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Misa de Indios - Misa Criolla

La Chimera

Classical - Released March 24, 2014 | La Musica

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Mission San Francisco Xavier: Ópera y Misa de los Indios

Silvina Sadoly

Classical - Released June 16, 2017 | Phaia Music

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Misa De Indios: Misa Criolla

La Chimera

Choral Music (Choirs) - Released March 24, 2014 | La Musica

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Panamericana

Las Rubias Del Norte

World - Released March 14, 2006 | Barbès Records

Though they're based in Brooklyn, Las Rubias Del Norte have an exclusively Latin perspective. Their second album is a collection of both well-known and obscure songs from south of the border and Europe, including the gorgeous cancion "Canto Indio" and the French pop song "Le Temps De L'Amour." The elegant vocal harmonies of Allyssa Lamb and Emily Hurst are framed by shimmering acoustic instrumentation, including vibes, piano, and percussion; the whole enterprise stylishly conjures a romantic bygone era. © TiVo
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Indita Mia

Los Indios De Papantla

Latin - Released June 22, 2018 | Musica del Rancho

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El Indio Enamorado / Misa de Cuerpo Presente / Un Indio Quiere Llorar

Los Apodados

Latin - Released September 27, 2023 | Pixel Records México

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El Indio Enamorado / Misa de Cuerpo Presente / Un Indio Quiere Llorar

Los Apodados

Latin - Released September 27, 2023 | Pixel Records

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PARA MIS INDIOS (feat. THE FREEKAN REEKAN)

ARCHANGEL33

Dance - Released September 4, 2023 | DANCING MUSES

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Pergolesi: La serva padrona (Les indispensables de Diapason)

Renata Scotto

Classical - Released November 2, 2022 | Les Indispensables de Diapason

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Mozart: Airs de concert (Les indispensables de Diapason)

Edith Mathis

Vocal Music (Secular and Sacred) - Released October 25, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Miss Membranas

Aviones de Papel

Alternative & Indie - Released July 17, 2020 | Indio Gris

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Rossini: Il barbiere di Siviglia

Teresa Berganza

Opera - Released January 1, 1972 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
This is a Barbiere "di qualità, di qualità": in fact, of very great quality indeed, from Deutsche Grammophon. Recorded in London in the summer of 1971, it is one of the first meetings of Claudio Abbado and the London Symphony Orchestra. It is also the first of Alberto Zedda's philological editions of Rossini's works, whose scores have been covered over by inherited errors for over a century. Getting rid of the additions which have, quite wrongly, become traditional, means restoring certain interruptions and the fine instrumentation of the period; and above all, singing and playing without exaggerations, thanks to an innate sense for the theatre. It's a spot of spring cleaning which has restored the youth of the 24-year-old composer's masterpiece. Bravo, signor barbiere, ma bravo! It is a dream record, with singers who are well-versed in the repertoire. Everyone is right where they need to be, from Teresa Berganza's wiley and cheeky Rosina, to the refined and hard-working Figaro played by Hermann Prey, via Luigi Alva's frivolous Count and the utterly ridiculous Basilio played by the outrageous Paolo Montarsolo. We're amused by their antics, as we admire the well-oiled and unstoppable machine of Rossini's theatre, under the unceasingly inventive and thrilling baton of Claudio Abbado. © François Hudry/Qobuz
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Indiscretion

The Curious Bards

Classical - Released September 1, 2023 | harmonia mundi

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The reels, jigs, strathspeys, airs, hornpipes, and more on this album suggest a folk release, but that is not quite so; the music is performed from printed notation and taken from publications of Scots and Irish "national" music in the 18th century. It is performed on a mixture of classical and folk instruments. Certainly, the distinction is, in some sense, an artificial one; it doesn't matter whether this is classical or folk music. This is the second such release by The Curious Bards, and either one might indeed be interesting to folk musicians, who may find that some of the tunes have survived the centuries in oral tradition. So have some of the performance practices; the pieces are mostly grouped into sets that may accelerate as they go along. Some of the vocal pieces are in Gaelic, others in English. To the classical side, published arrangements of folk music seem to have been an important part of 18th century musical life, and this repertory has been little explored; that makes this release by The Curious Bards valuable. Most of the music is anonymous, but there are a few pieces by the Irish national composer Turlough O'Carolan. The biggest reason to hear Indiscretion is that the music is thoroughly enjoyable. There is great variety in theme in the vocal pieces, from playful to sad, and rhythmically in the instrumental pieces, from the jigs to little variation sets to the spiky strathspeys. The performances are brisk and not precious, the singing by various vocalists unmannered. Anyone from either side of the folk-classical divide will enjoy this release.© James Manheim /TiVo
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Indiscreet

Sparks

Pop - Released September 1, 1975 | Island Records (The Island Def Jam Music Group / Universal Music)

In the '70s and '80s, Sparks' American fans couldn't understand why the Mael Brothers weren't as big in the United States as they were in England. "Why don't more of our fellow Americans realize just how great these guys are?" was the question that Sparks addicts in the U.S. often found themselves asking. Whatever the reason, British audiences really connected with Sparks' goofy, insanely clever lyrics -- and the fact that Russell Mael sings like he could be an eccentric upper-class Englishman (although he was born and raised in Los Angeles) probably didn't hurt. Indiscreet, which was the Mael Brothers' third album for Island and their fifth album overall, is state-of-the-art Sparks. The power pop melodies are consistently infectious, and the lyrics are as humorous as one expects Sparks lyrics to be -- nutty gems like "Pineapple," "Happy Hunting Ground," "Tits," and "Get in the Swing" will easily appeal to those who like to think of Russell and Ron Mael as the pop/rock equivalent of Monty Python's Flying Circus. Like other Sparks releases of the '70s, Indiscreet did much better in England than it did on the North American side of the Atlantic. In the U.S., this 1975 LP appealed to a small but enthusiastic cult following -- in Great Britain, Indiscreet was a big seller and appealed to a much larger and broader audience. Over the years, Sparks has experimented with everything from hard rock to Euro-disco. But power pop is the primary focus of Indiscreet, which went down in history as one of the band's best '70s albums. © Alex Henderson /TiVo
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Rossini: The Barber of Seville

Erich Leinsdorf

Classical - Released March 31, 1997 | Living Stereo

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Rossini : Il Barbiere di Siviglia - La Cenerentola - L'Italiana in Algeri - Il viaggio a Reims

Claudio Abbado

Opera - Released January 1, 2012 | Deutsche Grammophon (DG)

Distinctions Diapason d'or / Arte - Choc de Classica - The Qobuz Ideal Discography
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La Ventana

Los Jaivas

Alternative & Indie - Released January 1, 1973 | Arci Music

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Rossini: Il Barbiere di Siviglia

Hermann Prey

Classical - Released January 1, 1972 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
This is a Barbiere "di qualità, di qualità": in fact, of very great quality indeed, from Deutsche Grammophon. Recorded in London in the summer of 1971, it is one of the first meetings of Claudio Abbado and the London Symphony Orchestra. It is also the first of Alberto Zedda's philological editions of Rossini's works, whose scores have been covered over by inherited errors for over a century. Getting rid of the additions which have, quite wrongly, become traditional, means restoring certain interruptions and the fine instrumentation of the period; and above all, singing and playing without exaggerations, thanks to an innate sense for the theatre. It's a spot of spring cleaning which has restored the youth of the 24-year-old composer's masterpiece. Bravo, signor barbiere, ma bravo! It is a dream record, with singers who are well-versed in the repertoire. Everyone is right where they need to be, from Teresa Berganza's wiley and cheeky Rosina, to the refined and hard-working Figaro played by Hermann Prey, via Luigi Alva's frivolous Count and the utterly ridiculous Basilio played by the outrageous Paolo Montarsolo. We're amused by their antics, as we admire the well-oiled and unstoppable machine of Rossini's theatre, under the unceasingly inventive and thrilling baton of Claudio Abbado. © François Hudry/Qobuz
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Rossini : Il Barbiere di Siviglia

The Chamber Orchestra of Europe

Full Operas - Released January 1, 1972 | Deutsche Grammophon (DG)