On five great rail adventures, Griff Rhys Jones explores Africa, home to astonishing wildlife, mighty rivers, the driest deserts and a billion people. This unforgettable journey takes Griff along the coast of North Africa, over the savannahs of Kenya and Tanzania, through the forests of Zambia and Zimbabwe, across the deserts of Namibia and, finally, to the tip of South Africa. Griff highlights incredible landscapes and introduces us to some remarkable people. Progress isn’t always smooth as he contends with closed borders and missed trains. He takes it all in good humour and revels in this amazing trip of a lifetime. Africa truly is like nowhere else on earth.
This new four-part series follows British explorer Levison Wood’s expedition to walk the length of the River Nile from source to sea. His nine-month journey takes him through jungles, savannah, deserts, cities and war zones in some of the continent’s most remote and spectacular locations. Along the way, he encounters modern Africa, its people and its wildlife face-to-face and at ground level. The Nile remains one of the last holy grails in exploration – no-one has ever completed its entire length on foot. Levison’s goal is to reach the Mediterranean Sea – whatever lies in his way and wherever the Nile takes him for 4200 miles. The river pushes him to the edge of his mental and physical limits as he is forced live off his wits and bushcraft skills.
Recorded live in April 2013 at the Royal Opera House in London, Sony Classical is proud to present Verdi: Nabucco starring the legendary Placido Domingo in his debut in the title role. Conducted by Nicola Luisotti, the release celebrates the bicentenary year of Verdi’s birth.
These performances come from the first ever complete set of the Mozart symphonies, dating from the 1960s, and they still represent 'big orchestra' Mozart at its most congenial. The contrast here between Bohm's sparkling Mozart, both elegant and vigorous, and the much smoother view taken by Karajan with the same orchestra, works almost entirely in Bohm's favour. Interpretatively, these are performances very much of their time, with exposition repeats the exception (as in the first movement of No. 40) and with Minuets taken at what now seem lumbering speeds. Yet slow movements flow easily, and finales bounce along infectiously. Consistently they convey the happy ease of Bohm in Mozart, even if the recording is beefy by today's standards, not as transparent as one now expects in this repertory, whether on modern or period instruments.