The documentary follows staff at the magazine and includes interviews with past publication cover stars as FHM prepares to circulate it’s final issue. FHM magazine – famous for images of female celebrities and male-orientated lifestyle tips once commanded a circulation of over half a million copies but is now about to publish an issue for the final time. The documentary will take a nostalgic look back at the “glory years” of the magazine, of which Rachel was a huge part first gracing the cover in May 2000, with 7 more covers to follow, enjoying a top-three status in FHM’s 100 Sexiest poll no fewer than four times, and most recently taking the title of “FHM’s Sexiest of the Sexiest”.
Baldassare Galuppi held the position of church organist, from which he composed operas for the Italian stage. Since his forte was the keyboard, his operas have nice harpsichord recitatives (which usually I detest) and the harmonics are contrapuntal. Galuppi as a youth had studied counterpoint under Antonio Lotti, the first organist at St Mark's. Galuppi became cembalist in the great opera houses of Venice, and was involved in the first presentations of Vivaldi's operas there. Galuppi himself wrote at least 111 operas, the best of which are collaborations with the librettist Goldoni. The young Mozart reused some of the librettos that already existed in settings by Galuppi, and the mature Mozart raised to sublime heights the dramma giocoso form which Galuppi practically invented. This release supplies a missing link between Mozart and the opera world before his time.
Léo Ferré (1916-1993) was a French-born Monégasque poet and composer, and a dynamic and controversial live performer, whose career in France dominated the years after the Second World War until his death. He released some forty albums over this period, composing the music and the majority of the lyrics. He released many hit singles, particularly between 1960 and the mid-seventies. Some of his songs have become classics of the French chanson.
After what was reportedly a commercial failure in the more straight-ahead, symphonically oriented Les Contes du Singe Fou, Cyrille decided to take over the production duties on the next album, Visions, and imbibed it with a slightly new musical direction based on Eastern philosophical and religious precepts. The result is a generally varied work that retains the more structured vibe of the previous album. Cyrille Verdeaux's piano and keyboard melodies are again the dominant force on Visions, and are supplemented by the usual eclectic blend of instrumentation. …