Arena

The new era begins in 2011 when the band gets together again in a slightly altered line-up. Clive, Mick and John Mitchell are once more joined by their old Arena pal, John Jowitt on bass! The question of a new vocalist is widely discussed by the fans and the eventual announcement of the choice of Paul Manzi, meets with enthusiasm and appreciation. The release of The Seventh Degree of Separation in 2011 confirms that the lineup is strong and Arena is in great shape! The Seventh Degree of Separation dwells on the subject of death and explores Frigyes Karinthy’s theory of Six Degrees of Separation expanded by the seventh degree, which, according to Clive, would link the living to the world of the dead. The release of the album is followed by the European tour during which some of the new material is presented in combination with Arena’s greatest classics.

The gathering of Arena's famous musicians makes a super-group: Mick Pointer (Ex-Marillion) plays the drums, Clive Nolan (Pendragon) the keyboards, and Keith More (Asia) played the guitar until replaced by John Mitchell (Ex-Kino). Vocalist Rob Sowden has been with the band since Immortal? and the bass player is Ian Salmon. There have also been some guest appearances by Tracy Hitchings (singer of Quasar, Strangers on a Train & Landmarq) and Steve Rothery (Marillion's gifted guitarist).
"Songs From The Lion's Cage" is then a very professional Progressive rock, both close to Marillion and hard-rock. "Pride", their second opus issued in 1996 (one year after the previous one) confirmed the high musical level of this band, at a time when they added a touch IQ to their music…

With nearly as many lineup changes as one of their influences, Yes, Arena was one of the dominant neo-prog groups of the 1990s. A supergroup of sorts, Arena has featured former members of Marillion, Pendragon, IQ, and Shadowland. Arena was formed in 1994 by Mick Pointer, the former drummer of Marillion, and Clive Nolan, the former keyboardist of Pendragon. The group was rounded out by the addition of Cliff Orsi (bass), John Carson (vocals), and Keith More (guitars).

The tradition of presenting operas in the Arena of Verona was inaugurated by Aida when it was performed there in 1913. The wide-open spaces of this opera-the blue skies and fragrant forests of Ethiopia, the starry nights on the Nile-and its picture of Egypt's ancient civilisation found their ideal setting in the grandeur of this centuries-old Roman amphitheatre and in the open air of Verona's summer nights.

The Visitor is the third studio album by the British progressive band Arena, released in 1998. One of prog's great records of the 90's and beyond. With The Visitor Arena became a 'real' band, not just a Clive Nolan (Pendragon) project with ex original Marillion drummer Mick Pointer. Now with their best ever line up that included John Mitchel on guitar, John Jowitt (IQ, Jadis) on bass and vocalist Paul Wrightson they produced one of prog's masterpieces of all time. This concept album about a man facing a near death experience is really thrilling, both musically and lyrically.

Arrigo Boito's treatment of the Faust legend is imaginative yet also faithful to Goethe's original conception, and the score is memorable for its rich orchestral sounds, beautifully punctuated with lyrical passages and choral interludes. Robert Carsen's sumptuous, post-modern production of Mefistofele is a gloriously decadent and theatrically stunning realisation, and the San Francisco Opera's performance has been unanimously acclaimed in both Paris and San Francisco. Samuel Ramey, in the title role, has won both critical and overwhelming popular approval.

Arena, a band who knows what it means to satisfy their fans. Arena has a fanatic fanclub: The Cage. Arena makes regular CD's just to be had for their members. "Unlocking the Cage" is the third one in this tradition. This disc gives a good view of the evolution of Arena over the five years.
The album opens with “Enter”, an instrumental atmospheric piece written by Clive to be used as the intro for “Moviedrome”, the track with which Arena would start it’s show. Deadcertain to be asked back on stage the band rehearsed “Encore medley” which contains loads of big immortal riffs. The nice thing about this release is the fact that it contains tracks from well over five years thus also from a period in time where very few people knew about their existence…

Contagious [EP] (2003). One of the most interesting items from the “Contagion” tour merchandising is this EP, entitled “Contagious”, a reasonably necessary complement to the LP. This CD includes four brand new songs, and a remix of “Witch Hunt”. In short, a brief but interesting release, a must for any Arena and Nolan collector. And don't forget another great artwork job by David Wyatt.
Contagium [EP] (2003). “Contagium” is the second and last EP to follow British progressive rock band Arena’s early 2003 studio album “Contagion”. Just like “Contagious”, the second EP that was released mid 2003, this mini album contains tracks that complete the conceptual story and musical journey of the full album, supplemented by a special remix.

Plácido Domingo as Vasco da Gama and Shirley Verrett as the African queen, whom he has enslaved, star in Giacomo Meyerbeer‘s spectacular grand opera L’Africaine, in a colourfully exotic production by Lotfi Mansouri, under the sensitive musical direction of Maurizio Arena. The visual splendour of Wolfram Skalicki’s designs matches the vocal distinction of the cast in this seldom performed masterpiece. Director Brian Large captured this magical performance from the San Francisco Opera House for video in 1988.

Otello, Verdi's last tragic opera, was the result of his very successful collaboration with Boito, the librettist who adapted the original Shakespeare play with masterly skill. Otello, a tragic story of love and intrigue, is considered by many to be one of the greatest of all Italian operas. The great singers of the world have always taken part in seasons at the spectacular Arena di Verona. In this recording, Otello is sung by the Russian tenor Vladimir Atlantov, rightly famous for his interpretation of the title role. The role of Desdemona is sung movingly by Kiri Te Kanawa, and the wicked Iago is slyly conceived by leading Italian heroic baritone Piero Cappuccilli. "Vladimir Atlantov, a wild, bold Otello whose thundering voice could have filled twice the space of the Arena." - Il Tempo