Jackie Dallas Lorraine

If you think you've heard Handel's "Ombra mai fu" (known as his "Largo") so often, and in so many different arrangements, and sung by so many different voices, that you can no longer be moved or surprised by it, think again. This CD of Handel arias, mostly from his Theodora or the cantata La Lucrezia, ends with "Ombra mai fu," and as sung by Lorraine Hunt Lieberson, it is so tender, so beautiful, so impeccably shaded, that you'll think you're hearing it for the first time. But that's only four of this disc's 67 minutes–-a follow-up to Hunt Lieberson's extraordinarily successful CD of Bach cantatas. There's not a dull or disinterested moment to be heard anywhere. As the violated Lucrezia, Hunt Lieberson alternately rages against the man who raped her and turns her grief inward; the former is terrifying in its intensity, the latter makes us almost feel as if we're eavesdropping.

It is an innovative new concept! Just by following in Lorraine's footsteps you too can shed the weight you desire to lose! Never before has the power of walking - one of the most effective ways to get fit and lose weight - been used in such a user friendly workout routine. As well as handy hints and a diary plan to get you walking, this DVD will give you the real deal on how to maximise your fat burning potential. With a unique set of power workout routines to compliment your walking plan, see the calories fly off as you strengthen, tone and re-shape your body. Powerwalking is one of the most effective ways to get fit and lose weight!

Charpentier’s Médée is one of the glories of the Baroque. Medea’s betrayal by Jason, her comprehensive revenge and the plight of those caught up in this epic tragedy prompted Charpentier to compose music of devastating power. Transcending the constraints of the Lullian tragédie lyrique, he produced characterisations of astonishing complexity and invested vast stretches of music with a dramatic pace and a harmonic richness rivalled among contemporaries only by Purcell. The electrifying exchanges of the third act, mingling pathos with extreme violence, alone put Charpentier on the same imaginative level as Rameau and Berlioz. The machinations of the fourth act and the dénouement in the fifth maintain the same captivating impetus.