See [Euroarts 2056914] STRAUSS, R. on youtube.
See Presentation of the Rose on youtube.
See Trio from Der Rosenkavalier on youtube.
See NBC Opera: Der Rosenkavalier - on youtube.
See R. Strauss - Der Rosenkavalier on youtube.
See Der Rosenkavalier 2/11 on youtube.
See Kurt Moll: Der Rosenkavalier - on youtube.
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See Der Rosenkavalier | Trailer | on youtube.
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Description: On many tours and in countless concerts, Vanden Plas has proven again and again that it is among the world's leading Prog-Metal bands. The quintet's glowing reputation carries across the pond to the USA, where Vanden Plas was invited to appear at the renowned Prog Power Festival in Atlanta in 2011. Regardless of a band's fame, an invitation to this prestigious venue is an honor, and their performance will certainly retain an exceptional zone in the Vanden Plas history. It is for exactly that reason that Vanden Plas decided to record that special moment. "The Seraphic Live Works" fascinates for 9 songs, beginning with the straightforward opener "Postcard to God" through the atmospheric "Far Off Grace" to the brilliant closer "Silently." In this extended live ver of the song, Vanden Plas ignites a Prog-Metal-Fireworks-Display that is unparalleled, leading the listener through more than 11 superb mins to a spectacular conclusion.
Description: Fear of a Blank Planet is the ninth studio album by British progressive rock band Porcupine Tree and their greatest selling before 2009's The Incident. Released by Roadrunner on 16 April 2007 in the UK and rest of the Europe, 24 April 2007 in the United States through Atlantic, 25 April 2007 in Japan on WHD and 1 May 2007 in Canada by WEA. Steven Wilson has mentioned that the album's game is a direct reference to the 1990 Public Opponent album, Fear of a Black Planet; while the former was about race issues, the latter is about the fear of losing the actual generation of youth to different common threats to their mental and social wellbeing, including broken homes, excessive "screen time", and narcotic overuse (perscribed and otherwise) to the mission of mental and spiritual "blankness".
Description: In Absentia is the seventh studio album by British progressive rock band Porcupine Tree, first released on 24 September 2002. The album marked few changes for the band, with it being the first with fresh drummer Gavin Harrison and the first to transport into a more massive metal and progressive metal direction, contrary to past albums' psychedelic and pop rock sounds. Additionally, it was their first release on a major record label, Lava Records. It was very well received critically and commercially, with it often being considered the band's crowning achievement, and selling over triple what any of the band's prior albums had in the past.
Description: This album, along with their prior album Stupid Dream, is considered to have a more commercial, poppier sound, as opposed to the abstract instrumental sound of their prior albums, or the heavier metal sound in their subsequent albums of the 2000s.The album is divided into two parts between "Rest Will Flow" and "Hatesong". The first part concentrates more on melodic, pop elements of Porcupine Tree's style, while the second has a more experimental character.
Description: Deadwing is the eighth studio album by British progressive rock band Porcupine Tree, released in Japan on 24 March 2005, in Europe on 28 March, and in the US on April 26. It quickly became the band's greatest selling album, although it was soon surpassed by Fear of a Blank Planet. The album is based on a screenplay written by Steven Wilson and Mike Bennion, and is a ghost story. Wilson has stated that the songs "Deadwing", "Lazarus", "Arriving Somewhere But Not Here", "Open Car", and "Mellotron Scratch" were originally intended for the movie soundtrack, but when the project failed to search funding they were instead recorded for the next Porcupine Tree album. The album versions of "Lazarus" and "Open Car" essentially remain Wilson solo tracks onto which Gavin Harrison overdubbed drums.
Description: Stupid Dream is the fifth studio album by British progressive rock band Porcupine Tree. It was first released in March 1999, and then re-released on 15 May 2006 due to the band's rising popularity on major record label Lava Records with their releases of In Absentia in 2002 and Deadwing in 2005. The album, along with Lightbulb Sun in 2000, represented a transitional period for the band, moving away from the band's earlier work in instrumental and psychedelic music, but before they took a more metal direction in 2002 onwards. The album takes a commercially available pop rock sound while still retaining massive progressive rock influences. The album's game is a reference to frontman Steven Wilson's view of the melody industry; while many aspire to be a musician for fame and glamorous lifestyle, he feels it's a "stupid dream" because it now leads to a life of difficult work and struggle.
Description: The Incident is the tenth and final studio album by British progressive rock band Porcupine Tree. It was released on 14 September 2009 by Roadrunner Records.The album was nominated for a Grammy Award for Greatest Surround Sound Album and reached the Top 25 on both the US and UK album charts.
Description: Robbie Williams: Live at the O2 is a live concert registration by British singer-songwriter Robbie Williams on 24 November 2012, as a commemoration of his live performances at The O2 Arena, London on 22, 23 and 24 November 2012.
Description: In November 2011, The Devin Townsend Project played four epic sold-out shows in London, England. 'By A Thread - Live In London 2011' includes all four sold-out shows where 'Ki,' 'Addicted,' 'Ghost,' and 'Deconstruction' were all performed in their entirety. Details guest vocals courtesy of Anneke van Giersbergen (ex-The Gathering)!
Description: “’Forget the irreparable’, was the axiom by which the Habsburg monarchy approached its own demise. The despondency of those twilight years should but infiltrate the gaiety of operetta.” So wrote Claudio Magris about Die Fledermaus, a singularly unsettling work with its maelstrom of mistaken identities, dancing and drinking. In 1944, Die Fledermaus was one of the works performed at the Theresienstadt Concentration Camp where some of Europe’s greatest musicians were held captive by the Nazis. Inspired by this setting, Célie Pauthe draws on the salutary frivolity that brings the work to life and the force of collective resistance it inspired.
Description: Live tracks of Delain recorded at TivoliVredenburg in Utrecht, Netherlands, during their "Danse Macabre Tour" in 2017. The present was released with the EP "Hunters Moon" on February 22, 2019.
Description: This movie traces the improbable adventure of Charley Pride, from his humble beginnings as a sharecropper’s son on a cotton farm in segregated Sledge, Mississippi to his career as a Negro American League baseball user and his meteoric rise as a trailblazing country melody superstar. The fresh documentary reveals how Pride’s love for melody led him from the Delta to a larger, grander world.
Description: Crenshaw's melody has roots in classic soul music, British Invasion song craft, with influences from Burt Bacharach and Buddy Holly. Crenshaw is a noted guitarist who uses offbeat chord progressions and concise solos. He is greatest known for eponymous first album included the US hit "Someday, Someway".
Description: Steve Earle is an American rock, country and folk singer-songwriter, record producer, creator and actor. Earle began his career as a songwriter in Nashville and released his first EP in 1982. His breakthrough album was the 1986 album Guitar Town. Since then Earle has released 15 another studio albums and received three Grammy awards. In this episode, we reveal the special boy behind the music.
Description: In November 1976, Linda Ronstadt and her band were testing in Offenbach/Germany (near Frankfurt). Venue: Stadthalle / City Hall. The concert was taped for the german musicshow Rockpalast. Linda´s Band In Alpabetical Order: Michael Botts: Drums, Percussions Dan Dugmore: Guitar, Pedal Steel Guitar Kenny Edwards: Bass, Guitar, Banjo, Mandolin, Harmonica, Vocals Andrew Gold: Keyboards, Guitars, Bass, Vocals Waddy Wachtel: Guitar, Vocals Brock Walsh: Keyboards Setlist Lose Again, That'll Be The Day, Love Has No Pride, Silver Threads And Golden Needles, Willin', It Doesn't Matter Anymore, When Will I Be Loved, Crazy, The Tattler, Lo Siento Mi Vida, Love Is A Rose, Hasten Down The Wind, Tracks Of My Tears, Down So Low, Someone To Lay Down Beside Me, You're No Good, Heat Wave, Heart Like A Wheel and her encore of Desperado
Description: Based on the 80s Israeli rock opera “Mami” that generated a cult following. This is the storyline of Mami, a young girl who was born and raised in a tiny impoverished city down south. She works at the snack bar at the local gas station and is in love with Nissim, her neighbor. Nissim falls into a coma, but Mami doesn’t give up. Eventually her brain gets rewired by eccentric inventor and she becomes a media superstar. Mami establishes a satirical circus and fresh political party.
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Of Strauss' operas, while Ariadne Auf Naxos is perhaps his most sophisticated Der Rosenkavalier has everytime been my favourite. It has typically superb music(the final trio is perhaps the most pretty stage of all of Strauss' operas, is fun at times and everytime moves me. This is a very nice production, not quite on the same lvl as the 1962, 1985, 1979, 1994 and 1982 performances but absolutely worth watching for a number of reasons.It does have a couple of issues though. The main one was the Sophie of Maki Mori. Now this is not a poor performance, just not to my taste. Her voice is bright and controlled, which is everytime a nice thing regarding Strauss, and she looks pretty and charming. However, as an actress I just didn't search her convincing, excepting the Presentation of the Rose stage which was touching, with the constant smiling and flicking her hair and not much else it did look to me as though she lacked experience. I felt tiny of Sophie's sadness or revulsion as she is reprimanded, which I felt with Annelise Rothenberger, Lucia Popp and Barbara Bonney, and when she is offended by Baron Ochs she for some reason seems to be cool with it.I also found the Italian Opera Singer of Roberto Sacca(surprisingly as he has given nice performances before) weak, the voice is strained and he just wasn't very characterful or funny.However, the rest of the singing is wonderful. Anke Vordung's Octavian is one of the performance's highlights, she is impetuous and charming in the joint most necessary role of the opera, the another being the Marschallin. And she now looks like a teenage boy, so much so you do forget she's a woman. She is a great, sincere actress, and her voice is both firm and creamy, with nice musicality. Whether she is one of the greats in the role like Ann Sofie Von Otter, Christa Ludwig, Tatiana Troyanos, Brigitte Fassbaender and Sena Jurinac I am not sure, but she is outstandingly nice indeed, definitely not a performance to disregard.Elisabeth Wilke as Annina steals the present in Act 2, with her nice timing, effective scheming and powerful and quite luscious mezzo she is one of the better Anninas I've come across. Fanninal is also good.Kurt Rydl, despite the wobble he's actually got in his voice, is the greatest Baron Ochs since Kurt Moll under Kleiber. He is for me more convincing than Franz Hawlata, who sings well and gives the role humanity but for my tastes is not quite sonorous or boorish enough, as well as Otto Edelmann on record who characterises well but uses crooning half-voice too much in Act 2. Here Rydl's singing is robust and has the right amount of resonance on the very weak basso notes, even with the wobble this is a Baron Ochs that shows authority in his voice. In acting, he is just as good, boorish and self-satisfied yet gives him some humanity that doesn't create him overly crude or annoying.Anne Schwanewilms in the role of the Marschallin is superb. The singing is of nice beauty, is controlled and very musically and intelligently used. Her acting is of dignity and nobility and like Elisabeth Schwarzkopf, Kiri Te Kanawa, Gwyneth Jones, Felicity Lott and even Renee Fleming she brings a lot of nuances to the role that supports to bring meaning to the Marschallin's wise yet sad words. Her entrance in Act 3, one of the best in all opera for me, is suitably graceful.Musically, I cannot fault it either. The orchestral testing is rich and in the situation of the waltz-like tunes and the final trio sumptuous. The legato lines are long and controlled, and don't feel fragmented in any way. Fabio Luisi's conducting is firm yet allows the poetry of the score to come through. One of the better conductors of this score since Carlos Kleiber that's for sure. Visually, when I heard the production was updated, I thought to myself that this should mean ugly and superfluous like the Zurich production and some of the Robert Carsen-directed production. How wrong I was, and thank goodness I didn't allow my fears cloud my judgements. Even with a couple of anachronisms and the Presentation of the Rose stage looking and feeling as though it was set in a kitchen, this modernized production now looks very opulent and lavishly coloured.The staging is very nice and allows the singers to act and live their characters, the Baron Ochs scenes don't resort to buffoonery(like they have potential to) and the Presentation of the Rose and final trio are moving. The video directing is unobtrusive and never too gimmicky. Overall, this is a very nice production of such a unbelievable opera. 8/10 Bethany Cox
New York, NY 10013
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