Jose Portila

Deluxe 20th Anniversary Edition includes the classic debut album, remastered in 2023, plus the previously unreleased live album, recorded in Göteborg in 2003.

"José James: New York 2020" is the first live album from an artist with a decade long career built on his electric live show.

2020… Sitting at home with no performances ahead brought Linus Roth back to his notebooks, in which he had been jotting down random musical ideas over the course of many years.

Founded in 1528, the Ospedaletto was the youngest and smallest of the four famous Venetian orphanages that excelled in musical performance.

Régine Crespin Notwithstanding her great success in the German repertory, Régine Crespin was quintessentially a French artist. With an unmistakable sensuality betraying her origins in Mediterranean France, she was guided by an unfailing sense of elegance. Whether as Kundry, the Marschallin, Carmen, Didon, Amelia in Un ballo in maschera, or Sieglinde, her large, lush voice was deployed with refined abandon. Her top register, powerful and soaring when it was working as the singer wished, sometimes emerged congested, as tones that began as clarion would cloud over and lose their cutting edge. As it became increasingly problematic, Crespin looked toward roles only equivocally soprano, where she could rely on the luxurious amplitude of her middle and lower registers. Her Carmen, presented at the Metropolitan Opera in 1975 after a period of vocal restudy and a loss of weight, was distinctive for its subtle danger and meticulous delivery of text and vocal line. Following studies at the Paris Conservatoire with Georges Jouatte and celebrated bass Paul Cabanel, Crespin made her debut in 1950 singing Elsa at Mulhouse. In August of that same year, she appeared for the first time at the Paris Opéra, the role once again being Elsa.

The brothers Eduardo and Regino Sáinz de la Maza made significant contributions to the great lineage of Spanish guitar music in the 20th century (Reginos compositions are on 8.572977). This selection of Eduardos music reflects his technical and expressive breadth, whether in the magical tremolo study Campanas del alba (The Bells of Dawn) or in the series of romantic and virtuosic homages paid to Haydn, Toulouse-Lautrec and his own instrument, the guitar. Platero y yo (Platero and I), a sequence of eight pieces narrating the activities of the donkey Platero, celebrates the beauty of nature, irradiated by glorious colour, and is one of his greatest masterpieces.

Born in Barcelona, he made his debut on the operatic stage at 11 as Trujamán in Manuel de Falla's El retablo de Maese Pedro, and went on to a career that encompassed over 60 roles, performing in the world's leading opera houses and on numerous recordings.

Una de las voces más bonitas y contemporáneas del pop actual es la de José María, quien le otorga al género de la balada una frescura y un sentimiento como pocos, para muestra su sencillo “Se te olvidó” donde le canta al desamor. En entrevista para Rosa Distrito habla sobre la aventura musical que está emprendiendo donde cuenta con la colaboración del productor musical Kiko Cibrián, quien es una leyenda de la música en español.

Original score from the 2021 drama feature film directed by Richie Adams, starring Hermione Corfield, Mark Gatiss and Morven Christie, produced by Sheridan Road Productions, Uinta Productions and Wind Chill Media Groups, released by Parkland Entertainment (UK).

Régine Crespin Notwithstanding her great success in the German repertory, Régine Crespin was quintessentially a French artist. With an unmistakable sensuality betraying her origins in Mediterranean France, she was guided by an unfailing sense of elegance. Whether as Kundry, the Marschallin, Carmen, Didon, Amelia in Un ballo in maschera, or Sieglinde, her large, lush voice was deployed with refined abandon. Her top register, powerful and soaring when it was working as the singer wished, sometimes emerged congested, as tones that began as clarion would cloud over and lose their cutting edge. As it became increasingly problematic, Crespin looked toward roles only equivocally soprano, where she could rely on the luxurious amplitude of her middle and lower registers. Her Carmen, presented at the Metropolitan Opera in 1975 after a period of vocal restudy and a loss of weight, was distinctive for its subtle danger and meticulous delivery of text and vocal line. Following studies at the Paris Conservatoire with Georges Jouatte and celebrated bass Paul Cabanel, Crespin made her debut in 1950 singing Elsa at Mulhouse. In August of that same year, she appeared for the first time at the Paris Opéra, the role once again being Elsa.