Join Chris Agnelli as he presents the first of a trio of courses using our "Hero" vocals. This one is in Logic Pro X and in a Future / Disco / House style - think, 80's cop sent from the future, back in time.. in a spaceship.
Carl Orff's Stravinskian rabble-rouser retains its appeal. The pagan high-jinks, driving rhythms, and dips into semi-hysteria can be irresistible given the right performance. And, of course, with its dynamic range, from delicately colored quiet passages to heaven-storming climaxes, it's tailor-made for showing off hi-fi systems. Telarc is known for its outstanding sound, and this one's well up to the house standards.
The famous Russian director Sergei Eisenstein held Prokofiev the film composer in the highest regard, and to couple their two celebrated collaborations, Ivan the Terrible and Alexander Nevsky, in a two-disc set is therefore entirely appropriate. Ivan the Terrible, however, is a problematic score. Assembled by Abram Stassevich after the composer’s death, the oratorio lacks the large-scale balances and tensions of Prokofiev’s own Nevsky cantata, relying on narration to hold the structure together. This substantial English version by Michael Lankester, intended to ‘compensate for the lack of visual image’, is well projected by Christopher Plummer. Rostropovich directs a vivid performance of Alexander Nevsky, and only the rich tone of Russian voices is lacking. The LSO plays brilliantly, while the recording does full justice to one of Prokofiev’s finest scores.
On Hidden Orchestra's eagerly anticipated third album, producer and composer Joe Acheson conjures an intricate yet expansive world of sound, built around a collection of birdsong and other field recordings captured over many years in diverse locations around the UK and abroad. Rich in detail and character, these snapshots intertwine with bass, drums, percussion and eclectic instruments - including piano, electro-harp, zither, Turkish mey and cello - for an emotive and transporting listen that Acheson describes as “a kind of personal audio diary, time capsule or memoir”.
Itaipu (1989) is something of a cantata-cum-symphony-cum-oratorio with no clear text. Its topic is the world's largest hydroelectric dam, built on the Rarana River between Paraguay and Brazil, and the piece–in Glass's trademark punctuating minimalism–is filled with distinct South American instrumentation, particularly in the percussion. The music itself is noble, conjuring the human endeavor to build the five-mile-wide dam near the town of Itaipu. The Canyon (1988) is about no canyon in particular but tonally suggests the mystery of canyons in general. Both these compositions are among Glass's better works.
Arshak II is the first Armenian classical opera, written by Dikran Tchouhadjian and T. Terzian in 1868. Its libretto, a lyrical tragedy in Armenian and Italian, is based on historical reports about King Arsaces II (Arshak II), written by Movses Khorenatsi and Pavstos Buzand.
"Arshak II" is the first “Armenian grand opera” with choruses and ballets. It was partially staged in 1873, assembled on November 29, 1945 at the Armenian Opera Theater in Yerevan and was awarded by the USSR State Prize in 1946. Arshak II is a "gem" of Armenian musical culture. In 2001, it was staged at the San Francisco Opera. Pavel Lisitsian, Mihran Yerkat, Tigran Levonyan were among the performers of Arshak's role.