‘Michael Hofstetter and his ensemble place this microcosm at the centre of their musical interpretation. Anger, hopelessness and the deepest physical and mental pain are laid bare, but also confidence and the prospect of redemption.’ – Pizzicato

‘…If your ‘bag’ is plainchant and you are inquisitive about early musical history, then this release – with all its fine performances, interesting essay and complete texts very well translated – is for you.’ – MusicWeb International

‘…To anyone who wishes to dig deeper into Fauré’s considerable catalogue, it is an essential contribution, well planned and superbly performed.’ – MusicWeb International ★★★★★

‘Conductor Corrado Rovaris provides rhythmically tight and lively music. The cast is remarkable. The Alfred, Antonino Siragusa, is a fine tenore di grazia who can certainly score in this role with his good voice and great expressiveness. Gilda Fiume’s Amelia is also excellent. The voice is powerful, with beautiful colours, and the portrayal is very successful.’ – Pizzicato

‘Pianist Eduardo Monteiro brings a lot of attitude to his playing. And it’s what Miranda’s music requires. These aren’t academic exercises. This is music to be enjoyed. And that’s just what Monteiro delivers.’ – Charlottesville Classical

‘…This is a brilliant recording of some rarely heard Liszt all played splendidly by Christopher Williams. I have to say that I’d not heard any of his other recordings but now I feel the need to go out and buy them.’ – MusicWeb International

‘The seven variations make no pretence to profundity…but all lie well on the keyboard and provide for an effective recital piece. Markham does a fine job with them and, indeed, with all the works here, including another set of variations… These Variations on a Russian Theme wander further from their basis (an unidentified song) than do those based on Don Giovanni, and feature a variety of pleasant pianistic ornamentation that Markham handles with aplomb.’ – Infodad.com

The Mexican-American composer, Juan Trigos, has developed the concept of ‘abstract folklore’, a process by which he assimilates various literary and musical traditions in his method of composition. This first volume of his guitar works shows the process in all its breadth, not least in the large-scale Twelve Variations and Fugue on the Folía de España, where old-world dances meet syncopated new-world rhythms. The Partita, based on the principle of variation, also evokes and alludes to dance, while the virtuosic and expressive Ricercare de Cámara VII ingeniously explores the fusion of guitar and percussion.

Imamura has chosen to perform these iconic suites on the theorbo, the most important plucked instrument in the lute family, with a range very similar to the cello. Certain technical elements, such as the playing of arpeggios are, in fact, easier on the theorbo whose unique timbres and resonances bring a new sonic quality to these much-loved works.

‘Triendl has the chops to pull off these concertos – and they’re needed. The Rundfunk-Sinfonieorchestrer Berlin perform under Roland Kluttig. The ensemble has a big, brawny sound that’s well-suited to this music. If you’re a fan of Rachmaninoff, Grieg, or Tchaikovsky concertos, give this a listen. You may just discover some new favourites.’ – WTJU

‘In Tchaikovsky’s Violin Concerto, Guido Sant’Anna surprises with wonderfully effective nuances… For a violinist who was only 18 at the time of the recording, this is an outstanding achievement.’ – Pizzicato

‘Gielen gives the works an intensive, forward-looking interpretation that emphasizes the energy and joy that is contained in the masses.’ – Pizzicato

Tchaikovsky’s Swan Lake takes a special place in Ahronovitch’s life. The conductor was just five years old when he visited a performance of the ballet at the Kirov Theater. He was so fascinated that he announced to his parents his decision to become a conductor himself.

‘More Shostakovich: a particular pleasure here is provided with much neglected film music by Shostakovich, alongside familiar scores such as music for the Soviet film of Hamlet. The sound and performances do not disappoint, and boast a wide-ranging sound stage.’ – Classical CD Choice

‘…clean textures come through in the recording… affectionately played wind solos… Committed, flexible performances.’ – BBC Music Magazine

‘…a figure too long in Beethoven’s shadow is allowed to shine… the savoury-toned strings close-miked in preference to the slightly more distant piano… enhanced by the conspicuous sensitivity and authority of the Egmont’s performances.’ – The Strad

‘What stands out is Perrucci’s ability to connect with Beethoven’s language.’ – Ritmo (translated from Spanish)

‘Berg succeeds brilliantly in bridging the gap between improvisation and song structure here… Fascinating.’ – Piano News (translated from German)

Maria Lettberg takes listeners on a musical journey through the countries of the European Union. She has curated a selection of piano works, one from each country, regardless of period or style. The collection represents all the major styles of classical music, ranging from the Renaissance, Baroque, and Viennese classical periods to Romanticism, Late Romanticism, Impressionism, 20th-century music, minimalism, and neoclassicism. Each piece from the 27 countries boasts its own fascinating characteristics, and together they paint a multi-layered picture of the European Union.

‘Dupree is a superb evangelist for this repertoire, and he’s brilliantly backed by SWR’s Big Band and Symphonieorchester under Dominik Beykirch, the recorded sound full of punch and colour. …This is a marvellous anthology containing some intoxicating music.’ – The Arts Desk

Boccherini’s Op. 15 has been neglected until now due to its lack of a complete score edition, and this recording by the award-winning Alea Ensemble fills a significant gap in works crucial to the history of the Classical quartet.

‘Sally Matthews is a very good Tatyana. She’s properly girlish in the first two acts but seems to transform physically and vocally in Act 3. …She’s well matched by Stéphane Degout in the title role. …Lilly Jørstad is quite charming as Olga and there’s some really nice singing from Bogdan Volkov as Lensky. Nicolas Courjal is both dignified and convincingly passionate as Gremin.’ – operaramblings

Tchaikovsky’s sensational score combines with the evocative imagination of choreographer Liam Scarlett and designer John Macfarlane to heighten the dramatic pathos of Marius Petipa and Lev Ivanov’s quintessential ballet classic. Swan Lake remains to this day one of the best-loved works in the classical ballet canon.

‘Nylund’s voice soars and shimmers effortlessly in the upper range… Sari Nordqvist sings the role of Paul’s devoted housemaid Brigitta with solidity and tenderness… Conductor Mikko Franck, leading the excellent Finnish Opera Orchestra, keeps the brilliant score pulsating with life, while leaving the singers room for the lyric numbers to shine.’ – American Record Guide

Let Shakespeare’s captivating comedy transport you to the most magical of midsummer nights. Director Eleanor Rhode’s production of A Midsummer Night’s Dream is both epic and intimate, and completely full of wonder.

‘Magic Flute…Die Fledermaus…are visually stunning and offer excellent sound, in stereo as well as multichannel…’ – Fanfare

‘Recorded at Covent Garden in June 2019, and all the dancers are excellent. The two young leads fit the roles perfectly. Yasmine Naghdi’s Juliet is lithe and dances effortlessly. Matthew Ball’s Romeo is athletic and playful in the opening scenes, romantic in the balcony scene, and anguished in the last act. The supporting cast is exceptional. It’s an exciting and affecting performance.’ – American Record Guide

‘This La Bayadère is a true company achievement—with shining turns from all the soloists and a strikingly dynamic orchestral performance under conductor Boris Gruzin.’ – Gramophone

‘Filming is good in all three ballets and the helpful notes are by Dowell, Tim Scholl, and Wiley.’ – Ballet Review

‘…His spirited performance, with good video direction by Jonathan Haswell, will give a great deal of pleasure.’ – Gramophone

‘Antonio Pappano establishes himself as a great Puccini interpreter, skillfully blending incandescence, tension, vigor, and breathlessness…’ – Pizzicato (translated from Spanish)