When he released "Bitches Brew" in 1970, Miles Davis opened up a new angle to jazz which stirred up emotions like no other record before. Some critics accused Davis of selling out, while the public bought it like crazy. It is one of the most examined albums of all time, even garnering a box set of the sessions. To date, "Bitches Brew" is one of the top selling jazz albums of all time. "Miles Electric: A Different Kind of Blue" examines the next step in the creative process…performing these songs live. The 1970 Isle of Wight featured an array of performers from The Who to Jethro Tull to Joni Mitchell. With improvisation playing a big role in the performance, the band (Jack DeJohnette, Chick Corea, Keith Jarrett, Gary Bartz and Dave Holland) had to be "on", yet ready to change on the fly. Directed by award-winning producer Murray Lerner, "Miles Electric" sits down with several of the performers who played with Miles, interspersed with his 1970 Isle of Wight performance, as well as artists such as Carlos Santana and Joni Mitchell, who describe the impact Miles Davis had towards music.
Directed by legendary Spanish filmmaker Carlos Saura, FLAMENCO, FLAMENCO is an evolutionary musical journey through the light, song and dance of a dynamic and alive art form…
With this new production of La traviata at the 2011 Aix-en-Provence Festival, Natalie Dessay made her first European appearances as Verdi’s Violetta, a pinnacle of the soprano repertoire. She made her debut in the role in 2009 at the Santa Fe Festival in the US, and subsequently sang Violetta in Japan. Dessay’s 2011-12 season will include La traviata at the Vienna State Opera (in this Aix-en-Provence production by French theatre and opera director Jean-François Sivadier) and the New York Metropolitan.
La Partenope is a rich and colourful production, superbly performed here by I Turchini Orchestra and conductor Antonio Florio, world-renowned specialists of Baroque repertoire. In this version comic intermezzi have been added, as was customary in the eighteenth century.
'Larks' Tongues In Aspic', from 1973, is widely regarded as one of the truly great King Crimson albums. With its raw tone, inspired improvisations and hard hitting odd-metered rhythms, the album marked a radical departure for this most forward thinking of groups and was the first to include Bill Bruford and John Wetton as band members. This 40th Anniversary edition features new mixes by Steven Wilson (Porcupine Tree) and Robert Fripp.
At the end of March 2011, Bill Nelson and the Gentlemen Rocketeers, along with one hundred plus guests, populated Studio A at Metropolis, West London, for a dynamite concert reminiscent of the Marquee club in its heyday. A blistering fourteen song set from the band, which covers much of Bill’s career to date, was the result. We’re delighted to present that set here on both CD and DVD, together with an interview with Bill and a sublime four track solo set as DVD extras.
Parsifal represents the culmination of Wagner’s work as a revolutionary composer of opera. In it he created a powerful allegory on the conflict between Christianity and paganism, good and evil, light and dark, physical passion and spiritual abstinence. This dramatic production by the brilliant German stage director Harry Kupfer marked Daniel Barenboim’s appointment as the artistic director of the Berlin State Opera in 1992. The cast is made up of the finest Wagnerian singers of the period, all of whom enjoyed substantial international careers. Barenboim’s superb conducting reveals Wagner’s multi-layered score in all its glory.
In this saga of hatred and holy war, of power and desire, there is no victor and no truth. The god-like is diminished, power restricted, taboos are broken, love betrayed. Only the composer can afford uninterrupted pathos in the wonderful duet of Samson and Dalila in the second act, which misleads us to believe in a moving story of love. Perhaps it truly is. The story of Samson is contradictory, it is human. Camille Saint-Saëns completed the work in 1876, but was only able to bring about its first performance in 1877 through the mediation of his friend Franz Liszt with pre-eminent success in Weimar. In France, where the elements of oratorio and the influence of Wagner were not well received, the first performance would not follow for another 13 years. Samson et Dalila ranks among the masterpieces of 19th century French Opera - and among the showpieces favored by the Argentine tenor José Cura. In the recorded production he saw himself celebrated on stage as a unified three-in-one: eponymous hero, director and stage designer.