The National don't do anything radically different on Boxer, but then again, they don't really need to: their literate, quietly anthemic take on indie rock seemed to have arrived fully formed on their 2001 self-titled debut. Boxer just hones in even more precisely and intimately on the heartfelt territory the band covers, with punchy-yet-polished ...
While perhaps not living up to the lofty goals of its title, Ultimate Christmas is an excellent holiday sampler nevertheless, compiling classic performances from artists of all eras and musical backgrounds to appeal to as wide an audience as possible. The many highlights include Bing Crosby's "White Christmas," Elvis Presley's "Blue Christmas," ...
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Andrea Guiot (soprano), Claude Cales (baritone), Jacques Mars (bass), Jacques Pruvost (vocals), Jane Berbié (vocals), Jean-Paul Vauquelin (vocals), Maria Callas (soprano), Maurice Maievski (vocals), Nadine Sautereau (vocals), Nicolai Gedda (tenor)
For a band that's been compared to Joy Division, Leonard Cohen, Wilco, and Nick Cave & the Bad Seeds, the National sure sounds a lot more like the Czars or Uncle Tupelo on this sophomore album Sad Songs for Dirty Lovers. Where the band might lack Joy Division's angular fury, Cohen's existentialism, and Cave's vampiric attack, vocalist Matt ...
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Adrian Thompson (tenor), Majella Cullagh (soprano), Mary Nelson (soprano), RTE Philharmonic Choir (choir, chorus), National Symphony Orchestra of Ireland, Reinhard Seifried (conductor)
Trevor Jones and Randy Edelman's lush, romantic score for The Last of the Mohicans adds to the film's epic feel. The Royal Scottish National Orchestra's performances of "Kiss," "Fort Battle," "Cora," and "Pieces of a Story" reaffirm why this album is one of the most popular scores from the '90s. ~ Heather Phares, All Music Guide
The National may sound like a garage band turned down, but there's as much primal energy lurking behind Alligator as in any mop-topped group of city kids with bloodstained Danelectros in a dusty warehouse. While Matt Berninger's lyrics and conversational delivery rely heavily on the kind of literate self-absorption that fuels so much of the indie ...
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Barbara Hendricks (soprano), José van Dam (baritone), Linda Chesis (flute), Patricia Nagle (flute), Orféon Donostiarra (choir, chorus), Orchestre National du Capitole de Toulouse, Michel Plasson (conductor)
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Anton Diakov (vocals), Ernest Blanc (vocals), Jacques Pottier (vocals), Jean-Pierre Huteau (vocals), Jon Vickers (vocals), Remy Corazza (vocals), Rita Gorr (vocals), René Duclos Choir (choir, chorus), Paris National Opera Orchestra
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Anne Howells (mezzo-soprano), Anthony Rolfe Johnson (baritone), Donald Adams (bass), Felicity Palmer (mezzo-soprano), Janice Watson (soprano), Marie McLaughlin (soprano), Nicholas Folwell (baritone), Richard Suart (tenor)
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Christa Ludwig (vocals), Kathleen Battle (vocals), Luciano Pavarotti (vocals), Margaret Price (vocals), Renato Bruson (vocals), Robert Lloyd (vocals), London Opera Chorus (choir, chorus), Royal College of Music Junior Department Chorus (choir, chorus)
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David Bell (organ), Jocelyne Taillon (mezzo-soprano), Marc Vento (baritone), Michele Command (soprano), Mirella Freni (soprano), Nicolai Ghiaurov (bass), Plácido Domingo (tenor), Thomas Allen (vocals), Paris National Opera Orchestra
Movie Adagios gathers two discs' worth of adagios, by composers such as Barber, Mozart, and Bach, that have appeared in films ranging from Platoon to On Her Majesty's Secret Service. The selections range from pieces that played a large part in the movies in which they were used, such as the Adagio Sostenuto from Beethoven's Moonlight Sonata, which ...
The days of stressing over which opera recordings to buy are over; they aren't a big invesment anymore, and in some cases they're practically giving them away. Here, EMI is offering its complete 1970 recording of Bizet's Carmen for the price of a budget single. Not bad. And since it doesn't come with a libretto, or any real documentation to speak ...
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