Nathy Peluso La Sandunguera

I discovered Rachmaninov’s ‘Vespers’ singing in a choir, and the work made a genuine emotional impact on me! This music gives off an impression of naturalness and ‘simplicity’, yet in fact its architecture is complex and innovative for its time in the quasi-orchestral treatment of the voices. I wanted to place the work in a liturgical context that I conceived by drawing my inspiration from the Orthodox ceremonies I have been lucky enough to attend in Russia and Romania. The special characteristic and the beauty of this Vigil service (which in the Orthodox churches includes both Vespers and Matins) is that it accompanies the prayers of the faithful from dusk until sunrise.

La Coscienza di Zeno is quickly becoming the new "enfant terrible" of Italian prog, 3 sensational albums into a career that just keeps giving vivid music that adheres to the classic elements that makes RPI so attractive to many , and puzzling to some others.
La Coscienza di Zeno is named after a well-known Italian novel, the title of which translates into English as ''Zeno's conscience''. The band initially played a modern style of progressive music that was influenced by the giants of UK prog rock. In fact, while they were working on their debut album they recorded a track for the Yes tribute project "Tales from the Edge"…

For this new instalment of their series devoted to British music of the eighteenth century, the musicians of La Rêveuse take us to London in the 1740s. The leading Italian and German virtuosos Handel invited to play in his orchestra brought a powerful wind of change to English musical life, while the Scot James Oswald achieved the tour de force of making the music of his country fashionable in the drawing rooms of London.

This instrumental disc which bears the subtitle “17th-century violin music in Spain” is a speculation around Spanish organ music having been arranged for other instruments in the same way Italian music of the time was. With a colourful setup of musicians including Enrico Gatti on violin, Leon Berben on harpsichord and organ, and Pedro Estevan on percussion, La Real Camara as directed by Emilio Moreno provides an adventurous and fully enjoyable view of the music which might have been heard in the century of Velazquez and Calderon de la Barca.

This new OSR recording presents the two most ambitious musical responses to Maurice Maeterlinck’s 1893 epoch-making play Pelléas et Mélisande.

I’d read On purge bébé ! even before I composed Pinocchio. I said to myself: ‘This is a wonderful play… but it’s impossible to turn it into an opera’. And if I say something like that, it means that I’m going to do it — it’s like I’m setting myself a kind of challenge! I liked a lot of things in this play. It’s rather malicious, as it presents an image of a smug, pretentious, and uneducated petty bourgeoisie and their complete dishonesty. I don’t think anyone has ever done an opera based one of Feydeau’s plays — at least, not that I know of. People don’t think of turning Feydeau into an opera…