Claude D'Anna's film of Verdi's Macbeth is a gloomy affair, stressing the descent into madness of the principal villains. It's acted by the singers of the Decca recording of the opera (with two substitutions of actors standing in for singers) and the lip-synching is generally unobtrusive. The musical performance is superb, conducted by Riccardo Chailly with admirable fire, and sung by some of the leading lights of the opera stages of the 1980s.
Excellent addition to any Prog-Rock music collection
This one is the jewel of Symphonic and Psychedelic-Rock from Latin America in the early seventies.
The name of the band was “Frutos Del País”, and I could compare their music with Procol Harum, which is clearly their main influence.
The Latin rock band Del Castillo started in the winter of 2000 in Austin, TX, as a family CD project for singer/guitarists and brothers Mark del Castillo and Rick del Castillo, who eventually added Alex Ruiz on lead vocals, guitar, and harmonica; Albert Besteiro on bass; and Mike Zeoli on drums. That CD turned out to be Del Castillo's debut release, Brothers of the Castle, in 2001. Vida followed in 2002, and Brotherhood (with special guest Willie Nelson) in 2006. The group's self-titled fourth album appeared in April 2009. Del Castillo also has contributed to several films directed by Robert Rodriguez, including Spy Kids 3D, Once Upon a Time in Mexico, Sin City, and Grindhouse. Performing with Rodriguez under the name Chingon, they recorded a version of the traditional Mexican song "Malaguena Salerosa" used in the Quentin Tarantino film Kill Bill Vol. II.
Considering the talent that he shows throughout this 1983 album (which was released for the first time in 1995), it is very surprising that tenor-saxophonist Bobby King is so obscure. Based in Los Angeles and a veteran of stints with Lionel Hampton, Stan Kenton, Maynard Ferguson, and Don Ellis, among others (and one who sat in with John Coltrane and Miles Davis), King is an impressive tenor-saxophonist who also plays some Phil Woods-inspired alto on "War and Peace." Although four of the six selections are straight-ahead, Bobby King is not shy to take the music outside, and is open to the tonal distortions of Coltrane, Ornette Coleman, and Albert Ayler.