Cohen Annekine

A limited guitar player at best, and with a voice that hardly spans a couple of octaves, Leonard Cohen has nonetheless fashioned a legacy of gorgeously realized songs that reach deep into the heart of lust, ill- and well-fated romance, hope, and redemption, and if he doesn't sing like an angel, he could certainly mesmerize one with the melody, lilt, and power of his songs…

Leonard Cohen – Songs From The Road [BluRay Untouched, 1080i]
MPEG-4 AVC, 1080i, 1.78:1 | Dolby True-HD 5.1 & LPCM Stereo @ 24Bit/96kHz | Full Artwork
Label/Cat#: Sony Music, Legacy # 88697759099 | Country/Year: Europe 2010 | Size: 21,60 GB | 5% Recovery Info
Genre: Pop, Chanson | Style: Acoustic, Singer/Songwriter

…Songs from the Road offers the chance to see one of the most enigmatic and lyrically brilliant artists working in the realm of popular music. Cohen has been such a reclusive figure for so long it's a bit bracing to see him, warts and all, in this amazing amalgamation of performances from venues near and far. Though the image quality here isn't great, the audio quality more than makes up for it, and this Blu-ray is highly recommended.

Corruption? Betrayal? Persecution? Tyranny? These subjects resonate with the current events of the twentieth and twenty-first centuries. They also provide the subject matter of many seventeenth-century musical works. Kate Lindsey has chosen to devote this second Baroque recital with the English ensemble Arcangelo directed by Jonathan Cohen (following Arianna in 2020, ALPHA576) to the figure of Nero. Scarlatti, Handel and Monteverdi wrote works focusing on this tragic protagonist and his entourage, including his mother Agrippina and his wives (Poppaea and Octavia). Interpreted with incredible intensity by the American mezzo-soprano, the programme features world premiere recordings of two cantatas: Alessandro Scarlatti’s La morte di Nerone (c.1690) and Bartolomeo Monari’s La Poppea (1685). Tenor Andrew Staples and soprano Nardus Williams join Kate Lindsey for duets from L’incoronazione di Poppea, including the sensual ‘Pur ti miro’.

The hunting horn evolved in the seventeenth century as an accessory to a popular leisure activity for the aristocracy—the hunt. Its purpose during the chase was to signal unfolding events to people walking behind the mounted huntsmen; it was designed to be loud enough to project over considerable distance and over the barking of hunting hounds. From this rustic beginning, the horn underwent a remarkable process of taming and refinement over a few decades to become capable of being the featured musical instrument of chamber works in the eighteenth century, such as those recorded here. The music may still retain occasional references to its outdoor heritage in brief fanfares and hunting rhythms, but horn players achieved an ability to blend and balance with small groups of string instruments, harpsichord and woodwinds, with an emphasis on sweetness of tone, phrasing and articulation that would have been unanticipated a generation or so earlier.