Dimitri Alperovich

BBE Records proudly presents its 5th and arguably most exciting compilation with the French dj and ambassador of disco, Dimitri from Paris. This compilation focuses on Dimitri’s essential disco era tracks - made in Philadelphia, that feature the core of the rhythm section that created and defined the sound of the genre. For this compilation Dimitri has exclusively reworked 5 tracks from the original multitrack tapes of Gamble and Huff with a further 4 being edited from the original 2 track stereo masters.

For fans of disco this is a must have. Dimitri from Paris is arguably the world's foremost disco DJ, and none of these tracks have previously been released on a compilation.

Dimitri Mitropoulos (1896-1960) was a Greek conductor who came to America in the 1930s and made many recordings with the Minneapolis Symphony Orchestra and the New York Philharmonic Orchestra. Like Wilhelm Furtwangler of Arturo Toscanini, Mitropoulos' height of popularity came just before the advent of modern sound technology, so that many of Mitropoulos' finest recordings are marred by distortion and background noises that may make those recordings practically un-listenable to some classical music enthusiasts (although the new Sony Mitropoulos set has advertised that most of those very rough recordings have been "remastered").

This recording represents the coming together of three giants: the immense Johann Sebastian Bach, the king of the piano Leopold Godowsky, and Stephen Paulello's sublime Opus 102 instrument.

Composed in 1783, Thrice Betrothed, Never Wed was the young Cherubini’s fifth opera and his first opera buffa. While it echoes its era—Paisiello, Cimarosa, Haydn, and early Mozart—it displays an almost Rossinian rhythmic bite and a few harmonic touches that look forward to the dramatic masterpieces of Cherubini’s Paris years (Lodoiska, Medée, Les deux journées, Anacréon, the C-Minor Requiem). Despite decades-long exploration of Cherubini, I have never encountered the opera before; this claims to be its first recording. The plot is filled with the expected inanities: disguises, mistaken identities, and Commedia dell’arte shenanigans.