Viva Max

This live 3 CD set dramatically brings this rare opera to life, set in the 5th Century A.D, shortly before the fall of the West Roman Empire and certainly contains plenty of intrigue and drama. Although not as successful as Orfeo it contains many fine moments and this recording, in which Andreas Stoehr conducts a first rate cast, should introduce more opera listeners to this fine work.

Def Leppard dove into the classic-albums-in-their-entirety trend via an 11-date residency at the Hard Rock in Las Vegas, performing 1987's Hysteria from start to finish, adding other classic hits to round out the set. More interestingly, taking a tip from Joe Elliott's Mott the Hoople tribute side project the Down 'n' Outz, Def Leppard opened for themselves, performing as Ded Flatbird and running through rarities and early hits that they have rarely played live in the years since becoming superstars. These Vegas gigs were filmed for a limited-edition theatrical release called Viva Hysteria, which quickly appeared on Blu-ray and DVD, along with a double-CD soundtrack capturing the highlights…

The dean of American pop vocalists took a different and exciting fork in the road for his third Duets album, recruiting the best Latin vocalists in the world, and rejuvenating classic material like "The Best Is Yet to Come" (featuring Chayanne), "For Once in My Life" (featuring Marc Anthony), "Who Can I Turn To (When Nobody Needs Me)" (featuring Gloria Estefan), "The Way You Look Tonight" (featuring Thalía), and "Return to Me" (featuring ranchera legend Vicente Fernández). Most of the charts are big band – one of the exceptions being the highlight, his duet with Fernández – but crossover fans will note that Bennett's English gives way to his duet partners' Spanish, an intriguing and successful choice.

This album is DA BOMB! From the opening number, Barretto sets the tone for the rest of the album, QVLM begins with a band fanfare intro that breaks into a descarga (guaguanco callejero), with Adalberto then joining in with tight vocals inspiring the rest of the band into painting for the listener one of the great dance numbers of all time. The other tunes are also treated with Barretto's always in the pocket and hip style of playing. Barretto always surrounded himself with the best musicians and this album was no exception. In the Arsenio classic, "Bruca Manigua", Ray pays homage to the roots, the tambor and his Afro-Caribbean heritage with his very relaxed but funky cha cha rendition of this Cuban musical staple. The next tracks, "La Pelota" and "El Tiempo Lo Dira" are Barretto/R. Rodriguez compositions that lend true legitimacy to Barretto's compositional and arranging talents.