Beautiful Amelia dream about a tender and sensual love with the engineer, Rolando. Because her husband Carlo, the owner of a small hotel, very rough with her. Besides, Carlo had his eye on the young Marilinda. Amelia cannot cope with the deepest feelings. Forgetting everything, she threw herself into the sea of love.
During the 1920's, Carlo runs a country inn with his grandson Gianni. Carlo is a violent and insensitive man, and his wife Amelia dreams of being loved by Rolando, one of the inn's quest. On the other hand, Gianni is still young and without experience, and secretly spies his grandfather's sexual advances. Everything changes with the arrival of the provoking and incredibly attractive Marilena, a distant cousin of Gianni…
In 1973, shortly after the breakup of the legendary Pentangle, co-lead guitarist John Renbourn recorded a full album's worth of songs for a solo project. He abandoned the set, instead releasing an entirely different collection of songs as THE HERMIT later that year. The abandoned songs, previously available only via underground tape-trading networks, surfaced several years later as THE LOST SESSIONS.
Passion rather than insouciance is Pires’s keynote. Here is no soft, moonlit option but an intensity and drama that scorn all complacent salon or drawing-room expectations. How she relishes Chopin’s central storms, creating a vivid and spectacular yet unhistrionic contrast with all surrounding serenity or ‘embalmed darkness’. The con fuoco of Op. 15 No. 1 erupts in a fine fury and in the first Nocturne, Op. 9 No. 1, Pires’s sharp observance of Chopin’s appassionato marking comes like a prophecy of the coda’s sudden blaze. Such resolution and psychological awareness make you realize that Chopin, like D. H. Lawrence, may well have thought that “there must be a bit of fear, and a bit of horror in your life”. Chopin, Pires informs us in no uncertain terms, was no sentimentalist.