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J. J. Cale: To Tulsa And Back (On Tour with J. J. Cale)

For the first time in more than 3 decades, this reclusive artist lets a camera into his life in this amazin opportunity to meet the mysterious man behind the guitar. Ina series of candid interviews, Cale describes his childhood and his wild years in psychedelic California. Cale also shares his insights about his influences, songwriting, success, life on the stage and on the road - all interlaced with outstanding live performances, archival footage, interviews with band members and friends, and awe-inspiring images of American landscapes. Eric Clapton appears in some performance footage. While credited with such hits as "After Midnight," "Same Old Blues," and "Cocaine," Tulsa-pioneer J.J. Cale has never been one to accept the limelight. Hiding from the press, Cale emerges here for the first time in three decades for an extensive documentary filled with music and revealing interview material.

J. J. Cale: To Tulsa And Back (On Tour with J. J. Cale)

6.5 2006
Lichtmond 3 - Days of Eternity

A mesmerizing audiovisual journey through fantastical worlds beyond time and space. Lichtmond 3 – Days of Eternity combines stunning 3D animation with ambient-electronic music and poetic storytelling. Featuring guest vocals by Alan Parsons and I Muvrini, this immersive experience invites the viewer into a dreamlike cosmos where imagination and soundscapes merge into pure emotion. Created by the Sander brothers, this is the third installment of the award-winning Lichtmond series.

Lichtmond 3 - Days of Eternity

5.6 2014
Mussorgsky: Khovanshchina

Kent Nagano superbly masters the challenges presented by this score, shapes the dynamics with subtle intensity, and casts the score in a mellow glow. As Marfa, the spurned lover of Ivan Khovansky‘s son Andrei, Doris Soffel unfolds such a rich palette of sonorities, from the pathos of the lower ranges to shaded discant heights, that “one is tempted to speak of a Russian mezzo”. The final chorus, which Mussorgsky did not compose, is played in the orchestrally transparent version of Igor Stravinsky – the third great Russian composer who contributed to making “Khovanshchina“ a timeless, gripping stage work. With his stripped-down sets and historicising costumes, director Dmitri Tcherniakov, one of the new voices of contemporary Russian theatre, builds a bridge to the political present. A lesson in history and music!

Mussorgsky: Khovanshchina

NR 2012
Joe Bonamassa - An Acoustic Evening at the Vienna Opera House

An Acoustic Evening at the Vienna Opera House, was recorded at the historic Vienna Opera House July 2012 during a special two-week long unplugged tour, played to a limited audience over seven exclusive shows. Varying from his electric blues shows, this presentation was an all-acoustic concert performance, making it a unique and very special show fans had been waiting years to experience. Produced by Kevin Shirley. Source: Amazon.com - http://www.amazon.com/Acoustic-Evening-Vienna-Opera-Blu-ray/dp/B00B6S56X6

Joe Bonamassa - An Acoustic Evening at the Vienna Opera House

9.3 2013
Beethoven Reloaded

Ludwig van Beethoven is far more than just an epitome of European culture: he has become a synonym for classical music, much like the Beatles for pop or Picasso for modern art. "Beethoven Reloaded" brings the composer's inexhaustible potential to everyone, from interested laymen to musical specialists, with a fresh perspective. The essential biographical facts, political convictions and the musical and historical context of Beethoven form the central theme of a multifaceted portrait.

Beethoven Reloaded

8.0 2020
Humperdinck: Hänsel und Gretel

Johannes Felsenstein’s production of HANSEL AND GRETEL presents it with every sinister element removed. The children remain in a home setting with their own bed central to the scene and the barest hint of a forest behind, while their father plays the witch as an amiable, totally benevolent figure, not sinister at all, even joining them in the final joyful ensemble. When they sing that the witch is dead, you find that the production contradicts that completely. Taking that unsinister stance means that the opera loses much of its bite. No doubt Felsenstein felt that it would make the piece more accessible for very young children, though many of them relish the sinister element. That said, it is a strong and capable performance, very well conducted and with a cast of good if not outstanding singers. One wonders what Felsenstein meant to convey, just as it is not clear why the central characters should regularly be carrying dolls. A highly individual version of a much-loved opera.

Humperdinck: Hänsel und Gretel

NR 2008