Maria Eckermann

Tania Maria's debut is a mix of hushed bossa numbers and up-tempo, jazz-inflected sambas that show off the prowess of her nine-piece band. "Zé," which belongs to the latter category, is an original tune that begins with Maria's slightly over-the-top scatting and builds into a kickin' samba jam; on "Para Chick," a Tom Jobim instrumental, the group is at its most improvisational, with Maria herself (on piano) dishing out some fine solos; and on the tempo-shifting "Ideias E Ideias," Maria manages to sound like Astrud Gilberto and Ella Fitzgerald within the span of a few chord changes. Though it's heavy on the standard bossa/samba fare, it's also a uniformly solid album and a fine introduction to Maria's catalog.

Duos don’t always have the temperament for the smouldering fires of Franck as well as the sudden whims of Debussy. Dumay and Pires join the select few. They take their time to find Debussy’s opening pulse, but they establish an individual, thoughtful freedom that ‘speaks’ sensuously and assertively. In the finale, they let unexpected passion grow from the central waltz, setting up a brilliant final flourish. Implicit in the initial, floated phrases of the Franck is a sense of the arduous journey to come. Intensity surges up by degrees towards the soul-torturing struggles at the sonata’s centre, and recedes before a gradual return of serenity and confidence.

Among the thirteen oratorios by Giovanni Paolo Colonna, more than half are connected, by their origin or at least by tradition, to the court of Francesco II d’Este. Although in the early modern period the sacredness of monarchy was indisputable, we cannot take it for granted that an oratorio – unlike an opera, as was usually the case – was offered to a monarch in order to praise him unconditionally.

The gala evening at the Paris Opera on December 19, 1958 was announced in the press as ""the greatest show in the world". Maria Callas, at the height of her glory, performed for the first time in front of a Parisian audience. The diva delivered all the facets of her art through the Italian classics that she loved, with the theatrical genius that is proper to her. Paris gave her a triumphant evening!
The original recording of this evening, broadcast in Eurovision throughout Europe, has been newly restored with the greatest care.

“Drama Queen” brings together the most dramatic studio recordings ever made by Maria Callas during the course of her career. Or, to express it more accurately, this compilation brings together some of the most dramatic operatic scenes and arias ever recorded. Even four decades after her death in Paris in 1977, what the director Franco Zeffirelli said about her still holds true today: there is a “BC” and “AC” era – “before Callas” and “after Callas”.