Culled from New York Philharmonic broadcasts spanning 75 years, this remarkable 10-disc compilation testifies to the strong-willed yet chameleon-like orchestra's virtuosity and versatility under a diverse assemblage of podium personalities. Stylistically speaking, the earlier items are the most interesting, revealing, for instance, a more vibrant Otto Klemperer and freer Arturo Toscanini than their later commercial efforts sometimes suggest. Other artists are heard in repertoire which they otherwise didn't record: Fritz Reiner's Brahms 2nd, Leonard Bernstein's Berg and Webern, and a wrenching concert version of Bartók's Bluebeard's Castle under Kubelík's direction, to name but a few. From program notes to transfer quality, not one stone is left unturned to ensure first-rate results.
The girlfriend of a man murdered for a debt falls in love with the killer.
Ivan Lins is one of the most treasured and recorded Brazilian composers in the world and a melodist with few equals. The winner of four Latin Grammy Awards, Lins has recorded nearly fifty albums since 1970; they contain countless songs, notably “Madalena” and “Começar de Novo” (To Begin Again), that have become standards in his country. “Love Dance,” cowritten with his longtime arranger, Gilson Peranzzetta, and lyricist Paul Williams, is Lins’s English-language classic. Its performers include Sarah Vaughan, Peggy Lee, Mark Murphy, Shirley Horn, Blossom Dearie, Carmen McRae, George Benson, Nancy Wilson, Barbra Streisand, and Quincy Jones, who helped maneuver Lins’s U.S. breakthrough in the early ‘80s.
"Stages" is a cover album by English recording artist Melanie C. The record is Chisholm's sixth studio album, and the fourth to be made under her own independent record label Red Girl Records. The album features a collection of song covers from various musical theatre shows and films, which consequently makes it Chisholm's first studio album where she holds no writing credits whatsoever to any of the tracks. The iTunes digital release of the album features a bonus track; a cover of Cole Porter's "Anything Goes".
…Leppard and his Hoosiers nevertheless do an exquisite job on everything. The orchestral sound itself is beautiful, the shaping of phrases lovely and detailed, and the overall flow of each piece unimpeded. Leppard knows how to tell the musical tale, especially evident in the Gershwin, which can pall in less committed performances. Based on the Chadwick and Foote, I especially want to revisit Leppard's Dvorák and Tchaikovsky.