Franco Fasano

Shirley Verrett makes a deeply impressive Orfeo, firm and pure in sound, classically restrained in expression; and her "Che farò", at a moderate, beautifully judged speed, is very finely sung, poised and quietly moving. The set is conducted by Renato Fasano, whose pacing of the score shows a very sure touch. The dance music has a grace and lightness, and a stylistic command, that one might not have expected from an orchestra which in those days seemed to be fed chiefly on a diet of Vivaldi.

Countertenor performances of 19th century opera are a historical and, ultimately, true novelty. This said, for those who love the sound of the countertenor voice and want to give it a try, there are several factors that recommend this release by countertenor Franco Fagioli, with the small orchestra Armonia Atenea under George Petrou. First is that castrati were still around in Rossini's time, although on the decline, and the composer was reportedly intrigued by their voices. Second, Fagioli, unlike the vast majority of other countertenors, studied bel canto singing rather than Baroque repertory exclusively, and a certain distance present in the work of other countertenors is absent here. And third, and most important, is Fagioli's voice itself. Of the countertenors active today, he's the one with the range, the power, the attitude to make you suspend disbelief and think for a moment that you're actually listening to a castrato. He enters into the various Rossini roles represented on this recording, several of which were mezzo-soprano "pants" roles; this adds to the layers of identity-switching happening, and the parts hit Fagioli's vocal sweet spot. A bonus is that several of these are from Rossini opere serie that are little played or recorded.

Franco Battiato is one of the most successful singers in Italy. He began his career as a "light" singer, recording a few singles. In 1971 he started his particular journey through experimental music, recording his proggiest issues: "Fetus", "Pollution", "Sulle corde di Aries". Some very atmospheric parts and some very melodic songs make these records worthwhile, along with musical references to the arabic culture and italian folk that will surface from time to time in all of his following output. His next records are gradually more and more experimental, exploring minimalism and culminating with "L' Egitto prime delle Sabbie", with two long pieces based on hardly one note and its harmonics.

In a career spanning six decades and nearly 40 albums as a leader or co-leader, revered Swiss trumpeter Franco Ambrosetti has finally realized his dream project. Anchored by a core of world-class musicians (guitarist John Scofield, bassist Scott Colley, pianist Uri Caine, drummer Peter Erskine) and featuring a 22-piece string orchestra conducted by Grammy-winning pianist-arranger Alan Broadbent, Ambrosetti's Nora is his answer to Charlie Parker with Strings and Clifford Brown with Strings, both cherished albums from his youth.

Giovanni Battista Viotti (1755-1824) was an Italian violinist and composer, and one of the major figures in the advancement of modern violin performance. While he is remembered today for his 29 violin concertos, which proved to be his most original and enduring works, he was a celebrity in his day for his phenomenal playing. His intermittent career as a violinist took him from Versailles, where he joined the court of Marie Antoinette, to concerts in London. After failing at a wine business, Viotti turned to managing the Paris Opéra and taught several rising violinists, including Rodolphe Kreutzer

A remarkable 1954 RAI production starring a young Franco Corelli and the incomparable Tito Gobbi, with Mafalda Micheluzzi as Nedda and Lino Puglisi as Silvio. Orchestra and Chorus of Radiotelevisione Italiana under the direction of Alfredo Simonetto. DVD also includes Corelli in arias from Carmen, Aida, Il Trovatore, Cavalleria Rusticana, and the Verdi Requiem.

“This is something of a find – a production produced in Milan's television studios in 1973 that does more than justice to Giordano's verismo work about personal conflicts at the time of the French Revolution. It's directed, with considerable imagination, by the Czech Vaclav Kaslik, at the top of his profession in the 70s. In realistic period sets he unerringly creates the milieu of a degenerate aristocracy in Act 1 and of the raw mob-rule of the Revolution in the succeeding acts. The only drawback is the poor lip-synch. Conductor Bruno Bartoletti makes certain we're unaware of the score's weaker moments and releases all the romantic passion in Giordano's highly charged writing for his principals.

In 1997, Blue Moon released Blues Bag/Louis Hayes, which contained two albums on one compact disc - Blues Bag, a 1965 disc originally released on Vee Jay by Buddy DeFranco), and Louis Hayes, a 1960 record also originally on Vee Jay) by Louis Hayes and his quintet.
Blues Bag (1965). For this unusual set clarinetist Buddy DeFranco is exclusively heard on bass clarinet while joined by drummer Art Blakey and an interesting group of players, some of who were with Blakey's Jazz Messengers at the time. DeFranco, Blakey, pianist Victor Feldman, and bassist Victor Sproles are featured as a quartet on four numbers while the other three songs add trombonist Curtis Fuller and either Lee Morgan or Freddie Hill on trumpet…

The concert was recorded live on July 26, 2006 at "Enoteca Italiana" during "Enoteca Jazz Club Festival" 12th Edition, organized by "Siena Jazz Foundation".
Excellent quartet, six long pieces, which develop according to the dictated rhythms of the music, and which explore, each in its own way, a wide range of emotional and expressive universes. From the most authentic free improvisation to the introspection of a solo double bass.
Keyboardist and Italian pianist who's been busy working with visiting American musicians and cutting free and jazz rock dates since the '60s, Franco D'Andrea's earliest sessions came with Nunzio Rotondo and Gato Barbieri…