Deluxe three disc (two CDs + DVD) edition of this best-selling release from the Pop trio contains their Every Breath You Take single disc compilation plus a CD taped live in Atlanta, Georgia and the Every Breath You Take DVD, which contains video clips and other bonus features. Perhaps the ultimate collection for old and new fans alike, this three disc package shows the band at the height of their audio and video powers and contains hits like 'Roxanne', 'Can't Stand Losing You', 'Message in a Bottle', 'Don't Stand So Close to Me' and many more.
Mahalia Jackson rewrote the rules for singing gospel in the late '40s by bringing blues phrasing and other secular elements into sacred song, and with her powerful alto, she sang with an immediacy and conviction that are still startling when they break out of the speakers some 30 years after her death. This two-disc set collects tracks from Jackson's long stay at Columbia Records, as well as a few tracks from her previous label, Apollo Records, where she recorded from 1947 until signing with Columbia in 1954.
Nascente's Beginner's Guide series has offered excellent primers on a wealth of neglected genres – salsa, tango, Indian filmi music, Arabian music, and many more – so it shouldn't come as a surprise that their three-disc volume of gospel music is a success as well. What may be surprising, though, is that its primary achievement isn't to resurrect a brace of hoary old chestnuts (many of which have already been reissued) but to shine a light on gospel's relatively recent past, which has suffered more than the classic gospel of the '40s, '50s, and '60s.
Anyone listening to this admirable set will gain an accurate impression of David Oistrakh’s overall playing style, his poise, composure, interpretative finesse, velvety tone and highly sophisticated musicianship. Various of the works programmed are - or have been - available in alternative Oistrakh recordings (the Tchaikovsky and Brahms concertos in around six versions apiece), but Melodiya’s selections are, in general, judiciously chosen.
Ever the recycler, Handel cobbled together Oreste from parts of pre-existing scores for his 1734 season at Covent Garden. The work promptly disappeared from the repertory for the next 250 years – a fact that is both understandable, given that it's a less convincing result than his fully original operas, and a shame, since Handel's table scraps are still amongst the most entertaining morsels from the period. The present recording, by George Petrou, the Camerata Stuttgart, and a cast of mostly Greek singers, is its first complete performance on CD and an admirably realized production, characterized by polished, stylish singing and vivid orchestral playing. In style, sound, and dramatic pacing, Petrou's effort distinguishes itself as a fine entry in the Handelian opera catalog, and makes a compelling argument for the musical value of the piece itself.
Gérard Lesne founded the Il Seminario musicale Ensemble in 1985. Since 1990, the Ensemble has been in residence at the Royaumont Foundation, where it attracts vocalists and instrumentalists who share Lesne's enthusiam for the 17th and 18th century Italian repertoire. The musicians perform on old instruments and strive to reproduce as faithfully as possible the lilt and narrative line characteristic of the baroque style as expressed in works by composers such as Monteverdi, Cavalli, Scarlatti, Vivaldi, Caldara, Pergolesi, and the others. The size of the ensemble is variable depending on the repertoire. Based on a rich and varied continuo section (theorbo, cello, basson, double bass, organ and harpsichord) supporting one or more soloists, it can be expanded with the addition of a string quartet to make a small chamber orchestra suitable for performing chamber operas. Responsibility for the Ensemble's musical direction is shared by the instrumentalists and vocalists.