in caratteri matematici", leggi di natura e destini di individui, popoli e imperi. Oggi che i nostri cieli sono solcati dai satelliti artificiali, qualcuno considera come un Libro il nostro genoma: …
Give him points for persistence: Alice Cooper just won't quit. He's seen it all from the bottom to the top – and done the trip more than once – but still continues on his merry-morbid way, punching out albums like a spry young'un. The first thing one has to say about The Eyes of Alice Cooper is thank Jehovah and all his witnesses that the Mascara'd One has grown out of his metal/industrial phase. That look just never took. Discs like Brutal Planet (2000) and the somewhat better Dragontown (2001) offered little to his legacy or his legion of fans – aside from nascent headbangers discovering the Coop for the first time. Eyes harks back to Alice's overly maligned early-'80s discs Special Forces and Flush the Fashion – albums that suffered by comparison with his landmark '70s releases but remain far more musically appealing than the aforementioned new-millennium fare.