Mit aufgerissenem Mund sitzt der verdutzte Hörer da und kommt aus dem Staunen nicht mehr heraus. Wie in einer Twilight-Zone-Episode taucht man ein in die bizarre Welt der Bobolina: Darf das sein, was nicht sein kann? „Black Hole Sun“ in Orchesterfassung mit Bobo als Chanteuse? Darauf muß man erst mal kommen! Doch es kommt noch doller: Neben weiteren Cover-Versionen im „The-London-Seesion-Orchestra-plays-romantic-alternative-Hits“-Stil (z. B. „Forbidden Colours“) gibt es auch eigene Kompositionen der kleinen, offensichtlich übereifrig wandlungsfähigen Sängerin, die uns zu Beginn ihrer Karriere mit kurzweiligem Folk-Rock überraschte und dann die Orientierung verlor…
Classic Blue is the fourth solo studio album by The Moody Blues member Justin Hayward. Classic Blue was released in 1989 by Trax Records (later re-released on Castle Music Records in 1994), and features Mike Batt, who also produced the album, and the London Philharmonic Orchestra. The album includes cover versions of many hit songs, such as The Beatles' "Blackbird", and Led Zeppelin's "Stairway to Heaven." It also includes a re-recorded version of "Forever Autumn," a song from Jeff Wayne's Musical Version of The War of the Worlds, in which Hayward originally sang lead vocals.
Glyndebourne has wisely preserved the best of Melly Still's literal,cluttered and ugly 2009 staging; its world-class soundtrack;.Dvorak's operatic masterpiece is in Belohlavek's bones, and he gets a thrilling and luminous account of the ravishing score from the LPO on virtually flawless form. It is the most central European of london's symphonic bands, and certainly equals, if not surpasses, the idiomatic Czech Philharmonic on rival sets conducted by Vaclav Neumann (supraphon) and Charles Mackerras (Decca). Ana Maria Martinez's Rusalka-more warm -blooded than Gabriela Benackova , less self-indulgent then Renee Fleming-gives one of the most ecstatic acounts of the famous Song to the Moon on disc.
Handel tinkered with this allegory throughout his career, producing various versions in Italian and English. The plot is a contest for the heart and mind of Beauty: Pleasure and Deceit encourage hedonism, arguing that "life consists in the present hour." Time and Counsel advise Beauty to forswear worldly pleasures, which "will soon decay". (Guess who wins.) You'd expect the villains to get all the good tunes, but the musical interest here is evenly spread. Time and Counsel get lively and contemplative arias; in particular, Varcoe makes Time's "Loathsome urns" beguiling and chilling. Kirkby, playing a villain for once, is an all-too-convincing Deceit; Partridge as Pleasure, though not ideally youthful, makes some gorgeous sounds. Fisher is well cast as Beauty, and Darlow's direction is a triumph.–Matthew Westphal
Emerging at the dawn of the twentieth century, the idiosyncratic structures of Scriabin's early symphonies display the Russian's unique approach. His Second Symphony blends echoes of Strauss, Tchaikovsky and Wagner, with sweeping climaxes, swirling colours, and passages of majestic intensity over the course of its five movements.
Denys Darlow conducts a fresh stylish performance with his London Handel Festival forces, recorded live at the Royal College of Music. Textures are clean and rhythms light and resilient, with James Bowman in the title-role leading a consistently reliable team. (Penguin Guide)