Koronare Herzkrankheit i

I Lombardi alla Prima Crociata is an operatic drama in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The work is based on an epic poem by Tommaso Grossi, which was “very much a child of its age; a grand historical novel with a patriotic slant.” Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. "I Lombardi best encapsulates the spirit of the Italian people’s desire for nationhood. One would be pleasantly surprised, full as it is, of rousing choruses and musical numbers of great beauty, with music wonderfully expressive and perfectly in accord with drama at times. Visually and musically a sumptuous staging, full of contrasting colors and glorious singing for this young Verdi's rare work." (review by Alan Nelson / Operawire).

3CD set featuring 98 tracks including the hit singles 'How Do You Do It?', 'I Like It', 'You'll Never Walk Alone', 'I'm the One', 'Don't Let the Sun Catch You Crying', 'Ferry Cross the Mersey', 'It's Gonna Be All Right', 'I'll Be There', 'Walk Hand In Hand' and 'Girl On a Swing'. The 1963 album 'How Do You Like It' is also included and all their nine songs from the soundtrack to the 1964 film 'Ferry Cross the Mersey' in which they starred.

In the first century of its life, the musical genre of the Oratorio knew an impressive growth, in terms of quantity (a proliferation of compositions), quality (some early works which are absolute masterpieces, and a plethora of excellent or very good Oratorios), subjects, and styles. Many of the greatest composers of the seventeenth century tried their hand in this genre, and for some it was one of the main veins of their artistic activity. In the early Baroque, the beating heart of this genre was doubtlessly to be found in Italy, with a particular focus in the city of Rome, whence it had originated thanks to the activity of the Florentine St. Philip Neri. However, the expansion of the genre also implied a geographical spread, which was the precondition for the Oratorio’s subsequent conquest of all European countries.

Emerging from the Liverpool group scene during the goldrush years, The Merseybeats' combination of Everly Brothers-style vocal harmonies and adroitly-chosen beat boom ballads saw them record several hit singles (including 'I Think Of You', which reached the Top Five), a brace of very popular EPs and a self-titled album that spent a couple of months in the LP charts. After their superb version of 'I Stand Accused' (a big favourite of local teenager Elvis Costello, later to cover the song) failed to become the huge success that it deserved to be, group leaders Tony Crane and Billy Kinsley reinvented themselves as vocal duo The Merseys, who recorded one of the classic mid-Sixties pop hits in 'Sorrow', subsequently quoted in Beatles track 'It's All Too Much' and taken back into the charts a few years later by David Bowie. 'Sorrow' was followed by a handful of Merseys singles that, although less successful, are now highly regarded by admirers of late Sixties British pop and psychedelia, and are now legitimately assembled under one roof for the first time.

The combination of interpretative flair and meticulous scholarship may be an uncommon one, but it’s very much a hallmark of Mahan Esfahani’s playing. His ongoing, widely praised, Bach series demonstrates a seemingly inexhaustible abundance of both as it reaches one of the landmarks of the keyboard repertoire: Book 1 of the ‘48’.

The long-awaited first volume consists of five ordres (Couperin uses the word ordre rather than suite, implying a suite) and includes a large, double-page decorative table at the end. While this may seem small considering the four volumes and 27 ordres (27 = 3 cubed, which some say is related to Freemasonry), the total number of pieces exceeds 70, surpassing the other volumes in terms of the number of pieces contained in a single ordre (particularly the first and second ordres). With the exception of the fourth ordre, the first half is typically a French suite, with dance pieces filling the gap, and the second half is dominated by titled pieces, many of which are based on dances.

Mahúgo has taught harpsichord and historical performance practice at the Badajoz Superior Conservatory (Spain) and continues to teach and give lectures on these subjects in Spain and abroad (Albacete Conservatory, Barcelona Liceu Superior Conservatory, University of Michigan). He has recorded for several TV and radio stations in Spain and elsewhere in Europe (RNE, TVE, Bartók Radio, MTV). His first harpsichord CD, a recording of the complete harpsichord works of the French 18th-century composer Pancrace Royer (Brilliant Classics/Onclassical.com), received rave reviews from several magazines (Ritmo, Melómano, Fanfare), and was chosen as “CD of the Month” by Scherzo magazine in April 2013 and “CD of The Year” by the Spanish newspaper El País.

Daphne Wilder is a mother whose love knows no bounds or boundaries. She is the proud mom of three daughters: stable psychologist Maggie, sexy and irreverent Mae and insecure, adorable Milly - who, when it comes to men, is like psychotic flypaper. In order to prevent her youngest from making the same mistakes she did, Daphne decides to set Milly up with the perfect man. Little does Milly know, however, that her mom placed an ad in the on-line personals to find him. Comic mayhem unfolds as Daphne continues to do the wrong thing for the right reasons…all in the name of love. In a battle of strong wills, the mother-daughter dynamic is tested in all its fierce, wacky complexity. The girls help Daphne finally discover the truths and impossibilities of motherly love, all while trying to answer the questions: where does it begin and where should it end?