Roland Petit’s “Fledermaus à la française”, “La Chauve-souris”, was originally created for the Ballet National de Marseille in 1979 with Petit’s wife Zizi Jeanmaire partnered by Denis Ganio and Luigi Bonino as the mastermind of the nocturnal escapades.The action was transferred from the operetta’s Vienna to the Paris of Vaudeville theatres, which was the original source of Johann Strauss’s celebrated operetta. Directed by Luigi Bonino, Petit’s assistant of many years, who also dances the role of Ulrich, it features two more dancing stars from the “Petit school” in the principal roles: Massimo Murru, the male star dancer of La Scala’s company, for whom Petit had written several ballets and Alessandra Ferri, who counts among the finest ballerinas of today. Awarded with the coveted title of “Prima Ballerina Assoluta” at La Scala, she was once described by Roland Petit as the only rightful successor to legendary Zizi Jeanmaire.
This is Helloween guitarist Roland Grapow's second solo album. His first, "The Four Seasons Of Life" was a respectable neo-classical release that contained a lot of guitar work. This release is a bit more song orientated, and what a band Roland has to back him up! Basically this is Yngwie's "Magnum Opus" band minus the Maestro himself and Mats Olausson. Yes, that's right, Mike Vescera lends his golden lungs and the ace rhythm section of Barry Sparks and Mike Terrana create a powerhouse of solid backing throughout. Add to this the keyboard expertise of Ferdy Doernberg (Axel Rudi Pell fame) and you have a bit of a supergroup happening; even Jens Johannson throws in his fleeting fingers on a couple of tracks.
This is Roland Grapow's first solo album outside the ranks of his band Helloween. For this album he is joined by fellow Helloween band members Uli Kusch and Markus Grosskopf as well as keyboardist Ferdy Doernberg from Axel Rudi Pell fame. The album while not dissimilar to Helloween's work is in more of a traditional neo-classical vein, and carries a strong Malmsteen vibe with it.
Ogni singolo elemento architettonico delle cattedrali gotiche può essere visto come una precisa risposta alle pressioni, non sempre favorevoli, dell'ambiente in continuo mutamento, dove tutto è legato a tutto e dove la notevole crescita della popolazione rurale, ad esempio, procede di pari passo con un aumento della produttività agricola ma pure con un progressivo restringimento dello spazio boschivo e con una drammatica penuria del bestiame. …