Sina IO Non

One of Italy's best-loved artists, Adriano Celentano has been equally successful in film and music. Whether singing Elvis Presley-inspired rock, as he did as a member of the Rock Boys in 1957, or romantic balladry, Celentano found a dedicated market for his music…

This set contains 8 operas by Handel in 22 CDs. In many ways, this box is a mix-bag: some of them performed in the "traditional style" with severe cuts, and others in "historically-informed" performances. Selection includes some of the most popular Handel operas and some of the rarely-performed. It's the latter category that one should pay closer attention.

As part of Deutsche Grammophon’s release of a limited and numbered edition of Claudio Abbado’s complete recordings for DG, Decca and Philips, you can now enjoy Volume 10 in a series of 16 digital albums, which are organised in alphabetical order of composer name. This twelfth digital album presents music by Gioachino Rossini.

Claudio Monteverdi (1567-1643) - The Madrigals - Raymond Leppard (1998) {8CD Box Set Philips 462 243-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.56 Gb | MP3 @320 -> 1.20 Gb
Full Artwork @ 600 dpi (jpg) -> 286 Mb | 5% repair rar
© 1969, 1971, 1975, 1998 Philips Classics | 462 243-2
Classical / Renaissance / Baroque / Vocal Music / Secular and Sacred

Genius can be defined in a number of ways. One such definition is to be the right person in the right place at the right time; another is to have the capacity to move your audience to tears. Monteverdi meets both these criteria with flying colours. His professed ambition was to "move the passions of the soul," thereby drawing tears from his audience, and he achieved this with greater efficacy than any of his contemporaries. The use of the word "madrigal" on the title pages of his eight collections (and a posthumous Ninth Book from 1651) is therefore deceptive, concealing radical stylistic changes which brilliantly reflect the turbulent, exciting times in which he lived.

Antonio Cesti's Le disgrazie d'Amour is a comic opera from 1667 that played very well in its day, though not as well as his slightly later Il pomo d'oro, which proved the defining smash of Cesti's short career. Time enough has passed to expunge the repertoire of anything that may have served as a hit to Cesti in the past, and sometimes performing groups have an excellent grasp of what opera from a composer to revive based on the quality of a work itself, rather than its perceived popularity at a given time. Carlo Ipata and Auser Musici's Cesti: Le disgrazie d'Amour on Hyperion is an excellent example of that.