La Tempestad, Olalla Aleman, Xavier Sabata - Sopranos y Castrati en el Londres de Farinelli 'Caro dardo' (2008)

La Tempestad, Olalla Alemán, Xavier Sabata - Sopranos y Castrati en el Londres de Farinelli 'Caro dardo' (2008)
EAC | FLAC | Image (Cue & Log) ~ 315 Mb | Total time: 57:57 | Scans included
Classical | Label: Musica Antigua Aranjuez | # MAA 006 | Recorded: 2007

La Tempestad se ha presentado al público en Festivales como los de Aranjuez, Cádiz, Sevilla, Marbella, Murcia, Santillana del Mar, Valladolid, Almería, Daroca, Zaragoza, etc. Sus miembros, formados en importantes conservatorios europeos (Toulouse, Viena, Amsterdam, La Haya), han formado parte de Al Ayre Español, La Real Cámara, El Concierto Español, Amsterdam Baroque Orchestra, Orchestra of the XVIII Century, European Union Baroque Orchestra, La Stravaganza, Orquesta Barroca de Sevilla, etc., con quienes han actuado por España, Europa, Israel y China.
Sacrificium: The Music of the Castrati (Cecilia Bartoli, Il Giardino Armonico, Giovanni Antonini)

Sacrificium: The Music of the Castrati (Cecilia Bartoli, Il Giardino Armonico, Giovanni Antonini) - DVD5
Italiano | NTSC 16:9 (720x480) | LPCM Stereo; DTS, 5.1 | 60 min | 3.93 GB
Recorded at Palace of Caserta in 2009 | Released: 2010 | Label: DECCA | Sub: English, Francais, Deutsch, Italiano, Espanol

A beautiful scenic film by Olivier Simonnet. Filmed in high-definition widescreen. Cecilia Bartoli sings virtuoso arias from her Sacrificium album, on location in and around the spectacular baroque palace of Caserta in Southern Italy, just outside of Naples. This unique film shows Cecilia Bartoli in full costume singing a selection of showpiece arias written for the castrato stars of the Neapolitan school. Ravishing locations including the Court Theatre, the stunning Vestibule and the Palace Gardens. Arias include Handel's "Ombra mai fu" and Broschi's "Son qual nave"–previously only available in the deluxe version of the album. The film also showcases the leading Italian period ensemble Il Giardino Armonico under their director Giovanni Antonini. Special bonus features include an illustrated interview in which Cecilia Bartoli talks about the Sacrificium project, and a visual guide to the Palace, town and region of Caserta. (
Franco Fagioli, Riccardo Minasi, Il Pomo d'Oro - Arias for Caffarelli (2013)

Franco Fagioli, Riccardo Minasi, Il Pomo d'Oro - Arias for Caffarelli (2013)
EAC | FLAC | Image (Cue & Log) ~ 416 Mb | Total time: 78:34 | Scans included
Classical | Label: Naïve | # V5333 | Recorded: 2012

Naples in 1750 was one of the ten biggest cities in the world, and it spawned two of the biggest musical stars of the era: the castrati Farinelli and the much lesser known Caffarelli, whose real name was Gaetano Majorano. This release consists of arias written for Caffarelli, and you might treasure it for the flamboyant, high-volume singing of countertenor Franco Fagioli, who arguably comes as close as any of his contemporaries to conveying what the high-powered sound of the castrati was like (in the understandable absence of the genuine article). Or, you might be grateful to hear the music associated with Caffarelli, who in his own time had a reputation for being troublesome and has generally ignored by the historical opera revival movement. The composers represented on the program are not household names; the best-known of them was German Johann Adolph Hasse, and some, such as Gennaro Manna and Domenico Sarro, are all but unknown. The bright, blooming orchestral work of Il pomo d'oro under conductor Riccardo Minasi is unfailingly exciting. Beyond all this, however, is the presentation of the whole package.
Farinelli, Il Castrato: Original Motion Picture Soundtrack (1994)

Farinelli, Il Castrato: Bande Originale Du Film (1994)
Ewa Mallas-Godlewska (soprano) & Derek Lee Ragin (countertenor)
Les Talens Lyriques, conducted by Christophe Rousset

EAC | FLAC | Tracks (Cue&Log) ~ 268 Mb (incl 5%) | Mp3 (CBR320) ~ 146 Mb (incl 5%) | Scans ~ 81 Mb
Soundtrack, Score, Classical, Vocal | Label: Auvidis Travelling | # K 1005 | 01:00:42

Soundtrack to the film 'Farinelli', the 1994 biopic film about the life and career of Italian opera singer Farinelli, considered one of the greatest castrato singers of all time. It stars Stefano Dionisi as Farinelli and was directed by Belgian director Gérard Corbiau. Although Dionisi provided the speaking voice, Farinelli's singing voice was provided by a soprano, Ewa Malas-Godlewska and a countertenor, Derek Lee Ragin, who were recorded separately then digitally merged to recreate the sound of a castrato. Through the film the general public discovered a whole repertoire of works for a voice that can no longer be heard today. The soundtrack from the film became a bestseller, as we discovered with delight some beautiful pieces by Handel, Pergolesi, Hasse, Porpora and others, in a unique interpretation.
Alan Curtis, Il Complesso Barocco - Vivaldi: Ercole su'l Termodonte (2007)

Alan Curtis, Il Complesso Barocco - Vivaldi: Ercole su'l Termodonte (2007)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | Italiano (Dolby AC3, 6 ch) | 136 min | 6.67 GB (DVD9)
Classics | Label: Dynamic | Sub: Italiano, English, Francais, Deutsch, Espanol

Ercole su’l Termodonte was Vivaldi’s 16th opera, appearing in 1723 in Rome. There was a Papal ban on women appearing on stage at the time and so the opera was sung by seven castrati and a male tenor, the latter singing the title role, Hercules. Portraying either the Amazons of myth or Greek warriors, the castrati must have been quite a scene and made quite a sound. Conducted by a Catholic priest–Vivaldi himself–with red hair, the entire proposition boggles the mind.

Edoardo Torbianelli - Chopin Late Piano Works (2018)  Music

Posted by SERTiL at Jan. 21, 2018
Edoardo Torbianelli - Chopin Late Piano Works (2018)

Edoardo Torbianelli - Chopin Late Piano Works (2018)
Classical | WEB FLAC (tracks) & d. booklet | 254 MB
Label: Glossa | Tracks: 13 | Time: 74:42 min

In Chopin Late piano works Edoardo Torbianelli matches once again the poetry of his pianism with the rigour of his scholarly investigations into the music he plays. Together with the booklet essaywriter, Jeanne Roudet, Torbianelli has considered afresh the music written by Frédéric Chopin in the last fifteen years of the Polish composer’s life.

Castration and Culture in the Middle Ages  eBooks & eLearning

Posted by ksveta6 at Dec. 16, 2017
Castration and Culture in the Middle Ages

Castration and Culture in the Middle Ages by Larissa Tracy
2013 | ISBN: 184384351X | English | 365 pages | PDF | 8 MB

The Queer Encyclopedia of Music, Dance, and Musical Theater  eBooks & eLearning

Posted by tarantoga at Nov. 9, 2017
The Queer Encyclopedia of Music, Dance, and Musical Theater

Claude J. Summers, "The Queer Encyclopedia of Music, Dance, and Musical Theater"
ISBN: 1573441988 | 2004 | EPUB | 400 pages | 2 MB
Diego Fasolis, Concerto Koln - Leonardo Vinci: Artaserse (2012)

Diego Fasolis, Concerto Köln - Leonardo Vinci: Artaserse (2012)
EAC | FLAC | Image (Cue & Log) ~ 0.97 Gb | Total time: 67:26+65:46+54:36 | Scans included
Classical | Label: Virgin | # 5099960286925 | Recorded: 2011

No less than five brilliant countertenors – including Max Emanuel Cencic and Philippe Jaroussky – join conductor Diego Fasolis and Concerto Köln for Artaserse by Leonardo Vinci (1690-1730). In early 18th century Italy, the Neapolitan-born composer was one of the brightest stars in opera, and Artaserse is considered his masterpiece.
Tim Hecker - Love Streams (2016) [Official Digital Download 24/96]

Tim Hecker - Love Streams (2016)
FLAC (tracks) 24-bit/96 kHz | Time - 42:55 minutes | 884 MB
Studio Master, Official Digital Download | Artwork: Front cover

Tim Hecker has revealed details of his latest album, and first record for 4AD. The Canadian composer will release Love Streams on April 8, 2016. Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune”, during its creation.