The Pavarotti and Friends Collection celebrates the internationally renowned charity concert series that brought together the world's greatest pop performers with the greatest international classical star, Luciano Pavarotti.
Beniamino Gigli was the most popular and successful Italian tenor in the first half of the 20th century. Acclaimed as the second Caruso, he was a great popular favourite both on the operatic stage and the concert platform from his debut in 1914 to his retirement in 1955.
Gigli recorded extensively for HMV (now EMI) and his records were among the company's best sellers for many years.
This studio recording was made in 1989 coinciding with a memorable production from the Metropolitan Opera, later captured on DVD. It's a delightful performance, and a wonderful highlight of Pavarotti's later career. Kathleen Battle's sparkling soprano is a brilliant accompaniment to Pavarotti's still-ringing tone.
"Pavarotti's voice was still beautiful and pliable, his phrasing exquisite. And he loved the role of Nemorino and always seemed happy with both its comedy and pathos–he steals every scene he's in, and no one minds…Kathleen Battle sings Adina with perfect, pearl-like tone, absolute fluency and commitment, and a trill to die for…Enzo Dara is an ideal Dulcamara, just the right combination of huckster and sentimentalist, with ease in every register and with fast music."
– Robert Levine, ClassicsToday.com
“Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma…The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies…with Sutherland, Bonynge and all on electrifying form.” (The Penguin Guide)
Even though Macbeth is the title character of Verdi's opera, most people will choose a recording of it based on the performer of the role of Lady Macbeth. My own opinion is that Elena Souliotis is, more than any other singer I have heard in this music, just right for the part.Verdi clearly stated that he wanted a harsh, choked sound from his Lady Macbeth.
For me, this recording represents the absolute epitome of bel canto singing, with Pavarotti spinning endless golden tone as Fernand and Fiorenza Cossotto showcasing that indomitable chest-voice as Leonora.–Katherine Cooper
One of a number of Art Blakey albums titled after "Night In Tunisia" – and most likely the best! The tune is a perfect fit for the Blakey Jazz Messengers format – long, rhythmic, really stretching out, yet allowing plenty of space for the horn players to solo. Players include Bobby Timmons on piano, Lee Morgan on trumpet, and Wayne Shorter on tenor – a killer lineup that's in really classic form here – driven on nicely by Blakey's drums and bass work by Jymie Merritt. Titles include "Night In Tunisia", with Blakey thundering through impeccably – plus the tracks "Yama", "Kozo's Waltz", and a version of Timmons' great "So Tired".
Reissue from Art Blakey & The Jazz Messengers features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Blues March" for the first time in the world. Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band.
Reissue with SHM-CD format and new 24bit remastering. Birdland was the Mecca for most modernists of the 50s. It was the only club in New York City where a big band could play. Bookings were mostly for solid two-week periods. On Monday nights the regulars were off, and the legendary jazz disk jockey Symphony Sid (1909-1984) ran one of his jam sessions with young, upand-coming, cutting edge local musicians. Anything could happen and frequently did, as these outstanding performances, recorded on two consecutive Monday nights, on April 21 and 28 1958, show.