New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. On his first outing in five years, and the first of the new century, flamenco guitarist Paco De Lucia has given us one of the most sublime recordings in his long career. This collection of "Good Little Things" (Cositas Buenas) is a step away from Nuevo flamenco, and back to the grain of the source music itself. It is a record full of handclapped rhythms, organic spare percussion, and burning, passionate songwriting and singing. The various singers – including Paco himself – wail, chant, moan, and ecstatically intone his new songs to the sheer rough-hewn grace of his playing.
New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Fifteen tracks taken from the most disparate and most unknown of Paco de Lucía’s works. In the first place the Extended Play of 1964, the guitar of Paco de Lucía, with four toques. The alegrías recorded for the record In Memoriam Niño Ricardo in 1972. The parts Paco recorded for the Dolores record Asa-Nisa-Masa in 1978. The three pieces he composed for the film by José Luís Borau La Sabina.
Behind the near-mythical figure of the emancipated woman, the dazzling spectacle of the group tableau and vibrant seduction of the Spain of dreams, all its authenticity and brilliance have been restored to the world's most performed opera in the opera house where it was first performed in 1875. A veritable back to the origins for the masterpiece by Georges Bizet, who died at the age of thirty six, only a few weeks after finishing his controversial work, the tremendous success of which he was ever to know. By presenting it here in a brand-new version with instruments of the period, in an endeavour to rekindle the original musical and theatrical flame, Sir John Eliot Gardiner and Adrian Noble have reconstructed the unusual movement of the chorus and difficult dialogue between characters as a human, carnal tragedy.