#Alicia Sanz

[trulynamelessworld]

I've been listening to Sherlock and Co. and because my autistic brain can't be normal about anything, I present to you:

Truly's Sherlock and Co. Fancast!!!

Sherlock: Assad Zaman!

Now I, like many people, was introduced to Assad through Interview With A Vampire and I, like many people, am completely flabbergasted by this man's ability!

While I think it is important for autistic people to play autistic characters, we also can't expect actors to be open with their diagnosis. He is gorgeous, he is versatile, and most importantly, he is passionate about his work. By that I mean, a total nerd.

He is how I picture Sherlock in my mind and I *just know* he would do the role justice.

John Watson: John Boyega

HEAR ME OUT!

This is because his name is John! Its actually based on his performance as Finn in the Star Wars movies. He could totally play John, also I feel like his tattoos would add an extra layer to our awkward retired army doctor.

Before someone yells "diversity casting!!" because this is the internet, he was actually the only actor that came to mind when I thought about people capable to play John. I was seriously struggling until he popped up for me during my search. It just works.

Mariana: Alicia Sanz

Gorgeous, beautiful woman.

Okay but really the reason I picked her is because she's an actress that is actually from Spain and looks how I picture Mariana. I haven't actually seen her act in anything and it doesn't matter! Mariana is literally just a girl! (Not in a diminutive way, they slang way)

I often find that Hispanic and Latina women are often sexualized to the extreme (I know because I am one) and Mariana is a nice break from that. She also has such a nice natural hair texture AND the quintessential Spanish high forehead!

I also wanted to stay away from casting Latina women because of both colonialism and the assumption that everyone from all Hispanic countries looks the same. Spoilers, they do not, people think I'm Persian.

That is all, thank you for coming to my ted talk!

[costumeloverz71]

Urraca (Alicia Sanz) El Cid (2020-).

[ultra-violences]

Alicia Sanz as Esmé in Simulant (2023) dir. April Mullen

[gt-icons]

Random Actress icons

‒ like or reblog if you save

[rickchung]

Simulant (dir. April Mullen).

There's an overall generic quality to the Canadian indie sci-fi thriller about advanced humanoid robots replicating their human counterparts. Despite some cool production design and a talented cast of name actors, Mullen's film feels derivative or even overly simplified compared to staples of the genre its replicating.

[isadomna]

Urraca de Zamora // I'm not afraid

[movies-to-add-to-your-tbw]

Title: #realityhigh

Rating: NR

Director: Fernando Lebrija

Cast: Nesta Cooper, Keith Powers, Alicia Sanz, Jake Borelli, Anne Winters, Kate Walsh, John Michael Higgins, Rebekah Graf, Peter Gilroy, Alejandro Edda, Kellen Michael, David St. James, Michael Provost, Patrick Davis Alarcón, Ryan Malaty, Valarie Rae Miller, Jeffrey D. Sams, Leah Rose Randall, Marissa Cuevas, Thomas Anthony Jones

Release year: 2017

Genres: comedy, romance

Blurb: When nerdy high schooler Dani finally attracts the interest of her longtime crush, she lands in the crosshairs of his ex, a social media celebrity.

[docpiplup]

@asongofstarkandtargaryen

El Cid (2020–), 2x02

[alejandrosanzfotos]

[elmartillosinmetre]

Americanas en un piano

[El pianista Antonio Oyarzábal (Bilbao, 1989) / LEONARDO GONZÁLEZ ALCALÁ]

El pianista bilbaíno Antonio Oyarzábal publica un álbum con música de veintiuna compositoras iberoamericanas

En su tercer álbum, el pianista vasco afincado en Londres Antonio Oyarzábal (Bilbao, 1989) se había acercado con el título de La muse oubliée a música de compositoras clásicas europeas, la mayoría bastante conocidas ya. Con el cuarto ha dado un salto hasta Iberoamérica para ofrecer música de veintiuna compositoras nacidas en once países diferentes (incluidos España y Estados Unidos), aunque esta vez muy infrecuentes en las programaciones. Citemos sus nombres: Lía Cimaglia, Cecilia Arizti, Adelaide Pereira da Silva, María Luisa Sepúlveda, Alicia Terzian, Lita Spena, Carmela Mackenna, Rocío Sanz Quirós, Graciela Agudelo, Modesta Sanginés, Rosa Mercedes Ayarza, Rosa Guraieb, María Teresa Prieto, Kilza Setti, Isabel Aretz, María Luisa Escobar, Teresa Carreño, Teresita Carreño-Tagliapietra, Clarisse Leite, Modesta Bor y Chiquinha Gonzaga.

–¿Qué pretende con este proyecto?

– Es la exploración en torno a un grupo de compositoras latinoamericanas de los últimos 150 años. Habiendo grabado ya La musa olvidada con IBS, he seguido muy activamente con mis investigaciones en torno a música de mujeres y puse el foco en una serie de obras que escuché y me interesaron mucho de Modesta Bor, una compositora venezolana muy importante. Les comenté el descubrimiento a unos colegas que viven en Londres, donde tienen un sello discográfico y una empresa de vídeos profesionales para músicos que se llama Pixaudio. El dueño de la empresa es venezolano y el ingeniero de sonido, argentino. Ellos me animaron y entre todos pusimos en marcha este proyecto que rápidamente se extendió a todas estas compositoras.

–El fin del silencio, ¿de dónde procede el título?

–Me lo dio la escritora Anna Beer, la autora de un libro que se hizo muy famoso, y está en español, Armonías y suaves cantos. Somos amigos, y fue ella la que me proporcionó en 2021 el título para este disco.

–¿Y de dónde sale toda esta música, pues salvo alguna excepción (Teresa Carreño o María Teresa Prieto, en este caso para nosotros, por ser asturiana de nacimiento) son músicas muy poco conocidas?

–Sí, pero la misma Prieto se consideraba más mexicana que española, que es algo que me dijo su biógrafa. Fue la parte más difícil del proyecto. Muchos meses de investigación tanto online como en bibliotecas. Vivo en Londres, tengo cerca la British Library y suelo ir a menudo. Pero luego además han funcionado mucho los amigos hechos durante el proceso. Por ejemplo, las partituras de la costarricense Rocío Sanz Quirós las conseguí por contactos con personas que llevan allí archivos de músicos, conocí también a un japonés que comparte intereses conmigo y me mandó mucho material. La recopilación fue un proceso largo y complejo. De allí salió una montaña de obras y la criba de aquello terminó en este programa.

–Se trata de una panorámica amplia: la compositora más antigua (Sanginés) nació en 1832 y luego hay un par de ellas nacidas en los años 1930 y aún vivas (Terzian y Setti). ¿Hay líneas estilísticas que puedan seguirse a lo largo del disco?

–Hay varias líneas. Muchas de estas mujeres viajaron a Europa para nutrirse de las diferentes corrientes musicales del continente, y lo que hacen muy bien es fundir este aprendizaje con el acervo folclórico de cada país, y hacerlo muy distintivo. Luego también hay una consciente narrativa en el CD: hacia la segunda mitad se empieza a hablar de la infancia. Hay una relación muy bonita, no conozco otro disco en el que se junte a Teresa Carreño con su hija Teresita Carreño-Tagliapietra. Está la nana de la propia Carreño, otra de la brasileña Clarisse Leite o las piezas de Kilza Setti, brasileña también. Me gustó mucho hacerlo así. Surgió de forma muy natural. Y me llevó a ese primer disco que grabé, The Inner Child (El niño interior), esa nostalgia por el pasado. El objetivo del CD no es ese, pero contar esta historia me pareció bonito.

–Se aprecian rasgos de diferentes tendencias europeas del siglo XX, romanticisimo, impresionismo, neoclasicismo… Hecho en falta referencias más vanguardistas…

–Por un lado, sí creo que hay algunas obras que hacen uso de un lenguaje más modernista, como las Evoluciones de Rocío Sanz Quirós, quizá no en el Moderato, que es un vals que nos lleva a Satie, pero el Allegro anterior tiene elementos atonales, o la Scriabiniana de la mexicana Rosa Guraieb, en la que la mano derecha está en una tonalidad y la izquierda en otra, con claves distintas. Pero es cierto que dominan los lenguajes románticos o impresionistas, como los Preludios de Lita Spena, por ejemplo. Me siento mucho más cómodo con esos lenguajes que con músicas más vanguardistas.

–¿Ha presentado esta música en concierto?

–El disco lo presentaré en Mánchester el próximo 26 de octubre y posiblemente en Londres también en otoño (aunque esto está sin cerrar). Toco mucho la Noche de luna en Altamira de la venezolana María Luisa Escobar y Días de lluvia de la mexicana Graciela Agudelo. Pero como tal, el programa del CD no lo he tocado nunca. Lo he propuesto, pero hasta ahora no ha salido, no ha generado aún el mismo interés que La muse oubliée, y me refiero sobre todo a España, aunque quizás aún sea pronto.

–¿Ha tocado mucho en América?

–Recientemente lo he hecho en Los Ángeles y Florida con proyectos más cercanos a La muse oubliée, aunque incluyendo esas dos piezas que le he dicho. Para Latinoamérica tengo planes, pero de momento no he estado.

–¿Rescata música de mujeres por convencimiento de que hay que hacerlo o este repertorio se ha convertido hoy en un simple nicho de mercado?

–Llevo tocando este repertorio muchos años. Con 14 estaba estudiando a Jacquet de la Guerre al clave. No me gustan las cuotas esas de incluir en cada recital una pieza breve de una compositora. Tengo el convencimiento de que hay que poner un poco de justicia con repertorio que ha sido relegado a las sombras. Y de hecho hay ya un segundo CD de La muse oubliée grabado con IBS.

–¿Compositoras nuevas?

–Todas son distintas a las del primer volumen.

–¿Nos movemos en el mismo ámbito temporal, siglos XIX y XX?

–Sí, y me voy incluso algo más atrás, porque hay una sonata de Mariana Martínez.

[Diario de Sevilla. 20-08-2023]

EL FIN DEL SILENCIO EN SPOTIFY

[darklinaforever]

Although the king knew he had the unconditional love of his half-sister wife, the jealousy he harbored for the deep relationship the queen had with her dear uncle was notorious across the kingdom.

[dear-indies]

Hi, please can you suggest some alt fcs for Lily Collins, please? Thank you so much!!

Jessica Lucas (1985) Black Canadian / White.

Alba Flores (1986) Romani, Spanish [including Andalusian] - is a lesbian - has spoken up for Palestine!

Jenna Coleman (1986)

Jodi Balfour (1986) - is queer - has spoken up for Palestine!

Lashana Lynch (1987) Afro Jamaican.

Heida Reed (1988)

Alicia Sanz (1988)

Parveen Kaur (1988) Punjabi Indian.

Aiysha Hart (1988) Saudi Arabian and White - has spoken up for Palestine!

Monica Barbaro (1989) part Mexican.

Úrsula Corberó (1989)

Mishel Prada (1989) Puerto Rican, Dominican Republic, and Mexican [Spanish, Portuguese, African, Indigenous], some French - has spoken up for Palestine!

Lorenza Izzo (1989)

Lucy Hale (1989)

Pooja Hegde (1990) Indian.

Poppy Liu (1990) Chinese - is non-binary (she/they) - has spoken up for Palestine!

Gia Mantegna (1990)

Sofia Black-D'Elia (1991) part Ashkenazi Jewish.

Eve Hewson (1991)

Jeanine Mason (1991) Cuban.

Charlotte Nicdao (1991) Filipino.

Tanya Reynolds (1991) - has spoken up for Palestine!

Hari Nef (1992) Ashkenazi Jewish - is trans - has spoken up for Palestine!

Laysla De Oliveira (1992) Brazilian.

Anna Shaffer (1992) Black and White / Jewish - has spoken up for Palestine!

Medalion Rahimi (1992) Iranian, Iranian Jewish - uses she/they - has spoken up for Palestine!

Jessica Henwick (1992) Chinese Singaporean / White.

Davika Hoorne (1992) Thai / White.

Humberly González (1992) Venezuelan.

Joana Ribeiro (1992) - has spoken up for Palestine!

Emilia Schüle (1992)

Cassandra Naud (1992)

Jessica Plummer (1992) Afro Jamaican / White.

Nava Mau (1992) Mexican - is trans.

Jess Bush (1992) - has spoken up for Palestine!

Maia Mitchell (1993) - has spoken up for Palestine!

I hope this helps you out anon!

[ultra-violences]

Alicia Sanz as Esmé in Simulant (2023) dir. April Mullen

[lvdbbooks]

2024年9月18日

【新入荷・新本】

Switched On: The Dawn of Electronic Sound by Latin American Women, Contingent Sounds, 2024

English. 210 pages. Hardcover. Cloth covered. 17 x 23.5 cm. 0.65 kg.

Edited by Luis Alvarado and Alejandra Cárdenas.

価格：4,950円（税込）

/

ラテンアメリカの女性の電子音楽家を特集した初めての書籍。1960年代から1980年代にかけて活躍したラテンアメリカの女性アーティストによる初期の電子音楽制作を中心としたエッセイ、インタビュー、アーカイブ写真、作品評などで彼女らの業績を紹介しています。

アルゼンチンのBeatriz Ferreyra、コロンビアのJacqueline Nova、ブラジルのJocy de Oliveira、ベネズエラのOksana Lindeらのアーティストが掲載されています。

Switched On is the first book dedicated exclusively to the female protagonists of Latin American electronic music. The book has been edited by independent curator, researcher and label head of Buh Records, Luis Alvarado, and experimental musician, multimedia artist and researcher Alejandra Cardenas (also known as Ale Hop).

Composers and sound artists featured in this historical account include: Alicia Urreta, Beatriz Ferreyra, Elsa Justel, Eulalia Bernard, Graciela Castillo, Hilda Dianda, Ileana Pérez Velázquez, Irina Escalante Chernova, Iris Sagüesa, Jacqueline Nova, Jocy de Oliveira, Leni Alexander, Margarita Paksa, Marietta Veulens, Mónica O’Reilly Viamontes, Nelly Moretto, Oksana Linde, Patricia Belli, Renée Pietrafesa Bonnet, Rocío Sanz Quirós, Teresa Burga, Vania Dantas Leite, among others.

The official history of 20th-century avant-garde electronic music has been predominantly narrated from the point of view of Anglo-American and Western European experiences and largely remained focused on its male protagonists. To destabilize this history, this editorial project presents a collection of perspectives, essays, interviews, archival photos, and work reviews centered on the early electronic music production by Latin American female creators, who were active from the 1960s to the 1980s.

[paulinawoodpecker]

Cast Spanish voice actors in Tadeo Jones 4 La Odessa de la Cristal

@jakkiisthatboy2

Tad: Oscar barberan

Sara: Michelle Jenner

Mummy: Luis posada

Tiffany maze: Adriana Ugarte

Joya/Ramona: Ana ester Aalborg

Victoria: Alexandra Jiménez

Ramirez: Cecilia Suárez

Reena Roberto Ramirez: Clara lago

Lukas: Tamar novas

Jessica/Anne: Berta Cortes

Jasmine: Irene escolar

Amy: Diana Gomez

Max mordon: pep Aton Munoz

Jack rackham: Miguel angel jenner

Sam pickles: Tito Valverde

Tiffany mordon: Dafne keen

Blair: Penelope Cruz

Ying: Elsa pataky

Andrea: Alicia Sanz

Rina: Dafne frenandez

Other voices:

Minnie: Elena anaya

Ruth/Kevin: Eugenio derbez

Christopher: fele Martínez

Jessica: victoria abril

Ninja/Chai: Carmen Maura

Flora: Marisa paredes

Nagham: Danna Paola

Kelsey: Carmen Maura

Charlie/agent Justin/Roger: sergi Lopez

Snowy: Adriana Barraza

Jeremy: Diego boneta

Agent Lou/Kenny: Michael pena

Agent nick: Antonio banderas

[cyarskaren52]

https://web.archive.org/web/20200127175703/https://www.nytimes.com/2020/01/26/arts/music/grammy-winners.html

2020 Grammy Winners: The Complete List

https://web.archive.org/web/20200127172755im_/https://static01.nyt.com/images/2020/01/26/arts/26grammys-winners-billie/merlin_167891961_805fe086-4b08-486d-9d8e-20c0069f55bf-superJumbo.jpg?quality=90&auto=webp

Compiled by Lauren Messman

Published Jan. 26, 2020Updated Jan. 27, 2020, 10:28 a.m. ET

The 62nd annual Grammy Awards were on Sunday. Here are highlights from the show:

Billie Eilish won five awards, including record, album and song of the year, capping a night that also saw multiple wins for Lizzo and Lil Nas X.

Our critics and writers weigh in on the best and worst moments.

Lizzo and host Alicia Keys kicked off the show by addressing the death of the basketball star Kobe Bryant.

The ousted Grammys chief Deborah Dugan is at war with the Recording Academy. In a speech, Keys seemed to reference the turmoil.

Check out the red carpet looks.

See the complete list of winners below:

Record of the Year

“Bad Guy,” Billie Eilish

Album of the Year

“When We All Fall Asleep, Where Do We Go?,” Billie Eilish

Song of the Year

“Bad Guy,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)

Best New Artist

Billie Eilish

Best Pop Solo Performance

“Truth Hurts,” Lizzo

Best Pop Duo/Group Performance

“Old Town Road,” Lil Nas X featuring Billy Ray Cyrus

Best Pop Vocal Album

“When We All Fall Asleep, Where Do We Go?,” Billie Eilish

Best Rock Performance

“This Land,” Gary Clark Jr.

Best Rock Song

“This Land,” Gary Clark Jr., songwriter (Gary Clark Jr.)

Best Rock Album

“Social Cues,” Cage the Elephant

Best Alternative Music Album

“Father of the Bride,” Vampire Weekend

Best Metal Performance

“7empest,” Tool

Best R&B Performance

“Come Home,” Anderson .Paak featuring André 3000

Best R&B Song

“Say So,” PJ Morton, songwriter (PJ Morton featuring JoJo)

Best Urban Contemporary Album

“Cuz I Love You (Deluxe),” Lizzo

Best R&B Album

“Ventura,” Anderson .Paak

Best Traditional R&B Performance

“Jerome,” Lizzo

Best Rap Performance

“Racks in the Middle,” Nipsey Hussle featuring Roddy Ricch and Hit-Boy

Best Rap Song

“A Lot,” Jermaine Cole, Dacoury Natche, 21 Savage and Anthony White, songwriters (21 Savage featuring J. Cole)

Best Rap Album

“Igor,” Tyler, the Creator

Best Rap/Sung Performance

“Higher,” DJ Khaled featuring Nipsey Hussle and John Legend

Best Country Solo Performance

“Ride Me Back Home,” Willie Nelson

Best Country Album

“While I’m Livin’,” Tanya Tucker

Best Jazz Instrumental Album

“Finding Gabriel,” Brad Mehldau

Best Latin Pop Album

“#Eldisco,” Alejandro Sanz

Best Latin Rock, Urban or Alternative Album

“El Mal Querer,” Rosalía

Best Americana Album

“Oklahoma,” Keb’ Mo’

Best Song Written for Visual Media

“I’ll Never Love Again (Film Version),” Natalie Hemby, Lady Gaga, Hillary Lindsey and Aaron Raitiere, songwriters (Lady Gaga and Bradley Cooper)

Producer of the Year, Non-Classical

Finneas

Best Music Video

“Old Town Road (Official Movie),” Calmatic, video director; Candice Dragonas, Melissa Larsen and Saul Levitz, video producers (Lil Nas X and Billy Ray Cyrus)

Best Comedy Album

“Sticks & Stones,” Dave Chappelle

Best Musical Theater Album

“Hadestown,” Reeve Carney, André De Shields, Amber Gray, Eva Noblezada and Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell and Todd Sickafoose, producers (Anaïs Mitchell, composer and lyricist) (Original Broadway Cast)

Best Instrumental Composition

“Star Wars: Galaxy’s Edge Symphonic Suite,” John Williams, composer (John Williams)

Best Arrangement, Instrumental or A Cappella

“Moon River,” Jacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals“All Night Long,” Jacob Collier, arranger (Jacob Collier featuring Jules Buckley, Take 6 and Metropole Orkest)

A Grammys Red Carpet Fantasia

We went to the Grammys red carpet in Los Angeles.

Best Recording Package

Chris Cornell, Barry Ament, Jeff Ament and Joe Spix, art directors (Chris Cornell)

Best Boxed or Special Limited Edition Package

“Woodstock: Back to the Garden — The Definitive 50th Anniversary Archive,” Masaki Koike, art director (Various Artists)

Best Album Notes

“Stax ’68: A Memphis Story,” Steve Greenberg, album notes writer (Various Artists)

Best Historical Album

“Pete Seeger: The Smithsonian Folkways Collection,” Jeff Place and Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger)

Best Engineered Album, Non-Classical

“When We All Fall Asleep, Where Do We Go?,” Rob Kinelski and Finneas O’Connell, engineers; John Greenham, mastering engineer (Billie Eilish)

Best Remixed Recording

“I Rise (Tracy Young’s Pride Intro Radio Remix),” Tracy Young, remixer (Madonna)

Best Immersive Audio Album

“Lux,” Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene and Nidarosdomens Jentekor)

Best Contemporary Instrumental Album

“Mettavolution,” Rodrigo y Gabriela

Best Gospel Performance/Song

“Love Theory,” Kirk Franklin, songwriter (Kirk Franklin)

Best Contemporary Christian Music Performance/Song

“God Only Knows,” Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone and Tedd Tjornhom, songwriters (For King & Country and Dolly Parton)

Best Gospel Album

“Long Live Love,” Kirk Franklin

Best Contemporary Christian Music Album

“Burn the Ships,” For King & Country

Best Roots Gospel Album

“Testimony,” Gloria Gaynor

Best World Music Album

“Celia,” Angelique Kidjo

Best Compilation Soundtrack for Visual Media

“A Star Is Born,” Lady Gaga and Bradley Cooper

Best Score Soundtrack for Visual Media

“Chernobyl,” Hildur Guonadottir, composer

Best New Age Album

“Wings,” Peter Kater

Best American Roots Performance

“Saint Honesty,” Sara Bareilles

Best American Roots Song

“Call My Name,” Sarah Jarosz, Aoife O’Donovan and Sara Watkins, songwriters (I’m With Her)

Best Bluegrass Album

“Tall Fiddler,” Michael Cleveland

Best Traditional Blues Album

“Tall, Dark & Handsome,” Delbert McClinton and Self-Made Men + Dana

Best Contemporary Blues Album

“This Land,” Gary Clark Jr.

Best Folk Album

“Patty Griffin,” Patty Griffin

Best Children’s Album

“Ageless Songs for the Child Archetype,” Jon Samson

Best Spoken Word Album (Includes Poetry, Audio Books and Storytelling)

“Becoming,” Michelle Obama

Best Regional Mexican Music Album (Including Tejano)

“De Ayer Para Siempre,” Mariachi Los Camperos

Best Tropical Latin Album

“Opus,” Marc Anthony

“A Journey Through Cuban Music,” Aymée Nuviola

Best Regional Roots Music Album

“Good Time,” Ranky Tanky

Best Music Film

“Homecoming,” Beyoncé Knowles-Carter and Ed Burke, video directors; Steve Pamon and Erinn Williams, video producers (Beyoncé)

Best Country Duo/Group Performance

“Speechless,” Dan + Shay

Best Country Song

“Bring My Flowers Now,” Brandi Carlile, Phil Hanseroth, Tim Hanseroth and Tanya Tucker, songwriters (Tanya Tucker)

Best Traditional Pop Vocal Album

“Look Now,” Elvis Costello and the Imposters

Best Engineered Album, Classical

“Riley: Sun Rings,” Leslie Ann Jones, engineer; John Kilgore, Judith Sherman and David Harrington, engineers/mixers; Robert C. Ludwig, mastering engineer (Kronos Quartet)

Producer of the Year, Classical

Blanton Alspaugh

Best Orchestral Performance

“Norman: Sustain,” Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Best Opera Recording

“Picker: Fantastic Mr. Fox,” Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River and Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)

Best Choral Performance

“Duruflé: Complete Choral Works,” Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)

Best Chamber Music/Small Ensemble Performance

“Shaw: Orange,” Attacca Quartet

Best Classical Instrumental Solo

“Marsalis: Violin Concerto; Fiddle Dance Suite,” Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)

Best Classical Solo Vocal Album

“Songplay,” Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)

Best Classical Compendium

“The Poetry of Places,” Nadia Shpachenko; Marina A. Ledin and Victor Ledin, producers

Best Contemporary Classical Composition

“Higdon: Harp Concerto,” Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare and the Rochester Philharmonic Orchestra)

Best Dance Recording

“Got to Keep On,” The Chemical Brothers, producers; Steve Dub Jones and Tom Rowlands, mixers (The Chemical Brothers)

Best Dance/Electronic Album

“No Geography,” The Chemical Brothers

Best Reggae Album

“Rapture,” Koffee

Best Improvised Jazz Solo

“Sozinho,” Randy Brecker, soloist

Best Jazz Vocal Album

“12 Little Spells,” Esperanza Spalding

Best Large Jazz Ensemble Album

“The Omni-American Book Club,” Brian Lynch Big Band

Best Latin Jazz Album

“Antidote,” Chick Corea and the Spanish Heart Band

ADVERTISEMENT

Sent from my iPhone