In the second half of the the '70s, the Venetian composer/keyboardist LUCIANO BASSO recorded a series of albums, which represent an interesting mix of progressive music with classical influences and avant-garde. Trained as a pianist and composer at the music academy (Conservatorio) of his birthplace, he is currently a music teacher in the city of Padova. He has also contributed soundtracks to several documentary films produced by RAI, the Italian broadcasting company.
There is only one studio recording available of Donizetti's La Favorita (Italian version, not the original French language La Favorite) This is a bravura role for Luciano Pavarotti who's voice is certainly at its best here singing the role of Fernando, repertoire that could have been written just for him. The high C's and C#'s are exquisite here. He truly seems to know what he is singing about for this recording and his performance comes accross as very believable because of it. Fiorenza Cossotto is especially moving in her role as the "the favorite," Leonora. I found it unfortunate that she was not in better voice for the first act of this recording. Very disturbing was the love duet with Pavarotti.
In 1994, the same Metropolitan Opera put two contrasting pieces of the verismo puzzle side by side—the belated verismo of Puccini’s Il Tabarro and the classic verismo of Leoncavallo’s I Pagliacci, which had reached the stage some twenty-six years earlier.
Since I was a kid is dedicated to listening to and studying jazz music enjoying executions of Louis Armstrong, King Oliver, Jelly Roll Morton and the traditional jazz in General drawing, to trombone players such as Kid Ory, Jim Robinson, Vick Dickinson. In Milan in the 1960s with a group of enthusiasts founded the "Bovisa New Orleans Jazz Band", a complex that is inspired by the New Orleans style, which, in forty years of activity, accompanied in their tour in Italy several New Orleans musicians among which we mention: Louis Nelson, capt. John Handy, Don Ewel, Albert Nicholas, Thomas Jefferson, Alvin Alcorn, Emanuel Sayles, Wingy Manone Freddie Kohlmann, and many others. Numerous jazz events to which the "Bovisa New Orleans jazz Band" participate…
This wonderful performance, taken from the stage of the Met in 1992 (and probably with a fix-up session or two), is a grand remembrance of two great singers who have since collapsed in different ways. Pavarotti already was uncomfortably fat when this was taped, but neither his breath nor his physical movements had been badly affected–that happened a mere two or three years later. At 57, the voice was still beautiful and pliable, his phrasing exquisite. And he loved the role of Nemorino and always seemed happy with both its comedy and pathos–he steals every scene he's in, and no one minds. (The Met recorded another L'elisir with him in 1981, and he is marginally better in every way–and at least 75 pounds lighter and therefore more agile on stage; but that performance is currently unavailable.)… –Robert Levine, ClassicsToday.com
…It's like a production I would expect to see at the ENO in London. Where they short of money that season, or did someone just want to get a kick out of watching perfomers attempt to navigate the set without falling over!! Eva Marton is totally mis-cast as Leonora; it grieves me to say this because I adore her and have screamed myself hoarse at her perfomances of Turandot, Tosca and Elektra at Covent Garden - but here, oh dear… By N. Gallimore