Emmanuelle and Tasha visit Las Vegas where the two becomes close friends. Emmanuelle teaches Tasha the finer elements of pleasing oneself, so that she may better understand what it takes to please a partner. After a sensual bubble bath, Tasha learns exactly how to best please her first partner: Emmanuelle herself. The two seem quite content the following morning when they are served strawberries, chocolate and champagne. There is still more to be learned, as Emmanuelle prepares Tasha for her first encounter with a man on earth, which Emmanuelle supervises in a classic voyeur style.
Emmanuelle in Space was an American erotic science fiction television series produced for both cable and syndication in 1994. It is loosely based upon the character Emmanuelle created by Emmanuelle Arsan in the 1960s and featured in dozens of softcore films over the years.
The series starred Krista Allen as Emmanuelle, a hedonistic young woman who finds herself teaching the ways of sexuality to a group of aliens who land on Earth, and Paul Michael Robinson.
Countertenor Philippe Jaroussky continues to amaze with the facility of his technique in the most demanding coloratura repertoire, the intelligence and deep feeling of his musicianship, and, most especially, with the full, vibrant quality of his distinctive voice. It has lost none of its freshness since he burst onto the international scene in the last years of the 20th century, and has become a richer, stronger instrument without giving up any of its remarkable agility. A champion of neglected Baroque composers, he turns his attention to Antonio Caldara (ca. 1671-1736), a near-contemporary of Vivaldi's.
Following the trend of singers releasing recitals based on the repertoire of great performers of previous centuries – Cecilia Bartoli's tribute to Maria Malibran and Juan Diego Flórez's to Giovanni Battista Rubini, for instance – countertenor Philippe Jaroussky has devoted a CD to the repertoire of eighteenth century castrato Giovanni Carestini, who was a rival of Farinelli's. According to contemporary accounts, Farinelli was the more virtuosic of the two, with a hair-raisingly dazzling coloratura, and Carestini was noted for the beauty and purity of his tone, and his profound musical and dramatic characterizations. The demands of the arias collected here make it clear that Carestini must also have had a fully developed technique, because they require remarkable agility and an awe-inspiring range that essentially encompasses both soprano and contralto registers, as well as great interpretive sensitivity. Jaroussky's voice is not large, but he has plenty of power for even the most dramatically charged of these selections. It's notable for its absolutely accurate intonation, and its pure, creamy tone, with a gleam not often heard in countertenors. He also possesses a formidable technique and sings the most treacherous coloratura passages with effortless-sounding agility and freedom. He has a breathtaking pianissimo that can broaden from near inaudibility to full-throated warmth. Perhaps the most striking thing about his performances, though, is the depth of his musical characterizations, which comes from giving life to his characters' emotions through the deeply felt shaping of every phrase. There is not a moment of perfunctory Baroque note-spinning on the album – every run and ornament is packed with meaning and passion.
The Harmonia Mundi label doesn't pay a lot of lip service to music outside of its core, Baroque and back-centered repertoire, although it has achieved some marvelous things in contemporary music and, very occasionally, the off-the-beaten-path romantic repertoire. Emmanuelle Bertrand Plays Alkan and Liszt belongs to this last category, featuring cellist Emmanuelle Bertrand and pianist Pascal Amoyel in cello and piano works of two composers not at all generally associated with chamber music, Charles-Valentin Alkan and Franz Liszt.