Hal

Thanks, folks. Samples uploaded, however on the official Vic website it's possible to download some mp3s, while on Liz Durrett's website (http://www.lizdurrett.com/) in the listen section you can fully download four really beautiful tracks including covers of "Perfect Day" by Lou Reed and "November" by Tom Waits. In my opinion, it's worth a listen and I believe we'll be hearing a lot more about Liz Durrett soon. Bye

Thank you navarf, I also believe that db serves to bring to light each other's tastes which may not coincide as it should be. Then if they match even with a 10% overlap, that's fine too :) bye

Guys, since many have been going off in the comments about an adjective I used (sincere, but I used others too), I wanted to clarify. I often read many beautiful reviews in specialized magazines from which I gather billions of pieces of information like "it has sounds similar to so-and-so" and so on, but by the end of the reading, I often find myself wondering, "So, did you like the album or not? And why?" A sincere review is one that effectively conveys an opinion about the album; knowing the reviewer and their tastes is important information. I also appreciate it when a review informs and piques my curiosity, etc. There isn't a fixed rule for me, except one. I don't like to vote on the opinion itself. It seems wrong to me to vote negatively just because I have a different opinion. But if someone writes that Miles Davis is the greatest exponent of Swiss jazz, a solid one-star rating can be justified; it's not an opinion. Although if I'm being completely honest, I’m not all that eager to rate anything; I only adapt to the game (because it is also a game, right?). But if there were no ratings (reviews) at all, if all the charts disappeared, I wouldn't be tearing my hair out in despair—instead, I would be fine. As for the ratings for the album, for me, they mean nothing without the context of the words. In this case, I understand that Antonio found the album repetitive with already-seen patterns, and he doesn't like it. It might be that I enjoy it for the same reason he stated (I’m starting to believe that), but that doesn't change the fact that I read his words with pleasure, and his message seems to have gotten across. I may have repeated things already said, my apologies, but I haven't read all the comments; I'm finishing a job, I’ll read at my leisure. Bye.

Strange that this review has slipped through; it seems to be an interesting record for many.

For me, a good review is one that is sincere, that conveys and makes it clear whether the reviewer liked the album or not, well-written, effective, and precise regarding the facts (if present). A bad review is the opposite: insincere, provocatively gratuitous, unclear about the opinion of the album, ineffective, with inaccuracies regarding the facts. I might not share the expressed opinion, but I can still like the review because it has clearly shown me a point of view. To me, these are two separate things; everyone can do as they please.

Yes, I am not exactly a "fan" of his (although I don't really like that term), but I try to separate "liking" from the music (at least I try), in fact I bought the album anyway, but right now I would return it for the reasons I mentioned. It’s an honest album, but it didn’t grab me. Similarly, his previous works didn’t excite me, but there’s one album (the title of which I can’t remember) that should be really good; sooner or later I’ll give it a listen. Bye :)

No, I didn't skip it, but I was going fishing and I didn't have much time. What I want to say a lot is that I don't think it's true that the audience shows indifference towards opera. On the contrary, I believe the opposite is true, as opera has often had a "popular" value, if you'll allow me to use the term. If you happen to listen to the radio program La Barcaccia, it's still very much alive. And these people love both the performance and the music, they scramble to get tickets, they boo and cheer depending on the situation. Hi Enea :))) have a good evening!

But it’s not true that it’s a cloning of El Guevo, why do you say that? It’s not a mere reproduction. There was a will to approach the authors (Piovani and De André), to not distort—this is why we talk about scores. But that doesn’t mean there wasn’t a personal contribution from Morgan. In my opinion, it’s really interesting to hear the enhancement of many baroque elements in this album. The arrangements are truly beautiful, and I add that, in my opinion, it would have been much easier to mess things up with this operation, yet in the end, the result is good. Come on, listen to it again and then let me know (listen closely, a chimici, a malato di cuore, a giudice are really well interpreted).

this last one certainly was :)

"On the other hand, that theater culture I mentioned to you is much more established, for summary connoisseurs who prefer the performance over the musical product." And this isn't true, that's it, goodbye.