Sambista Arlindo Cruz

The question that must be confronted for those familiar with the breadth of her work is, "Is it even possible for Celia Cruz to record a bad album?" With elements such as producer Emilio Estefan, Jr., executive producer Angel Carrasco, and of course, la guarachera del mundo herself converging to create 2000's Siempre Vivire, the answer to that question seems clear. Celia's first album for Sony certainly captured those elements that uniquely belong to Cruz, and discriminatingly avoided any influences of the day that might adulterate those qualities or date the project. In conceiving this record, the creative team walked a very fine line by deciding on a project that could both stand among its contemporary peers and yet sound classic. It is hard in modern salsa to find the tres, a sultry bolero, or to hear plena played well. In a genre that continues to narrow its stylistic scope, it's refreshing to come across a record that can simultaneously be a citizen of the present, and reach to the past.

This Friday we will release the new album by maestro and violinist Claudio Cruz in partnership with violist Gabriel Marin!

With her powerful pipes, stunning showmanship, and superhuman sense of timing, Celia Cruz defined her chosen genre like few other performers in the history of popular music. EXITOS ETERNOS is a collection of tracks the "Queen of Salsa" recorded during the last decade of her life that, despite the vocalist's advanced age, clearly show Cruz's talents never wavered. Known for her uncompromising attitude and refusal to sing in English, Cruz valued aesthetic purity, but never became a museum piece. A driving pulse and rhythmic toasting that recall dancehall reggae propel her 2001 hit "La Negra Tiene Tumbao," and other tracks feature subtle synthesizer textures. Unlike lesser artists, however, Cruz is able to incorporate these disparate sonic colors seamlessly, making them sound as traditional as a conga drum or guiro. Of course, the unrelenting force behind each recording is Cruz's astounding voice, the sheer energy of which makes even these later recordings sound both classic and utterly contemporary.

Pianist with the São Paulo Symphony Orchestra (OSESP) since 1999, Olga Kopylova was born in Uzbekistan and studied at the Moscow State Tchaikovsky Conservatory. Her solo album Estrela da Manhã (2006) features works by Prokofiev, Rachmaninov, Medtner and Scriabin. As a soloist, she has performed with the OSESP, the Campinas Symphony Orchestra and the Curitiba Chamber Orchestra, among others. She performs chamber music at the OSESP’s series of chamber concerts and with her own ensembles, such as the Sexteto São Paulo and Duo Virtuose. She also teaches at the Osesp Music Academy.

Violinist, violist and conductor Cláudio Cruz and cellist and arranger Raïff Dantas Barreto meet in Beethoven: Duets, an album that will be released in digital format by Azul Music this Friday (18). Ludwig Van Beethoven is present in the musical formation and career of the two musicians: in recordings, CDs, classes, concerts, arrangements, memories and transcriptions. But it is the three duets for clarinet and bassoon WoO 27 that make up the album's repertoire. The works were transcribed by the two musicians for violin and cello. The CD also includes the original piece for viola and cello Eyeglasses WoO 32, known as the “Eyeglasses Duo”.