The German heavy metal outfit, Rage, originally formed in the early '80s, and although the group has issued albums on a steady basis ever since, lead singer/bassist Peter "Peavey" Wagner is the only original member still in attendance. First known as Avenger, the group issued a pair of recordings (Prayer of Steel and Depraved to Black) before switching their name to Rage, to avoid confusion with a British band of the same name. 1986's Reign of Fear signaled the group's first album to be released under their new name, as they continued on in the same heavy hitting musical direction on subsequent releases; although they used some orchestral flourishes on their late-'90s experimental albums Lingua Mortis (1996) and XIII (1999)…
We've built a robust program this year with unique Breakout Sessions and Hands-on-Lab topics, plus some new educational offerings and networking opportunities. These are all of the available session videos from VMworld 2010
…And, in fact, Elias has rarely been performed with greater respect for the original than it is here under the conductor Christoph Spering, who has recorded this “sacred opera” with his New Orchestra and the Chorus Musicus Köln in Essen’s Philharmonic Hall with the composer’s “dramatic ideal” fully in mind and heart. (…) The result was in fact an oratorio in opera form and a wealth of dramaturgical elements that absolutely enthralled the public. Fresh Interpretation Just as the composer would have wanted it, Christoph Spering has selected a full chorus and a magnificently dimensioned orchestra for this recording. The New Orchestra performs on historical instruments and in the two years since its founding has gained renown as an outstanding interpreter of the music of the romantic era. (…) Brisk tempos, sharp delineation, powerful expression, and interpretive freshness are the hallmarks of this new discovery for the MDG Live label.
…While purists may still take issue with the use of modern instruments, the large size of the orchestra, and a few minor issues, even they will recognize that Blunier has learned a great deal from the early music camp and that his interpretations are intelligent and insightful. They also have an appealing warmth that is sometimes lacking in versions with original instruments, and the vigorous playing certainly keeps the music from seeming fussy or sterile. 4,5/5 ~AMG