The graphics for this release by tenor Rolando Villazón don't make clear what it is you're getting: this is not yet another anthology of bel canto Italian opera arias, but something a good deal more rare. These "treasures of bel canto" are not arias, but songs, originally for voice and piano, but here given in orchestral versions. Villazón's explanation for why they needed to be orchestrated is unconvincing; he recalls having been inspired by Luciano Berio's orchestrations of the Verdi songs heard here, but the mainstream versions he commissioned have little in common with Berio, and one suspects that the real reason was to give Villazón's still fragile voice an easier time of things. The orchestral accompaniments somewhat overwhelm the melodies, which lie somewhere between opera and early 19th century art song. The Verdi songs, from early in the composer's career, only intermittently reveal the true Verdian voice; the Donizetti and Bellini groups come closer, while the most fun is the set of Rossini songs (late works, rather than early ones) at the end, with its tarantella-like La danza and a terrific duet with Cecilia Bartoli for a finale. Villazón seems to struggle a bit on the high notes, but there aren't many, and the bottom line is that it's good to have recordings of these comparatively neglected pieces. Recommended for fans of the bel canto period, or of Villazón.© TiVo

Studio recordings of full operas are not so common anymore, but among the few positive side effects of the COVID-19 pandemic was that it did spawn several. This one sounds a bit buttoned-up, perhaps because of the restrictions of the time; the album was made in the summer of 2021, and the contributions of the Transylvania State Choir were downloaded from afar (actually, this would be hard to tell by listening), but there is a lot that is distinctive about the performance of this Verdi opera, whose tragicomic quality has made it a special favorite in modern times. Verdi moved the action from Sweden to Boston to circumvent a censorship restriction; nowadays, the Swedish setting is generally preferred, but the curious American colonial setting somehow seems to fit the mixture of elements in the opera, loading political intrigue onto the old comic trope of the masked ball. The biggest news is the presence of tenor Freddie De Tommaso in the lead role of Riccardo. He has been bubbling under the surface of the opera scene, and with this recording, he takes a major step into the spotlight. Consider one of his big numbers, like "Forse la soglia attinse" in Act III, for an idea of why his performance is bringing to mind some of the greats who have recorded this opera. He is ably backed by a strong cast, including the rougher but powerfully dramatic Lester Lynch as Renato, making a compelling contrast with De Tommaso and Saioa Hernández as Amelia. This vocally strong Un ballo in maschera is well worth the attention of Verdi lovers.© James Manheim /TiVo

Unquestionably a jewel in the crown of the discography: incandescent and inspired conducting from start to finish (under the baton of Zubin Mehta, not the only example), and great voices of the time, sumptuous and committed — Leontyne Price, Fiorenza Cossotto, Sherrill Milnes and Placido Domingo. A fascinating and burning work is answered by an interpretation of flesh, fire and ashes to be counted in the leading pack of Trovatori in the catalog. (Qobuz/GG) 

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For its first release of 2022, the !K7 label has entrusted the latest volume of DJ-Kicks to German DJ Cinthie, who runs several labels and collectives including the famous Beste Modus. A figure of house music in a city mostly known for techno, Cinthie wanted to present a wide spectrum of tastes and inspirations on this compilation, kicking things off with a vocal house hit from 1997 by the fantastic Detroit producer Terrence Parker. The first part of this mix is undeniably rooted in deep house, notably featuring Time Lapse by amazing (yet surprisingly little-known) Japanese producer Shinichiro Yokota, and culminating in Organ, an exclusive track Cinthie produced specially for DJ-Kicks. After that, she speeds things up with Munich-based producer HDSN, Blessed Are the Meek by Amir Alexander (owner of the Vanguard Sound label in Chicago), and YLB by Parisian duo Camion Bazar. Cinthie then pays tribute to the king of ghetto house, Paul Johnson (who sadly passed away in 2021), with his 2015 track Y’All Stole Them Dances. Ben Hauke’s Ain’t Bad, which leans towards UK garage, gives the compilation a sound more typical of the UK. There are also hypnotic vibes with tracks by Boy Williams, and experimental tendencies in BMW’s Jump Around. The German DJ finishes the set with a bang, opting for the ultra-funky Please Don't Go by Felipe Gordon feat. Bob The Egoist, and the incredible The Storm Ends by London DJ Anna Wall, resident DJ at Fabric. This truly is an irresistible tour around the world of house music. © Smaël Bouaici/Qobuz

Cat Power—Chan Marshall—wanted to mark the moment in 1966 that "informs everything …  this precipice of time that changed music forever": Bob Dylan's "Royal Albert Hall Concert" (actually played at the Manchester Free Trade Hall), the one when he switched from acoustic to electric midway through—prompting an incensed folk purist to yell out "Judas!" Fifty-six years after that concert, Marshall delivered a sublime song-for-song re-creation of the set, at the actual Royal Albert Hall. "I'm not being Bob … I'm just recreating it, that's all. But not making it mine," she has said. Inevitably, though, the songs do become hers. It's evident right away, from "She Belongs to Me" (and shortly after, "It's All Over Now, Baby Blue"), the influence Dylan has long had on Cat Power's music. But with her husky voice, so like Nico's now and far from Dylan's youthful reediness, revealing traces of her Georgia upbringing ("She don't look baaaaack") and contrasting the clean acoustic guitar and shiny harmonica, she owns it. "Desolation Row" is a twelve-and-a-half minute marvel. The guitar is not blindingly bright like Charlie McCoy's flamenco flavor, but that works well with Marshall's more serious/less jaunty air here. Without aping Dylan, she hits his inflections, putting exuberant emphasis on the ends of lines ("And the good Samaritan! He's dressing!"). Her "Visions of Johanna" underscores the prettiness of the melody, while the way she sings the name "Jo-hanna" make it feel so much more exotic than it is. She gets playful with the familiar phrasing on the chorus of "Mr. Tambourine Man" and sings "Just Like a Woman" beautifully, offering a softer, less angular version of Dylan's classic. At 50, she was twice the age of Dylan when he recorded the song for Blonde on Blonde, and you can hear—feel—the extra tread on her heart. When electrified "Tell Me Momma" kicks in like the Wizard of Oz Technicolor moment, it's as thrilling as it's supposed to be, the first word of the titular line bitingly crisp each time. "I Don't Believe You (She Acts Like We Never Have Met)" plays up the soulful grooviness that always feels a little buried on Dylan's live recording, while "Baby, Let Me Follow You Down" expertly captures his wild-eyed edginess. Marshall's "Just Like Tom Thumb's Blues" is more elegant, even with its raw edges, than Dylan's young-man machismo. She does not recreate things down to the between-song patter but there is a moment, just before "Ballad of a Thin Man" (so slinky, so powerful), when someone yells out "Judas!"—and Marshall, serenely, responds, "Jesus." "I wasn't expecting the audience to recreate their part of the original show as well, but then I wanted to set the record straight—in a way, Dylan is a deity to all of us who write songs," she has said. And, as it did in 1966, closer "Like a Rolling Stone" sounds like liberation; maybe even like Marshall knows some part of this is hers now. © Shelly Ridenour/Qobuz

When an intoxicated Bon Scott died by choking on his own vomit in February, 1980, no one envisaged a future for AC/DC. However, the Anglo-Australian band succeeded in finding a replacement for their legendary lead singer. Brian Johnson from the band Geordie rose to the challenge against all odds and imposed a powerful, primarily high-pitched singing style which differed greatly from that of his predecessor. With its legendary black cover, Back in Black marked the birth of a new AC/DC and contains a series of incredible tracks. On guitar were the Young brothers (Malcolm with his Gretsch and Angus with his unstoppable Gibson SG), constantly trying to outdo each other’s genius both through the effectiveness of their riffs and the precision of their solos (notably on Back in Black and You Shook Me All Night Long). As well as pure AC/DC (What Do You Do for Money Honey), they give us some thick boogie with a ZZ Top twang (Have a Drink on Me), theatrical hard rock à la Led Zep (Shake a Leg), and let us not forget the ode to the God of Blues (Rock and Roll Ain’t Noise Pollution). Cliff Williams and Phil Rudd finish the job by providing the record with a concrete bassline and strong rhythm, doing so with great finesse. Upon the release of Back in Black on July 15th, 1980, fans were, without surprise, torn on the question of Brian Johnson. Could the band go on without Bon Scott? The record’s success and the world tour that followed quelled any debate and, forty years later, no one questions the decision for a second. With 50 million units sold, Back in Black is the second best-selling album of all time, just behind a certain Thriller by Michael Jackson… © Marc Zisman/Qobuz