Le Concert des Nations - L'orfeo - COMPACT DISCS [CD]

Drawing on influences of jazz improvisation, minimalist composition, and punk rock ethos, the Boston-based band Really From dismiss traditional genre and formulae in favor of explorative, indie rock amalgamations. Since 2014, their ever-evolving sound has incorporated stylistic touchstones from math rock to ambient, exploring themes of place, self, and culture through a dialect entirely their own.1) Apartment Song2) Quirk3) Yellow Fever4) Try Lingual5) I Live Here Now6) Last Kneeplay7) I'm From Here8) In the Spaces9) The House Album Tracks 1. Apartment Song 2. Quirk 3. Yellow Fever 4. Try Lingual 5. I Live Here Now 6. Last Kneeplay 7. I'm from Here 8. In the Spaces 9. The House

He Refugees are proud to present their 2nd CD THREE. They continue their trademark sound of 'chill-inducing' three-part harmony, stellar songwriting and musicianship - creating a unique blend of country, rock, folk, blues, and Americana. Cindy Bullens got her start as a back-up singer for Elton John, and accompanied John on multiple tours. She was nominated for two Grammy Awards, one for her work on the Grease movie soundtrack, and one or her first solo album Desire Wire. Deborah Holland began her career as a member of the critically acclaimed band Animal Logic. Comprised also of Stewart Copeland and Stanley Clarke, the band earned her recognition as both a singer and a songwriter during the 1980s and 90s. Wendy Waldman has been recognized as one of the leading recording artists and songwriters in music since the debut of her band Bryndle in the 1970s, followed by a successful solo career. Album Tracks 1. Catch Me If You Can 2. Can't Stop Now 3. Chain Stores, Malls and Restaurants 4. I Don't Care at All 5. 5th of July 6. 7 Days 7. My Favorite Joe 8. Rosalinda 9. January Sky 10. Green Rocky Road 11. Every Body and Soul

Monteverdi's L'Orfeo is naturally an iconic work for Leonardo García Alarcón. The Argentinian conductor has performed and matured his interpretation of Monteverdi's masterpiece throughout his life. Together with his group of soloists, the Namur Chamber Choir and the Cappella Mediterranea ensemble, he now presents his vision of L'Orfeo Monteverdi's opera is as much the apotheosis of the Renaissance as a testimony to the nascent Baroque style. This is what strikes us when we listen to this new recording, which so eloquently emphasizes the contrasts between sometimes nostalgic glances towards the past and the most innovative expressions of operatic language. The printed score, published two years after the premiere in Mantua in 1607, offers contrasts too is it the snapshot of a specific performance or a 'blueprint' intended for future performers? In fact, it is both, and that is where we find the tricky questions that must be answered by those who open this precious document; Leonardo García Alarcón does so here in a manner at once respectful, inventive and theatrical.