Gloria Estefan has sold over 100 million records and sold out stadiums around the world. Emilio and Gloria Estefan together have won 26 Grammy Awards® – but their music is only half the story. From the heart of Havana to the streets of Miami came a cultural phenomenon unlike anything the music industry had ever seen. On Your Feet! is the new Broadway musical that follows the Estefan’s journey to superstardom set to their chart-topping smash hits including “Rhythm is Gonna Get You,” “Conga,” “1-2-3,” “Get On Your Feet,” and a new original song written for the musical by Gloria and her daughter Emily Estefan, “If I Never Get to Tell You.” On Your Feet! was recorded LIVE at the Marquis Theater.
Composed at a time when neither oratorio nor opera existed, Emilio de' Cavalieri's musical drama Rappresentatione di anima et di corpo combines song, stage action, dance, and instrumental music in perfect harmony. The work's libretto, attributed to Agostino Manni, presents a musical morality play in which soul and body dispute, with the participation of other allegorical characters and angels and souls both in heaven and hell. On this new recording, maestro Rene Jacobs illuminates this key work, which was written at the dawn of the Baroque revolution.
Emílio Santiago, an excellent interpreter of sambas and other swinging musics, finally found his way to a massive popularity as a romantic singer: the Aquarelas Brasileiras project, coordinated by Roberto Menescal at Som Livre, brought Santiago seven LPs, national and international projection, and the sum of four million copies sold, along with six platinum records, seven gold ones, and the Sharp prize.
Although Kairos’s rate of production has decreased in the past few years, the Viennese label still regularly releases discs of music by contemporary Austrian composers. This CD of two recent orchestral works by Friedrich Cerha, celebrating the composer’s 90th birthday, is a welcome addition to Kairos’s four previous albums of his music. While Cerha’s recent chamber music adheres to classical forms, his orchestral music from the same period eschews them, revisiting instead the principles laid out in his sound-mass works from the late 1950s such as Spiegel.