Marilyn & me

It's been a long time since Marilyn Manson truly seemed like a transgressive force, but when you spend a lifetime crafting a persona as a rock & roll boogeyman, it's not only hard to shake that image, it's unlikely that you'd want to shake it. Manson has never shown any indication that he's wanted to change, which somehow came as a surprise to his betrothed, burlesque diva Dita Von Teese, who according to published reports in the wake of their divorce seemed shocked, shocked that Manson wanted to stay up late and take drugs, the kind of eternally adolescent behavior that only rock & roll stars can get away with as they approach 40. Better for Marilyn to sever that marriage and turn toward a true teenager: Evan Rachel Wood, the blandly pretty star of Thirteen who provided MM with a brand-new muse for Eat Me, Drink Me, his sixth studio album…

Perhaps to prepare fans for their next release, Marilyn Manson have decided to release a five-track EP of dance remixes and live songs. The group does show that they have what it takes to come up with sometimes interesting dance makeovers of popular songs (such as "The Horrible People," a reworking of their hit "The Beautiful People"), but the originals are better and definitive. You'll also find a pair of live tracks, "Dried Up, Tied and Dead to the World" and "Antichrist Superstar," which catch the band in all of their shock-rock glory. And closing the mini-album is a mellow acoustic piece (consisting of just guitar and voice, with a few sound effects here and there) entitled "Man That You Fear," which is a departure from their usual sound.

If you're looking for one album documenting the career of Marilyn Horne, this is the one to buy. Composed mostly of operatic excerpts from the 1960s and '70s, but also including some art song and concert selections from the 1980s, Decca's Just for the Record: The Golden Voice captures the sound and fury of Horne in her prime. Most everything Horne was known for is here: Handel, Rossini, Bellini, some Verdi, and Bizet's Carmen.

Ms. Scott at her finest. This album is rich in feeling and emotion. Her unique style and presentation will make you melt. All her albums are 4 star or better but this one and her previous Japanese import only on SINDROME records are her two best. This is an essential to add to any good jazz collection. Her smoky, seductive voice will capture your heart and soul…not to mention, it will make you SMILE.

I believe this is the only note-complete performance of this opera, and furthermore, the only one that is sung in all of the original keys (in almost every other recording "Casta diva" and the duets are transposed down). It is a spectacular example of bel canto. Recorded in 1964, Joan Sutherland was at her peak, exhibiting fearless, beautiful singing, thoroughly accurate in fiorature and breath control.

This time-honoured production of Verdi's final opera, one that has seen all the greatest Falstaffs of the last four decades hold court at its convincingly shabby Garter Inn and upset the decent folk of its lovingly recreated Tudor Windsor, marked the first appearance at the Met of producer and designer Franco Zeffirelli in March 1964. The Anglophile Zeffirelli had by then made his Shakespearean reputation with a revelatory Romeo and Juliet in London - his films of this play and of The Taming of the Shrew were shortly to follow - as well as with a similar production of Falstaff at Covent Garden, and the attention to visual and psychological detail displayed in his Met Falstaff won it high praise: “a milestone in the history of operatic production in this city" was the judgement of the New York Herald Tribune.