After his success with Freischütz, Weber wanted to write a grand romantic opera and in the end the subject of Euryanthe was chosen, a tale inspired by a legend going back to the thirteen century. Euryanthe is music of inspiration and originality such as is rarely found in the history of German opera in the first half of the nineteenth century. The Italianisms that are occasionally glimpsed in Freischütz are eliminated almost completely. Euryanthe is set to music in its entirety, with accompanied recitative passages that are often of great beauty. We may say that in an opera that has many experimental features Weber sought for the first and only time in his life to overcome the traditional dichotomy between spoken and sung parts, between recitative and closed numbers, creating a highly supple musical structure. The present production features a cast of specialists of German opera and the outstanding direction of Pier Luigi Pizzi.

In a decade fueled by party anthems and power ballads, Poison enjoyed a great amount of popularity, with only Bon Jovi and Def Leppard outselling them. While the group had a long string of pop-metal hits, they soon became just as renowned for their stage show, and continued to be a major attraction long after the '80s came to a close (bringing the commercial downfall of pop-metal with it). Part of Universal Music's budget-priced Icon series, this 11-track collection of hits from pop-metal chart toppers Poison includes late-'80s party anthems like "Talk Dirty to Me," "Nothin' But a Good Time," and "Unskinny Bop," as well as the popular ballad "Every Rose Has Its Thorn."

In der Zeit nach Beethoven galt Onslow als einer der führenden Komponisten von Kammermusik, . Vor allem seine 70 Streichquartette und -quintette begründeten seinen Ruf als außergewöhnlich befähigter, sehr detailreich und differenziert komponierender Musiker. Dem Mandelring Quartett ist sein Schaffen ein echtes Anliegen und neben der Einspielung seiner Streichquartette, von denen schon 9 auf cpo-CDs erschienen sind, hat das Ensemble zusammen mit dem Kontrabassisten. Wolfgang Güttler jetzt sein 1832 entstandenes spannungsreiches Streichquintett op. 44 eingesielt.

When this album was recorded in February of 1961, it had been more than year since the Portrait in Jazz was issued, the disc that won the critics over. By the time of this issue, Evans had released four albums in six years, a pace unheard of during that time. Most musicians were issuing two, three, and even four records a year during the same era. Many speculate on Evans' personal problems at the time, but the truth of the matter lies in the recordings themselves, and Explorations proves that the artist was worth waiting for no matter what else was going on out there. Evans, with Paul Motian and Scott LaFaro, was onto something as a trio, exploring the undersides of melodic and rhythmic constructions that had never been considered by most…

"Never underestimate the heart of a champion" may as well have been the unspoken moral behind Kreator's astounding return to form via 2001's Violent Revolution, following over a decade of "wilderness study" in non-thrash terrain. As well as revitalizing the band's career the album clearly helped main man Mille Petrozza make peace with his past, and set the stage for his band's wisely retro-minded direction going forward into the new millennium. Cue 2005's Enemy of God: not only Kreator's next shot at revitalizing old-school thrash metal for modern generations, but a necessary building block to sustaining their unexpected renaissance…

Life hath no fury like a legend in full roar… and on February 4th, 2022, Saxon show just that to the world when they release their 23rd studio album, Carpe Diem, through Silver Lining Music, serving notice to anyone who ever felt otherwise that they remain both vanguards and masters of British Metal. Comprised of 10 titanic tracks bristling with steel-clad riffery and proud intent, the Barnsely (UK) born band draw on a variety of ingredients from their career to forge what is their most dynamic release in many a year. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Priest guitarist) at Backstage Recording Studios in Derbyshire with Byford and Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British metal statements of the last few years and not lacking in pace or bite, an album which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.

Daniel Barenboim has sometimes performed the music of Debussy, especially during the later part of his career, but Debussy interpretations are not something for which he is particularly known. Thus this release of Debussy works, on the rare side except for La Mer at the end, is commendable; it shows Barenboim, approaching his 80th year, continuing to take chances and explore new repertory. The show opens with the Fantaisie for piano and orchestra, L 73, not commonly heard, although it is really Debussy's only piano concerto.

In the Court of the Dragon is Trivium's tenth album, a milestone for any band. It's also a homecoming for the quartet of Matt Heafy (guitar/vocals), Corey Beaulieu (guitar), Paolo Gregoletto (bass), and Alex Bent (drums). Heafy returned to Florida after living in California for several years, as did Gregoletto after a period in Chicago. Produced by Josh Wilbur, this extremely musical, ten-song set aesthetically reaches forward and back simultaneously. For starters, it's simply brutal. Metalcore, thrash, and technical death metal converge throughout, with some prog metal nods, too. Wilbur's production is streamlined yet massive as it juxtaposes extreme aggression with some arena rock tendencies.
Opener "X" is a brief yet sinister interlude with chanted, wordless vocal assistance and subtle electronics from guest and Emperor frontman Ihsahn…