Entrepreneaur Español

Prácticas de Lengua Española es una publicación dirigida a estudiantes de español como segunda lengua.

La Gramática práctica del español (Nivel elemental) ésta destinada a aquellas personas que se acercan por primera vez al español y necesitan un libro de consulta y ejercitación para el trabajo individual y autodidacta, ya que presenta las unidades fundamentales de la lengua, su estructura y combinación, de una manera clara, sencilla y – como su nombre indica – práctica y accessible.

Prolific saxophonist, composer, and arranger David Murray has made a number of tribute recordings during his career to jazz luminaries such as Albert Ayler and Don Pullen, among others. Nat King Cole may seem an unlikely choice initially, and it might never have happened if Murray had not been recording at Cuba's Studio Egrem and saw a photograph of Cole with Armando Romeu from a pre-revolution session. Cole recorded a pair of Latin-inspired records, Cole Español and More Cole Español, in 1958 and 1962 respectively - one in Spanish and one in Portuguese (the singer spoke neither but learned standards and folk songs phonetically). The audiences these albums were directed at were already Cole fans, and while they weren't very good, they thought them amusing and flattering. Murray draws from these records here…

Ambroisie presents a new edition of one of Handel's Italian period masterpieces, Rodrigo, with an exceptional cast led by Maria Riccarda Wesserling in the title role, María Bayo as his wife Esilena, Sharon Rostorf-Zamir as his young lover Florinda and Max Emanuel Cencic as Fernando. Following Amadigi di Gaula earlier this year, Rodrigo is the second Handel opera on the label conducted by Eduardo López Banzo. The release follows a European tour with the same cast and orchestra, Al Ayre Español, resulting in an interpretation that will undoubtedly lead to a new understanding of the piece almost exactly 300 years after it was written.

A signal moment in the arrival of Italian music on Spanish soil came in the summer of 1708 when Antonio Caldara, finding his opportunities for providing dramatic works for the opera-loving Duke of Mantua limited by the War of the Spanish Succession, headed off to Barcelona to take on acommission for putting on an operatic work from Archduke Charles (“Carlos III”), who was preparing his own wedding festivities at the court he had established in order to contend for the Spanish throne.