Letectvi a Kosmonautika 1986 16

Twist again à Moscou (1986)
XVID 704x288 25.00fps 955Kbps | French MP3 stereo 111Kbps | no subs | 01:30:02
Comedy | Director: Jean-Marie Poiré | Starring: Philippe Noiret, Bernard Blier, Christian Clavier, Marina Vlady

In 1984, some years before the fall of Communism, pop singer Tatiana tours Soviet Russia, accompanied by her boyfriend Iouri. One of her concerts is stormed by the KGB, who are pursuing her father, a university professor charged with supporting a Jewish student. Iouri turns to his brother-in-law, Igor Tataiev, the manager of a luxury hotel in Moscow, but his request for help falls on deaf ears. Igor has his own problems, since his hotel is to be scrutinised by a single-minded apparatchik, Boris Pikov, who intends to report any sign of dissidence to his superiors.
En URSS, le dernier concert de Tatiana, la nouvelle idole des jeunes Moscovites, est interrompu par un incident : le K.G.B. est à la recherche de son père, Fedor, un professeur d'université qui a pris fait et cause pour un étudiant juif souhaitant partir en Israël. Tatiana, sa famille et Iouri, son petit ami, décident alors de prendre la fuite.

This much awaited recording offers keenly idiomatic performances of the most famous works by Grieg, played by the composer’s own orchestra, the Bergen Philharmonic, and its Chief Conductor, Edward Gardner. The drama and passion of such favourite pieces as the incidental music to Peer Gynt and the Piano Concerto are superbly captured in surround-sound with exemplary Chandos sound quality. Unlike most existing recordings, offering only the orchestral suites, this disc presents numerous extra excerpts from Peer Gynt, which follow the sequence of Henrik Ibsen‘s dramatic poem, including sections for the unique Norwegian 'Hardanger Fiddle’. Having collaborated with the orchestra on several occasions, Jean-Efflam Bavouzet is the soloist in the Piano Concerto, a piece that stands out as a shining example of a single great thought captured and expressed in music. The power of this conception is evident throughout the concerto in the pianist’s faithful, yet highly romantic interpretation.