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Les tangos et boléros

Tino Rossi

French Music - Released December 15, 2023 | Parlophone (France)

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A Filetta - Songs and Polyphony from Corsica

A Filetta

World - Released March 11, 2015 | Digimusikka

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Sò elli scrittori di a storia / Resistenza testimone à l'eternu

L'Arcusgi

World - Released January 1, 2002 | Ricordu

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Rachmaninoff: All-night Vigil, Op. 37 "Vespers"

Violetta Bielecka

Sacred Vocal Music - Released May 18, 2018 | DUX

Booklet Distinctions 5 de Diapason
One might well say: this is just yet another recording of Rachmaninov's Vespers. And while, objectively, that's what this is, it’s also a reading which differs markedly from the norm – the norm in question being to drown the discourse in an intense reverberation, natural or artificial, and to record it at a distance, to create a "churchy" feel. None of that here: the choir – exemplary, superb – of the Podlasie Opera and Philharmonic in Poland, an institution based in Białystok, is recorded here quite close up, almost intimately, with no added reverb and in a comfortable acoustic location: the European Art Centre in Białystok. The result is that the listener hears every word and almost every counter-punctual line – and Rachmaninov had a field day with this, adding up to eleven real voices into the most harmonically intense passages. We bet that for many, this will be a real discovery, of an immense masterpiece of Slavic religious music. We also note that the soloists are of great quality and that the basso profundos demanded of the choir at points are real basso profundos, not unfortunate bass baritones in danger of asphyxiation. Hats off. © SM/Qobuz
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Profumo Di Violetta (Trovesi all'opera)

Gianluigi Trovesi

Jazz - Released October 17, 2008 | ECM

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Jazz reed player Gianluigi Trovesi traces his fascination with music to the amateur but passionate performances of his town band when he was a child; he recalls one player who responded so emotionally to the music that he shook and couldn't continue playing. He pays homage to that ensemble in this album, which uses a band to accompany his solos, in pieces that are mostly arranged from operatic selections. The broad eclecticism of his approach is exemplified in his description of the 21st and 22nd tracks: "Iberian colors punctuate the chapter entitled 'La gelosia,' with the preparation for Mascagni that includes the appearance of a twelve-tone row introduced by the trumpet..., of the Habanera by Bizet." Trovesi is successful because the arrangements (most of which are his, but some of which are by others) are unpretentious and either whimsical or artlessly soulful. The album draws heavily on early opera, particularly Monteverdi, so those tracks sound something like a jazzed-up, loose-limbed version of Respighi's Ancient Airs and Dances. Trovesi's playing is subtle and self-effacing, although he has considerable opportunities to shine in his jazz riffs, he always stays within the character of the originals. The sound is excellent, as would be expected from ECM's Manfred Eicher. The high quality of the playing, arrangements, and production values makes this a crossover album that should have broad appeal, because none of the types of music being merged are compromised in the process, but come across as being freshly imagined.© TiVo
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Shadows - Single

Violetta Spring

Pop - Released March 4, 2016 | Budde music france

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Flatterndes Herz

Violetta Parisini

Pop - Released May 27, 2022 | Else Musik

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VIOLETTA - Arias and Duets from Verdi's La Traviata

Anna Netrebko

Classical - Released January 1, 2005 | Deutsche Grammophon (DG)

Violetta, a CD featuring Anna Netrebko, is essentially an album of highlights from La Traviata, and although the focus is rightly on her, the musical quality of all the performances and of the entire album is terrific. The recording comes from a production at the 2005 Salzburg Festival. With an all-star cast that also features Rolando Villazón and Thomas Hampson, the performances generated an ecstatic reaction from the Salzburg audiences, and the recording captures the excitement of the experience. The soloists, orchestra, and chorus perform with a vibrant energy that propels the drama with unusual urgency. Netrebko sings flawlessly with a sumptuous, velvety legato, and she is completely engaging as Violetta, beautifully capturing her high spirits, her inner strength, and her physical frailty. "Ah, fors'è lui" is particularly moving. Villazón is a fine foil for her, with a dark, burnished tenor and an impetuous, sometimes explosive temperament. Hampson's Germont is vocally superb, but he seems somewhat disengaged and doesn't bring the same level of emotional investment to his role as the romantic leads. Carlo Rizzi leads the Vienna Philharmonic with meticulous attention to the details of Verdi's scoring, giving the music a punchiness that tends to get smoothed out in many performances. The orchestral balances are exceptionally fine, so that each scene is distinctively shaded and colored. Deutsche Grammophon's sound is wonderfully clear and present, capturing the positive elements of a live performance without the distractions or limitations that frequently mar live recordings.© Stephen Eddins /TiVo

Suite Italienne

Francesca Dego

Classical - Released October 12, 2018 | Universal Music Italia srL.

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DIAMONDS & DYNAMITE

Donna Grantis

Jazz - Released March 22, 2019 | eOne Music Canada

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Violetta

Various Artists

Pop - Released January 1, 2012 | Walt Disney Records

New Sound Tangos

Franck Pourcel

Pop - Released June 2, 2014 | Warner (France)

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Violetta en Vivo

Various Artists

Film Soundtracks - Released January 1, 2014 | Walt Disney Records

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Scenes from My Lonely Window

Violetta Zironi

Pop - Released June 14, 2019 | Pon't Danic Music

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Profumo di Violetta - Gianluigi Trovesi all’opera

Gianluigi Trovesi

Jazz - Released October 17, 2008 | ECM

Hi-Res Booklet
Jazz reed player Gianluigi Trovesi traces his fascination with music to the amateur but passionate performances of his town band when he was a child; he recalls one player who responded so emotionally to the music that he shook and couldn't continue playing. He pays homage to that ensemble in this album, which uses a band to accompany his solos, in pieces that are mostly arranged from operatic selections. The broad eclecticism of his approach is exemplified in his description of the 21st and 22nd tracks: "Iberian colors punctuate the chapter entitled 'La gelosia,' with the preparation for Mascagni that includes the appearance of a twelve-tone row introduced by the trumpet..., of the Habanera by Bizet." Trovesi is successful because the arrangements (most of which are his, but some of which are by others) are unpretentious and either whimsical or artlessly soulful. The album draws heavily on early opera, particularly Monteverdi, so those tracks sound something like a jazzed-up, loose-limbed version of Respighi's Ancient Airs and Dances. Trovesi's playing is subtle and self-effacing, although he has considerable opportunities to shine in his jazz riffs, he always stays within the character of the originals. The sound is excellent, as would be expected from ECM's Manfred Eicher. The high quality of the playing, arrangements, and production values makes this a crossover album that should have broad appeal, because none of the types of music being merged are compromised in the process, but come across as being freshly imagined.© TiVo
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Polyphonies corses

Les voix de l'émotion

World - Released January 1, 2006 | Ricordu

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In Veru

Tavagna

World - Released January 1, 2001 | Plaza Mayor Company Ltd

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Violetta - Gira Mi Canción

Various Artists

Film Soundtracks - Released May 25, 2015 | Walt Disney Records

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Bad Guy

Violetta

Pop - Released August 5, 2019 | VIOLETTA M

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