Filmtrax will release a soundtrack album for the sci-fi thriller Anon. The album features the film’s original music composed by Christophe Beck (Ant-Man, Frozen, Edge of Tomorrow, Buffy the Vampire Slayer, The Hangover, The Muppets). The soundtrack will be released digitally tomorrow, May 18 and will be available to download on Amazon, where you can also check out audio samples. Anon is written and directed by Andrew Niccol and stars Clive Owen, Amanda Seyfried, Colm Feore and Sony Walger. The movie is set in a future where technology has rendered privacy obsolete and follows a detective who investigates a serial assassin who has been deleted from all visual records. The thriller was released earlier this month in the U.S. and most other markets on Netflix and in the UK in select theaters and on Sky.
L’histoire entre Les talens Lyriques, Christophe Rousset et Jean-Baptiste Lully (1632-1687) est l’histoire d’une réussite. Les sept disques (Persée, Roland, Armide, Amadis, Phaéton, Bellérophon et cet Alceste) du compositeur d'origine italienne naturalisé français enregistrés par l’ensemble et le chef et claveciniste Français sont tous un véritable succès critique. En quelques années, Les talens Lyriques et Christophe Rousset sont passés maître du style et de l’écriture Lulliste au point d’être devenus un (le ?) véritable intournable du genre.
Among the finest performers of early music and arbiters of period practices, Christophe Rousset and Les Talens Lyriques turn their attention here to the composer whose work inspired the ensemble's name and purpose. In this 2000 disc devoted to the music of Jean-Philippe Rameau, Rousset and his ensemble turn in vigorous and appealing performances that present Rameau's music in a new light. The chaste and sometimes severe Pièces de clavecin en concerts are dramatically transformed in these sumptuous versions for string orchestra and continuo.
Créé en 1995 par Jean-Christophe Frisch, premièrement sous le nom de XVIII-21 Musique des Lumières, XVIII-21 Le Baroque Nomade est un ensemble français ayant participé à un renouvellement de l’interprétation de la musique baroque, en s’appuyant sur les découvertes musicologiques les plus récentes. L’ensemble a notamment développé le concept de baroque nomade, travaillant sur les rencontres historiquement avérées entre musiques baroques européennes et musiques extra-européennes.
In November 1772, as the 16-year-old Mozart was preparing to astonish the Milanese with his third operatic work for the Teatro Regio Ducal, his older contemporary, Tommaso Traetta (1727–79) from the Puglia region of Italy, was presenting the premiere of his second opera for the court of Catherine the Great in St Petersburg. Today, the former’s Lucio Silla is probably better known than the latter’s Antigona. But which is the finer work? On the basis of this outstanding new recorded version, I would say that Traetta’s tragedia per musica in three acts far outclasses Mozart’s opera seria for its consistent musical inspiration and sheer theatrical know-how. If Traetta’s music were at all familiar to opera-lovers today, that would not be so surprising because this contemporary and disciple of Gluck was, by 1772, an experienced composer for the theatre, already in the prime of a life that was to end, prematurely, only seven years later. His career had taken him from the conservatory in Naples to that city’s famous San Carlo, where his first commission in 1751 was Il Farnace. From there he travelled throughout Europe.