In the six years that had passed since 1953, and her first recording of Lucia di Lammermoor, Callas’s voice had maybe become less robust,but her singing had become still more perceptive. As Gramophone said: ‘Mme Callas has refined her interpretation of the role, and made it more exquisite, more fascinating,musically and dramatically more subtle – in a word, more beautiful.’
Paco de Lucia, one of the greatest living guitarist in the world, was born Francisco Sanchez Gomez in Algeciras, a city in the province of Cadiz, in the Southernmost tip of Spain on December 21st, 1947. His stage name is an homage to his mother Lucia Gomez.
His father, Antonio Sanchez, a day laborer, played guitar at night as a way to supplement his income. He, Paco's elder brother Ramon de Algeciras and flamenco master Ni–o Ricardo were de Lucia's main influences. His first performance was on Radio Algeciras in 1958. The brothers Ramon, Pepe (a singer) and Paco now compromise half of the Paco de Lucia sextet.
The training ground for a flamenco guitarist, de Lucia once said, "is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la juerga (the party) drinking. And then you work on technique. Guitarists do not need to study. And, as it is with any music, the great ones will spend some time working with the young players who show special talent. You must understand that a Gypsy's life is a life of anarchy. That is a reason why the way of flamenco music is a way without discipline as you know it. We don't try to organize things with our minds, we don't go to school to find out. We just live…….. music is everywhere in our lives."
The origins of the word flamenco are somewhat in dispute. Some argue that the word refers to the Flemish people who arrived in Spain in the 16th Century and once meant simply foreigner or non-Spanish. Others suggest that the word derives from the Arabic phrase "felah mengu," meaning pleasant in flight.
What is indisputable is that flamenco is a blend of the many cultures - Gypsy, Muslim, Jewish - that at one time settled in Andalucia, in the South of Spain. Their influences can be heard distinctively in the melisma of the singer, the rhythms, the slowly curling harmonic lines of the guitars.
Diana Damrau gave her first performance as Donizetti's Lucia di Lammermoor at the Metropolitan Opera in October 2008, to much critical acclaim. This recording with the Munich Opera followed almost five years later, in July 2013, showing that she has staying power in the ultimate coloratura role. The Munich performance was conducted by Jesús López-Cobos, and Damrau was joined by an exceptional cast, which included Joseph Calleja as Edgardo, Ludovic Tézier as Enrico, and Nicolas Testé as Raimondo.
Anna Moffo, as the young and vulnerable heroine Lucia, produces a wonderfully sincere, yet highly romantic performance in this classic recording of Donizetti's Lucia Di Lammermoor. Featuring Georges Prêtre conducting the RCA Italian Opera Chorus and Orchestra, the recording features a stellar cast of singers, including the incomparable Carlo Bergonzi, Mario Sereni, and Ezio Flagello.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Paco de Lucía and Ramón de Algeciras in Latin America is the third of four collaboration albums by Paco de Lucía and his brother Ramón de Algeciras.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Following in the trail he left on his three albums recorded with Ricardo Modrego, Paco de Lucía here starts a series of four albums with shared characteristics, now alongside his older brother Ramón de Algeciras. Here he returns to the Flamenco percussion of the zapateado (foot stamping) of the bailaor Antonio Valdepeñas, and the castanets and claps of Antoñita Imperio and Pilar la Cubanita.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. The Flamenco toque with two guitars is not as often captured as all good fans of Flamenco would like. After his first solo recordings, Paco went back to the studio to record twelve tracks on dual guitars with his colleague from the José Greco ballet, Ricardo Modrego. An excellent example of the best of Ricardo’s school, the record reprises the most important guitar toques, sensitively balancing the essences of each. A lot of what is here would reappear in his definitive launch as a solo artist in 1967.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Paco de Lucía arranges and interprets, along with Ricardo Modrego, the songs brought together in the twenties by Federico García Lorca, most of which were collected from the canon of popular songs from the 18th century which Federico recorded in 1931, accompanied on the piano by Encarnación López, “La Argentinita”. The accompaniment given to every song is based on the rhythm of the songs as they were adapted by Lorca, above the basic tune they considered fitted with the Flamenco toque.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. During his sojourn in the United States, Paco was able to experience for himself the art of Sabicas, who in those years formed a duo with Mario Escudero. Paco, deeply rooted in the school of Manuel Serrapí ”Niño Ricardo”, saw a universe of new possibilities open up for his career as a performing artist.