The Economist (October 31st - November 6th 2009)

The Economist (October 31st - November 6th 2009)

English | PDF | 112 Pages | 48 MB - MP3 Audio | 147 MB

Falling fertility
Astonishing falls in the fertility rate are bringing with them big benefits

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Aram Khachtaurian - Spartacus (The Bolshoi Ballet and Theatre Orchestra, 1990)

Aram Khachtaurian - Spartacus (The Bolshoi Ballet and Theatre Orchestra, 1990)
Classical/Ballet | 1 DVD9 | 136 minutes | 7,7 GB
Publisher: ARTHAUS MUSIK | Language: English, German, French, Spanish

“If there's such a thing as a "guy's ballet," Spartacus is it. Sure, there are women in the cast, but the focus is on men and on manly things, and it's no surprise that a series of popular travel guides for gay men also is named "Spartacus." (One of the most heart-wrenching moments in the ballet is when Spartacus is made to kill a fellow slave in gladiatorial combat for the amusement of the Roman upper crust, and then cries over his friend's fresh corpse.) This production was filmed live at the Bolshoi in 1990 by a Japanese crew. The original scenario by Nikolai Volkov presented the title character as a Christ-like figure, down to his betrayal by Harmodius, one of his followers. In 1968, choreographer Yuri Grigorovich made several changes to Volkov's scenario, including the removal of Harmodius. Under his direction, dance (not pantomime) regained the upper hand, and the ballet gained greater focus as the contrast between the "pure" slaves and the "decadent" Romans was emphasized. No doubt this pleased Soviet leaders of the time, and I am sure the point was not lost on them when the Roman soldiers marched a goose-step. Each of the four main characters was given several psychological dance "monologues" in front of a black curtain; these monologues also allowed unobtrusive scene changes. Khachaturian's very long score was cut, and many of its numbers were moved and rearranged. Four acts became three. To my mind, these changes were not a bad thing, but if viewers are looking for Spartacus in its original form (about four hours long!), they will be disappointed by the Grigorovich production. The dancing, with an emphasis on athleticism, is quite spectacular. Crassus is the first main character to appear, and Aleksandr Vetrov immediately establishes the character of the arrogant general with a display of icy-cold gymnastics. Aegina, his mistress, also is danced with aptly frigid precision by Maria Bilova. The highlight of her performance comes in Act 3, when she distracts the would-be rebellious slaves with a very suggestive hoochie-koochie dance. Although no less proud than Aegina, Phrygia, the beloved of Spartacus, is characterized as warm and sincere. In her duets with Spartacus, she frequently is carried, sometimes over the hero's head! The other telling pose has her kneeling at his feet and holding his thigh. (Imagine a Frank Frazetta painting.) In the title-role, the charismatic Irek Mukhamedov tempers his athleticism with true passion. (Who wouldn't follow a man like this to the brink of the grave?) Like Vetrov, he executes chains of astonishing leaps without even looking winded. The Bolshoi corps lives up to its reputation here, and the sets and costumes are excellently done. Zhuraitis keeps things moving in the pit and soft-pedals the bombast, of which there is plenty in this score. (It is about as authentically Roman as Roman Polanski.) Because this is a live performance, there are occasional flubbed notes from the winds. The sound quality is top-drawer. The video quality is less fine; director Shuji Fujii favors wide shots of all or most of the stage, and so what we don't get to see are the dancers' facial expressions, which remain indistinct much of the time. Still, this is a ballet and not a play, so at least Fujii has his priorities in the right place. If you want a muscle-bound evening enjoying a ballet at home, the Bolshoi's Spartacus will do nicely. ~ Raymond Tuttle, Classical.net ”

• Irek Mukhamedov (Spartacus)
  
• Aleksandr Vetrov (Crassus)
  
• Lyudmilla Semenyaka (Phrygia)
  
• Maria Bilova (Aegina)
  
• Gediminas Taranda (Gladiator)
  

Bolshoi Ballet
Bolshoi Theater Orchestra/Algis Zhuraitis
Arthaus Music DVD 101115 136min Full Frame 1:33 LPCM Stereo

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DANCER'S DREAM: The Great Ballets of Nureyev - TCHAIKOVSKY, P.I.: Sleeping Beauty

DANCER'S DREAM: The Great Ballets of Nureyev - TCHAIKOVSKY, P.I.: Sleeping Beauty (Paris National Opera, 1999)
Classical/Ballet | 1 DVD9 | 89 minutes | 6,4 GB
Publisher: ARTHAUS MUSIK | Language: English, German, French, Spanish

“Music by Pytor Illyich Tchaikovsky. Choreographed and staged bu Rudolf Nureyev after Marius Petipa. Restaged by Patricia Ruanne. The Sleeping Beauty remains, Rudolf Nureyev often called it, the 'ballet of ballets'. It is the most accomplished and the most brilliant, as well as one of the most spectacular of the 19th century, and the most representative of the 'noble' style of classical dancing. Rudolf Nureyev's version, which he created for the Opera Ballet in 1989, was recoreded at the Opéra Bastille in 1999, in a new production (set and costumes) created by his faithful collaborators, Ezio Frigerio and Franca Squarciapino, who had already produced Swan Lake, Romeo and Juliet and La Bayadere. Princess Aurora: Aurélie Dupont Prince Désiré: Manuel Legris King Florestan: Vincent Cordier The Queen: Nathalie Quernet Catalabutte: Laurent Queval The Lilac Fairy: Béatrice Martel Carabosse: Nathalie Aubin Princess Florina: Delphine Moussin Bluebird: Benjamin Pech Puss In Boots: Stéphane Elizabé White Cat: Laetitia Pujol Orchestre De L'Opéra National De Paris Conductor: David Coleman Sets: Ezio Frigerio. Costumes: Franca Squarciapino. Directed byu Pierre Cavassilas. Experience Rudolf Nureyev's version of Tchaikovski's spectacular 19th Century ballet in this release showcasing a 1999 performance captured live at the Opera Bastille. Restaged by Patricia Ruanne, this version of The Sleeping Beauty stars Aurlie Dupont, Manuel Legris, and Vincent Cordier. David Coleman conducts the Orchestre de l'Opra National de Paris in a performance featuring set design by Ezio Frigerio and costumes by Franca Asquarciapino. ~ Jason Buchanan, All Movie Guide ”

La Princesse Aurore – Elisabeth Platel
Le Prince Desiré – Manuel Legris
La Fée Carabosse – Clotilde Vayer
La Fée Lilas – Nathalie Riqué

Les Etoiles, Les Premiers Danseurs, et Le Corps de Ballet de
l'Opéra national de Paris

Orchestre de l'Opéra national de Paris
Vello Pähn, conductor

Rudolf Nureyev, choreography and stage direction after Marius Petipa
Ezio Frigerio, set design
Franca Squarciapino, costume design
Vinicio Cheli, lighting

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Sergei Prokofiev - Ivan The terrible

Sergei Prokofiev - Ivan The terrible (DVD Released 2005)
Classical/Ballet | 1 DVD9 | 113 minutes | 6,4 GB
Publisher: ARTHAUS MUSIK | Language: English, French, Spanish
Actors: Natalia Bessmertnova, Irek Mukhamedov, Gediminas Taranda

“This is a strange review to write, so let's start at the beginning. Read the title line to the headnote. It credits this ballet, Ivan the Terrible, to Serge Prokofieff. But what we have here is an adaptation – often, a very free adaptation – of Prokofieff's film score to Sergei Eisenstein's two-part film about Ivan the Terrible. (a third part was planned but never made.) The adaptation was made Mikhail Chulaki, who also drew heavily on music from Prokofieff's Third Symphony, Russian Overture and Alexander Nevsky. Whenever the ballet score closely follows Prokofieff's originals, the orchestration is almost invariably different in some way. Thus, in the end, we get an episodic arrangement of themes and sections from Prokofieff's music. There are, of course, parallels in ballet for this kind of thing, Les Sylphides being the most prominent example. Who actually expected a ballet from Prokofieff's film music – or Stasevich's famous arrangement of it – without some adjustments, that is, without undanceable parts excised or altered? At any rate, the big question here is, what are the music and dancing like? For all Chulaki's takeoffs and tampering, his work is colorful and quite imaginative. Prokofieff purists might scoff at it, but I, an admirer of the composer's music for a half-century or so now, find it a compelling mixture of the enchanting and the riveting. It may lack depth, but Chulaki has fashioned a score that most 20th century ballet aficionados should find appealing. The dancing, as you expect from the Bolshoi, is brilliant, with both leads, Irek Mukhamedov and Natalya Bessmertnova, as well ensemble dancers, turning in impressive performances. The choreography and scenery are imaginative, though the latter is tinged with a bit of drabness. There are long sections from Prokofieff's various scores that are presented with relatively few changes, #7 (track 8) – Celebrating the victory (from the Russian Overture); #9 – Ivan's fortune (from Symphony #3, second movement); and #10 – Revolt of the Boyars (Symphony #3, third movement); and #16 – Finale (Symphony #3, finale). So, lest I leave the reader with a false impression, there is a lot a fairly straight Prokofieff here. In fact, as the score progresses it becomes clear that Chulaki relies more and more on Prokofieff and less on himself. I should point out that the booklet notes, apparently written by Boris Kehrmann, claim that #15, Dance of the Oprichniki (from Ivan the Terrible) is unchanged from the film score. Kehrmann was probably referring to one small section in #15, but even though the music closely follows Prokofieff here, extra percussion and other instrumental effects are added by Chulaki. As for conductor Algis Zhuraitis, his interpretation is generally insightful and the performance he draws from the Bolshoi Theater Orchestra is spirited. Some of the tempos vary from Prokofieff's original scores (the dark opening of #13, Ivan at Anastasia's grave, is taken too fast), but one cannot tell if Chulaki altered the tempo marking to make the music more danceable or if Zhuraitis stepped on the accelerator. At any rate the performance is fine overall, and the sound, from this 1990 live Bolshoi Theater presentation, not quite state-of-the-art but clear and full. Recommended.” – Expert Review on Classical.net

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Donizetti - L'Elisir d'Amore (DVD Released 2005)
Classical/Opera | 1 DVD9 | 129 minutes | 7,2 GB
Publisher: Deutsche Grammophon | Language: Italian
Actors: Luciano Pavarotti, Kathleen Battle, Juan Pons, Enzo Dara, James Levine

“It would be hard to imagine a better performance of Donizetti's comic masterpiece. If there was one role that ideally suited Luciano Pavarotti's voice and stage personality, it was Nemorino, the impoverished and not-very-bright peasant who worships the village's prettiest and richest young woman from a distance, is swindled by a traveling vendor of "miracle" medicines, but wins her hand by dumb luck. The story has comedy, pathos, and a put-down of Wagner's Tristan und Isolde (or at least the Tristan story) written long before Wagner composed it. Kathleen Battle is not only a wonderful singer and convincing actress; as Adina, she is pretty enough to make Nemorino's infatuation totally credible. Juan Pons struts convincingly as Belcore, Nemorino's self-important rival, and Enzo Dara is properly spectacular as Dr. Dulcamara, who sells Nemorino the magic potion guaranteed to improve his love life, or at least to get him drunk. The melodies in this opera include some of the best ever written, and James Levine, his extraordinary orchestra, and his wonderful chorus know exactly what to do with them. Everything comes together in this production to make it one of the best opera DVDs available. --Joe McLellan” – Expert Review on Amazon.com

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Prima Donna - Montserrat Caballé

Prima Donna - Montserrat Caballé
Classical | 1 CD | FLAC, none LOG, none CUE | 366 MB - MP3 | 320 Kbs | 145 MB
Publisher: Sony Music | 2003 | RapidShare

Maria de Montserrat Viviana Concepción Caballé i Folc, better known as Montserrat Caballé (born April 12, 1933, Barcelona, Spain), is a Spanish soprano. One of the greatest sopranos of the 20th century, she possesses a voice of remarkable beauty and of great range and flexibility, renowned for her flawless bel canto technique and unfailling musicianship. She is particularly admired for her famous interpretations of the works of Rossini, Bellini, and Donizetti.

Tracks:

Donizetti: Gemma di vergy
01 Nouve contese? ... Oh Cielo
02 Egli riede? Oh lieto istante
03 Dio possente! Ah! tu ben sai
04 Eccomi asola alfine

Rossini: Der Türke in Italien
05 Non si da follia maggiore
06 Per piacere alla signora
07 Credete alle femmine
08 Sqallida veste e bruna

Verdi: Aroldo
09 Ciel, ch'io respiri!... Salvami tu, gran Dio
10 Ah, dagli scanni eterei
11 Ah dal sen di quella tomba

Wagner: Der fliedende Holländer
12 Ballade der Senta

Wagner: Tannhäuser
13 Arie der Elisabeth

Wagner: Tristan und Isolde
14 Ilsodes Liebestod

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The Economist (October 24th - October 30th 2009)

The Economist (October 24th - October 30th 2009)
With a special report on China and America
English | PDF | 128 Pages | 55 or 6,6 MB - MP3 Audio | 160 MB

The odd couple
America should be much more confident in its dealings with its closest rival

Magazine: Original but big version or Small version
Audios: download
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MyMicroBalance, your free cash basis accounting

MyMicroBalance is your private and free cash basis accounting software! This simple-to-use and practical software enables you to plan your receipts and expenditures with only a few mouse clicks and helps you keep an overview of your present financial situation. The aim of MyMicroBalance is to show you in which areas you spend too much money and in which areas you could save money. The finance software is perfect for private use as well as associatons and small enterprises. The aim of the development of MyMicroBalance was to provide a software which enables you to keep track of the private finances as easy and as little time-consuming as possible. A great importance was attached to the intuitive design of the functions, in order to reduce the familiarization phase with this tool. MyMicroBalance offers a lot of easy-to-use features, such as the clear representation of your receipts and expenditures, charts, file encryption, category management, different currencies, and much more. Since MyMicroBalance is free, you have already started saving money by downloading it.

Important MyMicroBalance requires Microsoft® .NET Framework 2.0 or higher in order to run. Download this software for free at the Microsoft website. If you update your operating system periodically you have probably already installed the required software. Latest Release (MyMicroBalance 2.0) Name: MyMicroBalance Version: 2.0.7 Language: English/German Releasedate: 2009-03-19 Size: 5.5 MB Plattform: Microsoft® Windows® (98, 2000, ME, XP, Vista) MyMicroBalance for installation on your computer: MyMicroBalance for installation on an USB-Stick:

The Economist (October 17th - October 23rd 2009)

The Economist (October 17th - October 23rd 2009)
English | PDF | 124 Pages | 53 MB - MP3 Audio | 138 MB

Obama's war
The war in Afghanistan deserves more resources, commitment and political will

Magazine: Original but big version
Audios: download
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The Economist (October 10th - October 16th 2009)

The Economist (October 10th - October 16th 2009)
English | PDF | 104 Pages | 44 or 5,9 MB - MP3 Audio | 137 MB

Wake up Europe!
It is time for the world's biggest economy to rise from its slumber and play a global role

Magazine: Original but big version or Small version
Audios: download
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Giacomo Puccini - La Bohème

Giacomo Puccini - La Bohème
Classical/Opera/Musical Film | 1 DVD-9 | 7,4 GB - Dolby Digital 2.0 | Cover & Booklet included | 100 minutes
Publisher: Axiom Films | 2009

Giacomo Puccini's immortal opera is brought to life in a new, specially filmed, big budget feature-film version directed by Academy Award nominee Robert Dornhelm (The Children of Theatre Street), produced by Jan Mojto's Unitel, one of the largest producers of audiovisual classical music films in the world, and starring the opera world's ''dream team'', soprano Anna Netrebko and tenor Rolando Villazon. Features two of opera's biggest superstars, Anna Netrebko and Rolando Villazón, in the roles they have performed to live audiences all over the world. Comprehensive and successful commercial run in cinemas, screening in all major towns and cities across the UK and Ireland, and opening in London's Barbican Centre and Apollo West End to outstanding figures. Exclusive DVD bonus features, including in-depth interviews with stars Anna Netrebko and Rolando Villazon and director Robert Dornhelm, behind-the-scenes of La Bohème, limited edition collector's booklet and more.

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http://www.megaupload.com/?d=Z77I1PJ0

Tchaikovsky - Suite No.4 'Mozartiana' and The Seasons - Detroit Symphony Orchestra

Tchaikovsky - Suite No.4 'Mozartiana' and The Seasons - Detroit Symphony Orchestra
Classical | 1 CD | FLAC, none LOG, none CUE | 259 MB - MP3 | 320 Kbs | 110 MB
Publisher: Chandos Records | 1997 | RapidShare

"...Jarvi responds to the varying moods and images of these little miniatures with sympathy and gusto, and his ability to bring out the very heart and soul of even the most sentimental passages makes it a joy from start to finish...but even Jarvi's high spirits here pale beside the glorious sound of the Detroit horns in September with its colorful evocation of the hunt...certainly the best 'Seasons' in the catalog." -Haller,

Tracks:

Suite No. 4 in G major, Op. 61, "Mozartiana"
I. Gigue - 1:47
II. Menuet - 2:05
III. Preghiera - 3:31
IV. Theme: Allegro giusto — - 0:47
IV. Variation 1 — - 0:42
IV. Variation 2 — - 0:44
IV. Variation 3 — - 0:56
IV. Variation 4 — - 0:40
IV. Variation 5 — - 1:05
IV. Variation 6 — - 0:46
IV. Variation 7 — - 0:51
IV. Variation 8 — - 1:09
IV. Variation 9: Adagio — - 4:19
IV. Variation 10: Allegro vivo — - 3:04


The Seasons, Op. 37b (arr. for orchestra by A. Gauk)
I. January: By the Fireplace - 4:58
II. February: Shrovetide Festival - 2:39
III. March: Song of the Lark - 2:29
IV. April: Snowdrop - 3:24
V. May: May Nights - 3:19
VI. June: Barcarolle - 5:14
VII. July: Song of the Mower - 1:44
VIII. August: Harvest - 4:21
IX. September: The Hunt - 2:42
X. October: Autumn Song - 4:41
XI. November: Troika - 2:43
XII. December: Yuletide - 4:39

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Neujahrskonzert (New Year's Concert) - Wiener Philharmoniker - Riccardo Muti

Neujahrskonzert (New Year's Concert) - Wiener Philharmoniker - Riccardo Muti
Classical | 1 CD | FLAC, none LOG, none CUE | 385 MB - MP3 | 320 Kbs | 145 MB
Publisher: Philips | 1993 | RapidShare

Dirigent der Neujahrskonzerte der Wiener Philharmoniker - das ist eine Art Ritterschlag, aber immer auch ein Stückchen Musikpolitik. Und so manche unter den Maestri, die fleißig-fleißig eine CD nach der anderen bespielen, würden auf manche verzichten, würde man sie statt dessen einladen zum Neujahrs-Prosit im Goldenen Saal. Die Namen derer, die die Philharmoniker nach Wien baten, seit sie ihre Neujahrskonzerte mit jährlich wechselnden Dirigenten vor einem weltweiten Publikum von etwa einer Milliarde Zuhörer/Zuschauer veranstalten, sind wenige: 1987 Herbert von Karajan - die Wiederversöhnung mit dem Maestrissimo, der so auch seinen Berlinern die grollende Schulter zeigen konnte, wurde damit belohnt; 1988 Claudio Abbado, der gerade neu an die Staatsoper gekommen war; 1989 Carlos Kleiber, das musikalisch wohl denkwürdigste Konzert; 1990 Zubin Mehta, dem man den Absprung aus New York versüßen wollte; dann 1991 wiederum Abbado, 1992 nochmals Kleiber. Daß Riccardo Muti nicht ganz oben auf der Einladungsliste stand, konnte man sich denken. Ein geborener Strauß- Dirigent ist er nicht. Die feinen Rückungen, Akzente, ohne die Strauß nicht Strauß wird, sind seine Sache nicht. So weicht er denn auch Strauß eher aus, flicht Lanner ein, meidet die heikleren Strauß-Walzer. Pizzicato-Polka, "Indigo"-Ouvertüre und Radetzky-Marsch sind denn auch die plausibleren Interpretationen eines dennoch gut durchdramaturgisierten Konzerts.

Tracks:

01. Die Publicisten
02. Diplomaten-Polka
03. Veilchen-Polka
04. Steyrische Tänze op. 165
05. Sperl-Galopp
06. Ouvertüre
07. Hans-Jörgel-Polka op. 194
08. Klipp-Klapp
09. ägyptischer Marsch
10. Pizzicato-Polka
11. Transaktionen
12. Perpetuum mobile
13. Auf der Jagd op. 373
14. An der schönen blauen Donau
15. Radetzky-Marsch op. 228

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The Economist (October 3rd - October 9th 2009)

The Economist (October 3rd - October 9th 2009)
with A special report on the world economy
English | PDF | 193 Pages | 5,5 MB - MP3 Audio | 171 MB

After the storm
The new economic landscape will be grim unless policymakers act to foster growth

Magazine: download
Audios: download
Visit hier to see more The Economist in 2009 and Audios

Bach - The Goldberg Variations (Mika Väyrynen)

Bach - The Goldberg Variations (Mika Väyrynen)
Accordion/Classical | 1 CD | FLAC, none LOG, none CUE | 421 MB - MP3 | 320 Kbs | 145 MB
Publisher: Alba Records Oy | 2004 | RapidShare

Boy, is this fun! Mika Väyrynen not only plays Bach's Goldberg Variations on the accordion to brilliant virtuosic effect, but he also manages to give each variation a unique identity. If Tania Lukic-Marx's more reverential way with the score makes her the accordion's Helmut Walcha, Mika Väyrynen, in turn, evokes the spirit of Virgil Fox on best behavior. Hear how he imbues Variation 7 with gentle swagger and sharp, unexpected accents that prove equally piquant when taken up the octave on the repeats. Redistributed to accommodate a single keyboard and rows of buttons, the two-keyboard variations blast off from their respective starting gates and hardly let up. Variation 29's toccata-like textures particularly lend themselves to the accordion's breathy bellows, while the canons at the unison and the fifth plus the "black pearl" 25th variation feature Väyrynen's sexy, honey-coated legato phrasing. Sometimes Bach's contrapuntal lines blur within the resonant, roomy acoustic, but the sound is so vibrant and alive that you simply go with the flow. And unlike the three other accordion Goldbergs I've managed to hear (Stefan Husson/Thorofon, Tania Lukic-Marx/Aura, and Wolfgang Dimetrik/Amphion), Väyrynen takes all repeats, save for the Aria Da Capo. Definitely one of 2004's most entertaining and lovable releases. [8/31/2004] --Jed Distler, ClassicsToday.com

Tracks:

01. Aria
02. Variatio 1
03. Variatio 2
04. Variatio 3 Canone all'Unisono
05. Variatio 4
06. Variatio 5
07. Variatio 6 Canone alla Seconda
08. Variatio 7
09. Variatio 8
10. Variatio 9 Canone alla Terza
11. Variatio 10 Fughetta
12. Variatio 11
13. Variatio 12 Canone alla Quarta
14. Variatio 13
15. Variatio 14
16. Variatio 15 Canone alla Quinta/Adante
17. Variatio 16 Ouverture
18. Variatio 17
19. Variatio 18 Canone alla Sesta
20. Variatio 19
21. Variatio 20
22. Variatio 21 Canone alla Settima
23. Variatio 22 Alla breve
24. Variatio 23
25. Variatio 24 Canone all'Ottava
26. Variatio 25
27. Variatio 26
28. Variatio 27 Canone alla Nona
29. Variatio 28
30. Variatio 29
31. Variatio 30 Quodlibet
32. Aria

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Ludwig Van Beethoven: Symphony No. 9 in D minor, op. 125 - "Choral"

Ludwig Van Beethoven: Symphony No. 9 in D minor, op. 125 - "Choral"
Classical - Live Recording - 25 December 1989
326 MB | RAR | Separate tracks FLAC (No CUE) | Scans | RS.com

For its uniqueness, this is perhaps the most heartfelt rendition of the great Choral Symphony. It was extended and altered to celebrate the reunification of East with West, not just in Berlin, Germany as a whole, but the whole of Europe. The text was altered from Ode to Joy to Ode to Freedom. LB has taken all but the second movement at a leisurely pace compared to many of his contemporaries' performances, but by bringing together instrumentalists from the world's greatest ensembles, the passion and the musical genius of Beethoven come across in every phrase. This is a live recording, so the odd cough is heard, but most notable is the late LB stamping his foot on the podium at the start of each movement, and also during many of the more frantic and energetic passages. This is not the most perfect in terms of technicalities but for a real sense of joy - which is what it is all about, this version can not be bettered. This should be bought as an historic addition to anyone's record library.

Tracks:

1. Allegro ma non troppo, un poco maestoso 18:05

2. Molto vivace 10:45

3. Adagio molto e cantabile 20:15

4. Presto - Allegro assai 28:58

June Anderson, soprano

Sarah Walker, mezzo-soprano

Klaus König, tenor

Jan-Hendrik Rootering, bass

Bavarian Radio Chorus

Members of the Berlin Radio Chorus (GDR)

Dresden Philharmonic Children's Chorus

Chorus Master: Wolfgang Seeliger

Bavarian Radio Symphony Orchestra

and members of the following orchestras:

Dresden Staatskapelle

Orchestra of the Kirov Theatre, Leningrad

London Symphony Orchestra

New York Philharmonic

Orchestre de Paris

Conducted by LEONARD BERNSTEIN

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Katie Melua - Pictures

Katie Melua - Pictures
Smooth Jazz | 1 CD | FLAC, none LOG, none CUE | 255 MB - MP3 | 320 Kbs | 87 MB
Publisher: Dramatico | 2007 | RapidShare

Those who were irked last time around by Katie Melua’s unsubstantiated claims that there are, and I quote, "nine million bicycles in Beijing" and that indeed "that’s a fact, it’s a thing we can’t deny"--when at best it can be no more than an exaggerated guesstimate and at worst just plain made up--will be pleased to learn that there are no comparable aspersions on new album Pictures. There may still be instances when things just don’t seem to make much sense at all, and metaphors can tire in her company, though set alongside a trademark melting lullaby such moments don’t really tend to linger. Pictures is an album that, while essentially doing only what it should and little more, also begins to signal that her potential could yet be realised. Where she has always had the silk-lined voice of a fairy admiring her beauty in a dew-drop, and her albums of modern mainstream jazz have become naturally affiliated with bubble baths by candlelight, or large glasses of red wine sipped slowly, or both, this is where she starts exhibiting signs of maturity. On "What I Miss About You", "Spellbound" and "Perfect Circle" she sounds older, more contemplative, almost commanding, and genuinely soulful. Rising above the generic parapet she makes small steps towards an identity of her own. Perhaps more than just a pretty voice after all. --James Berry

Tracks:

01 - Mary Pickford (03:12 min.)
02 - It's All In My Head (04:03 min.)
03 - If The Light Go Out (03:14 min.)
04 - What I Miss About You (03:48 min.)
05 - Spellbound (03:00 min.)
06 - What It Says On The Tin (03:44 min.)
07 - Scary Films (04:02 min.)
08 - Perfect Circle (04:00 min.)
09 - Ghost Town (03:31 min.)
10 - If You Were A Sailboat (04:02 min.)
11 - Dirty Dice (03:39 min.)
12 - In My Secret Life (04:23 min.)

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Souvenirs - Anna Netrebko

Souvenirs - Anna Netrebko
Opera/Classical | 1 CD | FLAC, none LOG, none CUE | 273 MB - MP3 | 320 Kbs | 108 MB
Publisher: Deutsche Grammophon | 2008 | RapidShare

With this album, Anna Netrebko turns to lighter selections than her standard fare: arias and ensembles from operettas, folk, and salon songs, and crowd-pleasing favorites. She gives this repertoire the same focus, interpretive eloquence, and vocal brilliance that she brings to more "serious" material. Netrebko is notable for the absolute purity and flawless intonation of her sound. Her voice is consistently full, rich, and creamy in these tasty confections, but there is enough stylistic variety that's it's never too much of a good thing. Netrebko brings real spirit to the contrasting sentiments of each of the selections, and she is simply a joy to listen to. "Heia, in den Bergen," from "Die Csárdásfürstin," which opens the album, is primally wild and unrestrainedly passionate. She floats and soars through "Depuis le jour," from "Louise," and sounds just overwhelmingly happy. The "Barcarolle" from "Les Contes d'Hoffmann," which she sings with Elina Garanca, has rarely sounded so rapturously languid. The pop-tinged "Pie Jesu" by Andrew Lloyd Webber sounds somewhat out of place in this collection, but Netrebko brings to it a melting loveliness, and her blend with boy soprano Andrew Swait is remarkable. Much credit for the album's high level of artistry goes to Emmanuel Villaume, a frequent collaborator with Netrebko, who conducts the Prague Philharmonia and Prague Philharmonic Choir with loving attention to detail and sensitivity to the variety of musical styles represented. Deutsche Grammophon's sound is immaculate, lively and present. Highly recommended for all fans of bel canto. Stephen Eddins, All Music Guide

Tracks:


01. Emmerich Kalman
Heia, in den Bergen from Die Csardasfurstin

02. Richard Heuberger
Im Chambre Separee from Der Opernball

03. Franz Lehar
Meine Lippen, sie Kussen so Heiss from Giuditta

04. Gustave Charpentier
Depuis le Jour from Louise

05. Jacques Offenbach
“Belle Nuit, O Nuit D’amour” (Bararolle) from
Les Contes d’Hoffmann

06. Richard Strauss
Cacilie Op 27 No 2

07. Edward Grieg
Solveigs Sang from Peer Gynt

08. Andre Messager
Lorsque je N”etais qu’une Enfant from Fortunio

09. Antonin Dvorak
Songs y Mother Taught Me from Gypsy Melodies

10. Richard Strauss
Wiegnelied Op 41 No 1

11. Nikolai Rimsky-Korsakov
Ne veter, veya s visoti, Op 43 No 2
Not the wind,blowing from the heights

12. Plenivsis rozoy, solovey Op 2 No 2
Enslaved by the rose, the nightingale (Oriental Romance)

13. Trad Jewish
Schlof Sche, mein Vogele
Sleep well, my little Bird

14. Andrew Lloyd Webber
Pie Jesu from Requiem

15. Reynaldo Hann
L’Enamouree
The Loved One

16. Carlos Guastavino
La Rosa y el Sauce
The Rose and the Willow

17. Geronimo Gimenez
La Tarantula e un Bicho Mu Malo from La Tempranica

18. Luigi Arditi

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