La Stampa From 02.08.2016 Pdf

La Bocca Della Verita is the next new name from the Italian progressive rock scene. The style of music which can be heard on their compositions can be labelled as retro progressive rock. In every way they look back at the beautiful musical period of progressive rock released in the seventies. All of the bands they covered at first can be heard on this almost 80 minutes long album. But also acts such as Yes and King Crimson could have been an inspiration for the musicians. The two keyboard players easily step into the footsteps of Tony Banks, Rick Wakeman and the late Keith Emerson. Also the bassist knows how to sound like the late Chris Squire. As for the lead guitarist it wasn't easy to compare him with anyone. But he comes close to Steve Hackett and Robert Fripp. Highly recommended to those who adore the progressive rock made in the seventies.

Italian pop singer Antonella Ruggiero used to sing at parties as a child, her first step to becoming a local star years later. After attending the Fine Arts Academy, she started working as a designer for an advertising company. In 1975, Ruggiero joined Matia Bazar, a popular vocal group founded by Aldo Stilita, which achieved international recognition in the late '70s. In October 1989, she decided to leave the band. After an inspiring length of time in India, Ruggiero began her solo career with the release of an album called Libera in 1996. That was followed by 1997's Registrazioni Moderne, produced by Roberto Colombo. It included the song "Per Un'Ora d'Amore," which climbed the most important Italian charts. In 1998, she came in second place at the San Remo Festival for singing "Amore Lontanissimo."

To create a sense of the Venetian liturgical celebrations attendant on the birth of Louis XIV in 1638, Benjamin Chénier and the Galilei Consort have constructed a sumptuous performance from various works composed by Giovanni Gabrieli, Giovanni Rovetta, Giovanni Antonio Rigatti, Claudio Monteverdi, and Giovanni Bassano. Rovetta had been chosen by Louis XIII to assemble the singers and instrumentalists, and his Kyrie, Gloria, and Credo from the Messa e Salmi Concertati form the core of this historical simulation, which is completed by a Sanctus and Agnus Dei by Rigatti, and various instrumental pieces and motets.

When the young Archduchess of Austria, Marie-Antoinette, arrived at the French court in 1770, amongst her luggage was a harp. Contrary to the instrument’s heralded decline, the harp was about to enjoy an unprecedented popularity and to inspire a rich and prolific repertoire, quite distinct from the concertos being composed for the keyboard. Xavier de Maistre and Les Arts Florissants take us on a voyage of discovery through these magnificent compositions, from the lesser known Concerto for harp & orchestra by Jean-Baptiste Krumpholz to Haydn’s “La Reine” Symphony, bringing them to life using period instruments in a programme that is as accomplished as it is captivating.

Jacqueline Thibault (Laurence Vanay) often worked for other artists at the legendary Château d’Hérouville studio as arranger, keyboardist, co-composer, and assistant sound engineer. Between sessions she sometimes managed to record her own music. Several years after her two acknowledged masterpieces, “Galaxies” and “Evening Colours,” she was able to bring together the tracks for “La Petite Fenêtre” (The Little Window). As the 1970’s ended, trouble with the Château finances meant that again it was impossible for her to present her work to interested record labels. Instead, “I worked in another recording studio in Paris for fashionable artists,” she said, “and I managed after a time to resume and complete my unfinished songs”…