"… a fascinating glimpse into the history of the Salzburg Festival…The designer is Rudolf Heinrich, whose atmospheric sets cleverly suggest the different rooms in the Almaviva mansion within which Rennert, as ever, directs the work with an unforced feeling for the thoughts and actions of the Count’s scheming household and entirely without exaggeration…Berry’s then-reigning Figaro leads his eponymous opera with the confidence and exuberance of long experience in the part. His antagonist is the sturdy, impulsive Count of Wixell, obviously driven by testosterone. Both sing with absolute command of the stage and boast exemplary tone and technique with voices of properly contrasted timbre… Reri Grist’s Susanna is at once worldly-wise and quick-witted…" - Alan Blyth, GRAMOPHONE
A major-label Rigoletto with two Americans in lead roles is a rar avis, and yet EMI has hidden this set in their vaults for a long time. I find no reviews of it in either the Gramophone or Fanfare archives. Perhaps too many big-name rivals sank it – EMI has the classic Callas and Sills versions, among others.
Fully 35 years after Open, to Love, Paul Bley's seminal solo piano recording for ECM (which stands as a watermark both in his own career and in the history of the label – i.e., unconsciously aiding Manfred Eicher in establishing its "sound"), the pianist returns to the label for another go at it on Solo in Mondsee. Recorded in Mondsee, Austria, in 2001, and not issued until Bley's 75th year, these numbered "Mondsee Variations" were played on a Bösendorfer Imperial grand piano, an instrument that is, like its player, in a class of its own. Bley moves through ten improvisations lasting between two and just under nine minutes each.
Bismarck domine par sa stature et ses succès l'histoire européenne du XIX e siècle. Après avoir vaincu l'Autriche-Hongrie en 1866, il défait la France du Second Empire en 1870, ce qui lui permet de proclamer l'Empire allemand, sous la prééminence de la Prusse, dont il est le chancelier. …