Roberto Sánchez-Ocampo (August 19, 1945 – January 4, 2010), better known by his artist names Sandro/Sandro de América ("Sandro of America"), Gitano (gypsy), and the Argentine Elvis, was a notable Argentine singer and actor. He is considered one of the first rock artists to sing in Spanish in Latin America. He edited 52 official records and sold 50 million copies although other sources state that he sold over 75 million.
With the death from lung cancer of Camarón de la Isla (born José Monge Cruz) on July 2, 1992, flamenco lost one of its greatest vocalists. The son of a basket-maker, de la Isla revolutionalized the flamenco tradition with his contemporary-minded approach. His debut 1969 album, Con la Colaboracion Especial de Paco de Lucia, recorded with the accompaniment of virtuosic guitarist Paco de Lucia, remains one of flamenco's classic recordings. Although he retired from touring in 1979, de la Isla continued to produce groundbreaking albums.
Frank Bungarten holds a special position amongst concert guitarists of today. On the one hand, through his artistic stance, he belongs to the ‘Old School’, loyal to original works and uncompromising in his search for truth in music. On the other hand, wide and sustained success has brought him recognition far beyond the confines of the ‘guitar world’. (…)2005 Frank Bungarten was honoured with the “Echo Klassik” as “Instrumentalist of the Year” for his CD “Cancion y Danza”.
2007 digitally remastered and expanded two CD edition of this classic 1992 Ambient/Electronic album features a bonus disc that includes six tracks: 'O.O.B.E.' (Andy Hughes Mix), 'Towers Of Dub' (Ambient Mix), 'Blue Room' (Ambient & Mark Angelos Mix), 'Close Encounters' (Ambient Mix 1), 'Majestic' (Mix 1) and 'Assassin' (Chocolate Hills Of Bohol Mix). U.F. Orb was the sophomore album from Alex Paterson and Kris Weston and featured the mammoth single "Blue Room", which clocked in around 40 minutes! By entering the UK Top 10, the track was the longest ever to make the charts!
This magnificent Royal Ballet production of Swan Lake is an unforgettable experience. Anthony Dowell’s interpretation of Petipa and Ivanov’s 1895 St Petersburg version set a standard and style that made it a ‘yardstick for others’ (New York Times). Wonderful choreography for the entire company includes the coveted double role of the gentle and vulnerable swan queen Odette and her predatory alter ego, the black swan Odile. It is a challenge relished by principal ballerinas, and is danced here in a spellbinding performance by Natalia Osipova, partnered by Matthew Golding as a powerful and empathetic Prince Siegfried. Tchaikovsky’s glorious score shines, given the full force of the Orchestra of the Royal Opera House conducted by Boris Gruzin, and Yolanda Sonnabend’s detailed, Fabergé-inspired designs evoke the atmosphere of Imperial Russia in the era of the ballet's creation.