A five-piece of very good musicians from Rome, Albero Motore were aided and produced by 60's singer-guitarist Ricky Gianco who helped them with a recording deal with the newly born Intingo label. "Il Grande Gioco" seems one of those rock-inspired singer-songwriters' albums so popular in Italy during the 70's, with much more space to the voice than to lead instruments, prog influences are minimal, with honky piano and excellent but short American-styled guitar licks to the fore, helped by a good voice, and the album is a nice listening though with no particular merits.
The only relevant tracks are Israele with lyrics on the Palestinian people and the closing Provvisorietà, introduced by a short instrumental (and much closer to a prog style, this time) called Capodanno '73.
Piero Cotto (from Asti, Piedmont) begun his musical career in the early 60's with the Henghel Gualdi Orchestra, then as a solo artist. He lived for many years in Greece, where he had a huge success with the album Forgiveness. When he came back to Italy, he formed the group Piero e i Cottonfields with musicians from his home town (except Russo from Turin and Scarpellini from Bologna), that had their debut with a successful appearance at the Disco per l'Estate TV contest in 1972 with their first single Due delfini bianchi. In the same year they released their one and only album, with the long title "Il Viaggio, La Donna, Un'altra Vita", housed in a beautiful gatefold cover. Despite some more pop-inspired tracks, the album is on a good musical level, halfway between early Delirium and Odissea, with very nice flute passages like in Cantico or the title track, and the powerful harsh voice of Piero Cotto (similar to Delirium's Ivano Fossati) in evidence.
Here we have the first complete recording of Gluck's charming one-act serenata teatrale for chamber orchestra and four treble voices, composed for the marriage of Hapsburg Archduke Joseph in January 1765. The Archduke's first wife had died. This time he was to marry the Bavarian princess, Maria Josepha. For this performance of the new Gluck work, four of the Archduke's daughters from his first marriage who were all accomplished musicians, sang roles in the new work. The new bridegroom's younger brother Leopold, conducted. That the four Archduchesses could successfully negotiate the florid soprano roles Gluck fashioned for them, is most impressive. One presumes that the youngest daughter, Marie Antoinette, was not so gifted. The serenata teatrale was presented as a surprise to the newly weds at Schonbrunn Castle in Vienna in the presence of the rest of the Hapsburg court. It was deemed such a success, that on the spot, Gluck was asked to compose another opera. The result was La Corona. The work was planned for November, but because the Emperor died suddenly, the work was not performed.
Il Trovatore was based on the play El Trovador by Antonio García Gutiérrez and was an instant success. The cast is here led by Marcelo Alvarez, Norma Fantini and Leo Nucci and is conducted by Yuri Temirkanov.
Large symbols…make an effective home for a serious Il Trovatore, precisely paced and balanced by Yuri Temirkanov…Especially notable is his handling of what one might term 'old' Verdi orchestral tricks (ironic Bellinian wind counterpoints of parodistic military brass). The casting here is led by a Manrico from Marcelo Alvarez worthy of vocal and dramatic attention. (Gramophone Magazine)