Pergolesi's Stabat Mater, his achingly lovely swan song, was most likely written with two male singers in mind. Yet it's not often recorded that way, and the present release, with a genuine male soprano and alto, represents something rarer still, perhaps because not a lot of male singers can pull off the higher ranges convincingly without belting. Both the singers are billed as countertenors on the album, but Romanian-born Valer Barna-Sabadus, who looks like he just stepped out of a rock & roll dive, is a true soprano. Check out his soaring lines in the "Cujus animan," track 2, for the real news on this album. It's not that he delivers operatic power; plenty of countertenors can do that. It's the lightness and balance – even a certain soberness – that fit the work to its intended church ambiance.
On Awakening, Narada Michael Walden placed aside the jazz fusion leanings of his early albums in favor of a more radio-friendly sound. The strategy worked, with Walden having his first Top Ten R&B single, "I Don't Want Nobody Else (To Dance With You)," which also charted number 47 on the pop charts in early 1979 and Awakening breaking into the R&B Top 15. The follow-up single, the mid-tempo groover "Give Your Love a Chance" featured grand arrangements by Patrick Adams. Walden displays his hyperkinetic drumming skills on "They Want the Feeling." Other standouts are "Love Me Only," the beautiful radio-aired album track "Listen to Me," and the tender "Will You Ever Know."
Après le succès international de "L'Énigme sacrée", dans lequel il évoquait le premier la descendance possible de Jésus et de Marie-Madeleine, Michael Baigent soulève une fois encore la controverse avec "L'Énigme Jésus", récit détaillé de vingt-cinq années de recherche passionnée et d'enquête autour de la figure de Jésus-Christ. …
I'm a big fan of Copland. His music can be dramatic, sad, joyful, and just plain fun. I also think his music is a good vehicle for personal expression of the performer/conductor. I don't think this is true for all composers–-I cringe at some interpretations of Bach–-but I usually enjoy it when a performance of Appalachian Spring or Bill the Kid contains some individual stamp that indicates the performer is really feeling and enjoying what they are doing. The combination of Copland's timeless compositions and subtle playing effects can be very sophisticated indeed.