Luciana Mancini - Juditha Triumphans - COMPACT DISCS [CD]

High Roller Records, 425gsm heavy cardboard cover, insert, ltd 250, Stainless officially started in Portland, Oregon, in 2022. Past and present members have all been active in the Pacific Northwest underground scene, playing in bands such as Black Breath, Long Knife, Lebenden Toten, Halt, Bellicose Minds, Nightfell, Malikili and Ripper. Their first sign of life was the InchSnakebiteInch/InchToo Hot To StealInch single (self-released on vinyl). This is now followed by the mini-album »Nocturnal Racer«, consisting of the title track, InchShot For ShotInch, InchBelieverInch and InchThe Evil LiesInch. It was recorded by Evan Mersky at Red Lantern Studio, Portland, Oregon, throughout 2023/2024, produced by Jamie Byrum and mastered by Magnus Lindberg in Stockholm. The material was recorded by Larissa Cavacece (vocals), Mira Sonnleitner (bass), Joe Sugar (drums) and Jamie Byrum (guitar, vocals). Joe Sugar is no longer in the band and has been replaced by Terrica Catwood of the band Time Rift. InchI would describe us as hard rock or heavy rock,Inch explains Jamie Byrum. InchThere are plenty of heavy metal elements in our sound but I think it would be misleading to call us a pure heavy metal band. »Nocturnal Racer« features a much more metal sound than our previous single which was more blues-based.Inch Having moved from Canada to Portland, singer Larissa Cavacece puts her stamp on the Stainless sound with her raw and raspy voice somewhere between Leather Leone and Wendy O. Williams. Jamie Byrum InchHer influences go be beyond Chastain and Plasmatics but I know she's honored to be mentioned in the same sentence. She has a goth background as well as the crustier sounds of bands like Amebix and Sacrilege. Also a big Bowie fan and loves 70's rock. Coincidentally Larissa's introduction to being in bands was fronting a Plasmatics cover band.Inch According to the guitarist (and voca

A distinguished and versatile musician, Attilio Ariosti was born in Bologna. He joined the Servite order, but in 1696 he was in the service of the Duke of Mantua, travelling thence to Berlin at the request of the Electress Sophie Charlotte and continuing as a composer of operas and other music. Recalled by his religious superiors, he returned by way of Vienna, where he spent some years intermittently in the service of the court. Good Friday in 1705 Emperor Leopold I chose a macabre story from the Old Testament for devotion for himself and the court. An oratorio that was to underpin the unbreakable faith of virtually the entire Holy Roman Empire. Attilio Ariosti created profound, groundbreaking music for it, which shows it's creator's exceedingly great sensorium for drama.

Gli amori d'Apollo e di Dafne, premiered at the Teatro Tron di San Cassiano in Venice in 1640, marked the first collaboration between two geniuses, the poet Giovan Francesco Busenello and the composer Francesco Cavalli. The value of this first libretto, magnified by the superb music of Cavalli, lies above all in the beauty and rich poetry of it's literary style. Musically, the work is still, in certain respects, dependent on the Florentine tradition of recitar cantando until fairly late in the Seicento, recitative remained the most important and prestigious musical and stylistic tool in opera. Nonetheless, closed forms are fairly widespread, and the opera abounds in ensembles. The rhythmic and metrical richness of the text allows Cavalli to give free rein to his creative genius arias, lamenti, duets, even trios, choruses - the variety of strophic forms is as great as the expressiveness of the recitative... Glossa now reissues a fine recording of this opera, performed by the Argentinian Gabriel Garrido and his Ensemble Elyma, with a splendid vocal cast including Anders Dahlin, Rosa Domínguez, Emanuela Galli, Paola Quagliata and Salvo Vitale.