Piccolo Coro Mariele Ventre Dell'antoniano Nonna Pina E LE Tagliatelle

Figgatta de Blanc is the tenth studio album by Italian rock band Elio e le Storie Tese, published in 2016. The name is a parody of The Police' Reggatta de Blanc.

Farnace was apparently one of Vivaldi's favorite operas, because he mounted numerous productions in various cities, and wrote six versions of the score, more than of any of his other operas. The conventions of operatic vocal characterizations that came to be standard – higher voices in the sympathetic roles, and lower voices in villainous roles – had not yet been established, and Farnace features a baritone and contralto in the heroic roles, with a soprano as the villain. Soprano Adriana Fernández shines as the wicked Berenice, who is redeemed at the very last minute. She has a full, creamy voice that she deploys appealing agility and warmth.

This is a film recorded by the Radiotelevisione Italiana in 1956. The first thing that must be remarked is the first-class quality of both the sound and the picture for the standards of the time. Secondly, how young and how good were the singers. Rossana Carteri, who makes Susana , was only 26, while Marcella Pobbe and Luigi Alva, in the roles of the Comtess and Don Basilio, were 29 and Nicola Rossi Lemeni as Figaro 36. Having a Susana and a Comtess who are both both young and gorgeous makes quite credible the final scene in the garden where they exchange roles. Their duetto "Canzonetta Sull' Aria" is particularly enjoyable as well as the Comtess' "Dove Sono I Bei Momento", and Susana's "Deh, Vieni Non Tardar". Nicola Rossi Lemeni was one of the best Italian bassos in those times and he shows his abilities in the role of Figaro. The same can be said about the German basso-baritone Heinz Reifuss who makes a sensual Comte.

The present release synthesizes some stages characterizing the composition path of Pier Paolo Scattolin: from a cappella vocality to instrumentalism with stylistic dynamics sometimes distant but all having in common the research on sound, from the linguistic phoneme to the eclectic and sometimes experimental use of instrumental emission. The path winds through almost forty years of continuous investigation and dissection of both choral and instrumental sound, the latter of a chamber/soloistic character and in some cases concerted and intersected with the voice. In the a cappella choral repertoire a varied anthology collects poetic and literary texts by Dante Alighieri, Giuseppe Ungaretti, Alda Merini, Umberto Saba, Emily Dickinson, Alessandro Striggio, Agnolo Poliziano, Alceo, Saffo, Ipponatte, Enzo Iacchetti, Agnese Troilo and the composer himself.

Logos was born in 1996 as an italian progressive rock band, playing mainly Le Orme and Banco. The band recorded in 1999 "LogoS", in the 2001 "Asrava", in 2014 "L'enigma della vita", a Logos' milestone.
Still helmed by the incredible Luca Zerman on lead vocals as well as keys, aided and abetted by fellow ivory man Claudio Antolini, as well as devilish bassman Fabio Gaspari, who doubles on guitar, mandolin and vocals and adding terrific drummer Alessandro Perbellini. The album has a theme focused on a Japanese legend, an artistic style known as Origami and combining that with history, namely Hiroshima, through the eyes of a little girl Sadako, victim of the radiation released by the A-bomb. The cover and artwork are once again highly evocative and drenched in artistic flair and melancholia.

The 2023 album by this legendary Italian prog band is a concept album about Pangea. And also this time the guests are of great level and history such as Ricky Belloni (electric guitar - New Idea, New Trolls), Donald Lax (violin - Quella Vecchia Locanda), Tolo Marton (electric guitar - Le Orme). The cover was designed by Armando Mancini (creator in the '70s of covers for Italian prog bands such as Quella Vecchia Locanda, The Trip, Rovescio Della Medaglia, Raccomandata Ricevuta Di Ritorno and many others.

As one of the leading operatic composers of his generation, Johann Simon Mayr nurtured a fascination with the chivalric stories of medieval England. Le due duchesse, an opera semiseria with buffa elements, is set during the reign of the 10th-century King Edgar. Huntsmen’s and Knights’ choruses and troubadour-like songs give great vivacity to a score that is both lyrical and dramatic. Mayr’s compound of Viennese Classicism and Italianate melodic beauty, allied to his ambitious writing and a skilful libretto, produced an important and influential opera couched in his own unmistakable idiom.