Dazzling as the Queen of the Night, deeply moving in Lucia di Lammermoor and La Sonnambula, Natalie Dessay also made her mark on the operatic stage in the roles of Olympia, Manon, Musetta and Cleopatra. After training at the Atelier Lyrique de l'Opera National de Paris and pursuing an international operatic career, Natalie Dessay decided to devote herself to spoken theatre, chansons and the song repertory. The duo she formed in 2011 with her artistic partner Philippe Cassard has given one hundred and thirty-five performances around the world, completely reinventing the song recital as a unique moment of expression, embodiment and shared emotion. Ten years after her last appearance at the Opera Bastille in La Fille du regiment, she has chosen to give her farewell performance on the stage of the Palais Garnier on 31 March 2025. This is the last album from this legendary duo, a fitting way to celebrate the sixtieth birthday of one of the greatest sopranos of her generation.

French lutenist Florent Marie presents his second solo album on Carpe Diem Records: A collection of Renaissance lute music by the famous John Dowland. Recorded in a small church in the normannic countryside, this album features both melancholic and more uplifting compositions of the great English master of the lute, creating an emotional and colorful rendering of these mostly well-known and loved pieces.

Known in his lifetime as ‘the north German Schubert’, Carl Loewe (1796–1869) is remembered today chiefly as a composer of songs and ballads. Yet there is a considerable body of piano music that is strikingly innovative in content, expression and harmony, containing the germs of ideas later taken up by composers such as Wagner and Liszt. Loewe was unquestionably a brilliantly original talent, a major figure in ushering in the Romantic era – with the remarkable Four Fantasies of 1854 heard here ‘documenting’ in music the contemporary emigration of German families to the United States. This third volume of Linda Nicholson’s survey of his piano music on historical instruments concludes its first-ever complete recording on any kind of piano.

Oscar Pettiford. The Clash Art Blakey. A Tribe Called Quest. Charles Mingus (with Eric Dolphy). Only People Do The Killing. Cannonball Adderley. Primus. The Ornette Coleman Quartet. When Moritz Koser, bassist and composer from Frankfurt/Main, talks about points of reference and important influences, it goes all the way through music history. Gnar Gnar Rad, the quartet from Frankfurt, is his band. "Gnar Gnar Rad" is the album debut: a strong statement with which he effortlessly bridges the gap between jazz history and current trends.

The album "Present Reflections" offers an anthology of Amy Beach's piano works, showcasing her remarkable compositional talent and stylistic range-from expressive virtuosity to deep interpretative intimacy. This distinctive quality is due not only to her extraordinary gift but also to several factors: the profound cultural shifts she experienced between the late 19th and early 20th centuries-bridging late Romanticism, the emergence of the avant-garde, and the advent of jazz-and her unmistakable emotional expressiveness. Despite the strict, self-imposed discipline of her compositional process (she was entirely self-taught), her style remains deeply personal and authentic in every work. Looking back in time, beginning with her later compositions, one can observe a radical evolution in her writing. These works are not only a significant contribution to American piano literature but also a testament to the transformation of an era-one that slips away from the present to become almost immediately part of the past. In this way, Present Reflections becomes a mirror of today's world, reflecting the epochal changes of which we are all a part. Mrs. Beach's incredible talent, which enabled her to emerge as one of the greatest composers of her time, tells the story of both women and men-transcending the limitations imposed by society and leaving behind a musical legacy that deserves not only rediscovery but celebration. Katia Spluga

The Detroit Symphony Orchestra and it's Music Director Jader Bignamini present Wynton Marsalis' Blues Symphony. The piece is a triumphant ode to the power of the blues and the scope of America's musical heritage. With a blend of influences from ragtime to habanera, the piece takes listeners on a sonic journey through America's revolutionary era, the early beginnings of jazz in New Orleans, and a big city soundscape that serves as a nod to the Great Migration. Detroit being one of the most vibrant melting pots of musical cultures in the US, the Detroit Symphony Orchestra seems the ideal advocate for this original contribution to the symphonic repertoire. The recording is also the first with Jader Bignamini, giving a new dimension to his music directorship. Wynton Marsalis is a world-renowned trumpeter, bandleader, composer, and a leading advocate of American culture. Jader Bignamini has worked with the world's leading orchestras and opera companies, preferably conducting without a score to guarantee maximum engagement with his players. The Detroit Symphony Orchestra, America's fourth-oldest, has a history as varied and exciting as that of it's hometown.

To acclaimed pianist Christopher O'Riley, experimentation and eclecticism are second nature. Known for his sensitive piano arrangements of alternative music, he returns with LOTUSLAND: a riveting collection of popular hits, imbued with classical profundity and romantic pianism. The selection is highly diverse. To name but a few, O'Riley rubs shoulders with John Coltrane, Erik Satie, Joni Mitchell, Duke Ellington, and even Radiohead - the latter being a particular favorite of the pianist, who made a name for himself with classical arrangements of the band's hits some 20 years ago. It's important to note that O'Riley's music transcends mere homage; rather, he effortlessly infuses the material with late Romantic grandeur and brilliance. O'Riley has taste, and the listener benefits: this is enrichment of the material, in the truest sense.

The protagonist of this new album is the Fairy Guitar Quartet, a group born in 2020 from the meeting of four guitarists united by a strong passion for chamber music. Volver, the album that marks their recording debut, explores the great Argentine musical repertoire with a new research approach, offering an evocative musical journey along the multiple ties that unite Italy to the South American country and allowing you to experience and rediscover intense emotions. In a story of continuous departures and returns, complex fee- lings emerge, chapters with great evocative power that belong to the shared cultural heritage. A precious opportunity to rediscover a world that is always full of charm, a reflection of the creative encounter of dif- ferent cultures (African, indigenous, Spanish and Italian), through a listening journey that develops along the subject of Volver, a theme that resonates deeply in Italian and Argentine culture but also, more generally, in every corner of the southern hemisphere: the sadness of separation from what you love and the hope of re-embracing your roots. With the surprising arrangements of Gianvincenzo Cresta and Francesco Fausto Magaletti, the album features songs by Carlos Gardel, Anibal Troilo, Ariel Ramirez, Gustavo Leguizamon, Daniel Toro and Astor Piazzolla.

Passion, solitude, nostalgia, the pain of the world, flight, death - these are the typical themes of Romanticism. Konstantin Krimmel had already explored the extreme emotions that characterise this era of extreme emotion in Saga, his first recital album (Alpha549); he now plunges even deeper into this cosmos with collaborative pianist Ammiel Bushakevitz. "I simply love telling stories. Even as a child, I loved listening to old legends and tales", says Krimmel, who is indeed a fabulous storyteller-singer. The two artists have chosen here to compare songs by Franz Schubert and Carl Loewe that embody these great themes. The two composers, both masters of the Lied, had very different destinies: Loewe lived to be 72 years old, more than twice as old as Schubert, who had died aged 31.

Around Gershwin is star accordionist Richard Galliano's tribute to George Gershwin, in-terweaving his music with works by early twentieth-century composers such as Debus-sy, Rachmaninoff, Satie, Ravel and Faure, as well as new compositions of his own. Seen through the lense of Galliano's masterful musicianship, these pieces create the sensa-tion of a sonic odyssey.

The pieces in this album represent the Miró Quartet’s artistic home in many ways. The four works include two new commissions for the Miró by Kevin Puts and Caroline Shaw, as well as works by George Walker and Samuel Barber. The concept of home and our complex relation to it is woven in a variety of ways into all the music in this album: this music invites you to feel, reflect, and engage in Miró’s world. This is Miró second album.

In the dark years of the Nazi-Fascist period, when the light of the end was still far off, Malipiero completed a long-awaited undertaking: an edition of the complete works of Claudio Monteverdi. Its last volume, the sixteenth, came out in 1942 at the height of the war. The edition contained the sacred production that the publisher Vincenti had assembled in the collection Messa a 4 voci et salmi (1650).

Quartetto Sincronie’s choice to include an arrangement of Monteverdi’s Mass, alternating the parts with Malipiero’s work, is yet another example of reinvention-creation that Malipiero would likely have appreciated. In the composers’ poetics, instruments are asked to sing as voices, and so the opposite—voices translated to instruments—is fitting. Philological rigor was, after all, foreign to Malipiero’s worldview. Instead, the composer spoke of his relationship with Monteverdi as a kind of psychic channeling: finding synchronicity within the synchrony of listening, which dissolves the distance of centuries. The Mass for Four Voices is thus split into parts throughout the record, but it remains possible to orient oneself. The cohesion is melodic: there’s a descending tetrachord G-F-E-D at the beginning of the Kyrie that returns in various guises (inverted, diminished, augmented), articulating the contrapuntal fabric of the different movements. The listener can thus follow this pathway, from the Gloria to the Agnus Dei, in a zigzag that turns Monteverdi the sacred “refrain” to Malipiero’s profane cycle of quartets.

Catrin Finch releases Notes to Self, her first solo album in a decade, featuring personal tracks dedicated to her 13-year-old self. Accompanied by letters, the album reflects on her 40-year career, exploring vulnerability, transformation, and life under public scrutiny. As a gay woman, cancer survivor, and mother, Finch channels her struggles and triumphs into music, marking a bold, introspective evolution in her artistry.

Dublin native Aoife Ní Bhriain is one of her generation's most versatile and gifted violinists, a dazzling musician who commands both the classical world and her Irish traditional heritage. From across the Irish Sea and the west coast of Wales, harpist Catrin Finch has also built an impressive classical career and ventured into unchartered musical territory, most notably through her international award-winning collaborations. Double You, their debut album as a duo, features an exquisite collection of new compositions that draw inspiration from various genres, taking listeners on a captivating journey on the wings of the bees across the Irish Sea and inspired by the cultures of their home countries.

One might be tempted to think that there is no crossover in music that hasn't been done yet; and thankfully, one would be mistaken. DEEP RIVER presents a vibrant selection of 21 African American spirituals, interpreted by countertenor Michael Walker II and Old Music consort Alchymy Viols. A curious collaboration? Not at all, according to director Philip Spray. The viol consort's historical purpose was to arrange popular tunes of it's day; so it appeared only logical to try this setup on America's first folk songs. It worked. Additional harmonies are provided by a distinctly anachronistic grand harp, and counterpoint by a small field pump organ. The effect is stunning: a music so utterly, distinctly American, one wonders why this hasn't been done before.

Renato Wiedemann is a violin player with Brazilian origin. He has recorded an original programme with works by composers from Brazil and Switzerland.

Presented as 'An Experiment in Modern Music' when it was premiered in 1924, Rhapsody in Blue made George Gershwin famous, and he soon set to work on a version for solo piano, recorded here by Claire Huangci. In her first solo disc for Alpha Classics, Claire was keen to celebrate this centenary alongside her roots in America, where she was born, studied music and made her debut as a concert artist at the age of nine. The brilliant improviser and transcriber Earl Wild (1915-2010) took Gershwin's songs (Liza, Fascinatin' Rhythm, Somebody Loves Me, I Got Rhythm, Embraceable You, Oh, Lady Be Good, The Man I Love) to form the basis of his Seven Virtuoso Etudes for solo piano. Equally virtuosic is the Op. 26 Sonata by Samuel Barber, whom Vladimir Horowitz (who premiered the work in Havana in December 1949) regarded as one of the few Americans capable of writing for the piano. The New Hampshire-born composer Amy Beach took her inspiration from the folk music of both the New World and the Balkans, while retaining her harmonic language inherited from the Romantics. Her Variations Op. 60 (1904) bear witness to these influences.

After the immense success of her Bach-Abel album (ALPHA783), Lucile Boulanger celebrates the French viol through the centuries: 'This transchronological dialogue traces the history of a dynasty of composers in a subjective, even emotional way', from the seventeenth century (Marin Marais, Sainte-Colombe, Nicolas Hotman) to the twenty-first, with contemporary works by Philippe Hersant, Claire-Melanie Sinnhuber and Gerard Pesson, some of which were specifically written for Lucile Boulanger: 'There is no longer any need to prove that my instrument is an integral part of our musical landscape. The viol is alive and well. For several decades now, it has inspired new compositions; it's vocabulary is constantly expanding', concludes the violist.

The Opus Two violin-piano duo presents new arrangements of musical highlights from Stephen Sondheim's brilliant Broadway shows. Arranger Eric Stern reminisces about his work with Sondheim: "I was one of the many lucky ones who got to work with Sondheim and experience close hand his genius, collaborative nature, and inherent kindness." Stern's work with Sondheim included the 1984 revival of Pacific Overtures, conducting Sunday in the Park with George in the second year of it's original run, co-music directing the first production of Into the Woods, conducting productions of Follies, and conducting Merrily We Roll Along at the Kennedy Center. Mr. Stern writes that "My last conversation with him was about the Little Night Music suite which you'll find on this album. We are all extremely grateful for his enthusiastic endorsement of the arrangement and performance, muted only by our sorrow that the rest were written after his passing."

Polyphonic 14th-century Italian secular music seems to emerge out of nowhere in the history of music. Nevertheless, this tradition – which often goes by the name Ars Nova – fits seamlessly into the history of Italian culture. Our knowledge of it has been pieced together from relatively few sources, which nevertheless reveal three distinct phases. In its first phase, Italian Ars Nova spread out from universities, including those of Padua and Bologna, which had strong links with the dominant and contemporaneous French Ars Nova. In the second phase, the centre of 14th-century Italian polyphony seems to shift markedly to Florence. The final phase, which bridged the late 1300s and early 1400s, shows the influence of intense cultural exchange brought about by an international circulation of musicians and poets caused by the political instability of the papacy’s return from Avignon to Rome and the consequent heightened mobility among the various courts and their entourages.
This phase is reflected in such sources as the renowned Squarcialupi Codex. Compiled in Florence around 1415, it contains over 350 compositions (madrigals, ballate and cacce) and is the source of the majority of the tracks on this album. Francesco Landini (c.1325/35–1397) is represented by five of his 141 ballate and the virelai ‘Adiu, adiu dous dame’. Also from the Codex are one ballata by Andrea da Firenze (c.1350–1415) and two ballate and a caccia by Antonio ‘Zacara’ da Teramo (1355–1416). Three instrumental tracks complete the album, two of them from the ‘London’ Manuscript (British Library) compiled in Florence, probably in Medici circles. In addition to mostly polyphonic music by Landini and other Florentine composers, this tome features several anonymous instrumental works including the lively dances ‘Chominciamento di gioia’ and ‘Tre fontane’. The madrigal ‘Aquila altera’ has a different background entirely: the version presented here is the instrumental arrangement found in the Codex Faenza, a unique volume assembled in the early 15th century containing around 50 Italian and French polyphonic compositions for organ.

On his second Pentatone album Sogno, tenor Javier Camarena pays tribute to Francesco Paolo Tosti, together with pianist Ángel Rodríguez. Camarena and Rodríguez have curated a collection of Tosti’s songs that not only include some of his greatest hits but also highlight lesser-known works, including songs in French and English.

The songs selected for this album give us an overview of the different facets of Tosti’s style. Some are deeply sentimental, exemplified by 'Vorrei morire!' — one of the composer’s most famous pieces — while others, such as ‘Marechiare’, draw inspiration from folk traditions. Although Tosti is not often remembered in the history of nineteenth- and early-twentieth-century music, Javier Camarena is inviting us to rediscover the enchanting world of his songs. Javier Camarena stands as one of the preeminent tenors of our time, and Sogno marks his second album following the successful Signor Gaetano (2022). Pianist Ángel Rodríguez makes his Pentatone debut.

The superb flute, harp, viola trio, Hat Trick, returns to Bridge with a fascinating program of recent works coupled with a classic. The trio, April Clayton, flute; Kristi Shade, harp; and David Wallace, viola, perform new music by Thea Musgrave, Daniel Dorff, Jessica Meyer, David Bruce, and Angelica Negron alongside Sir Arnold Bax's 1916 "Elegiac Trio".

The idea for this recording was born during the Covid pandemic in 2020, when many of us were isolated and unable to communicate with each other in person. It was difficult for musicians during this time, especially because they couldn't make music with others or give live concerts. This situation made us think about how composers, musicians and artists dealt with situations where there was no freedom and how they dealt with chaos, obstacles or persecution. In selecting the works for this album, we looked at different historical periods (which sometimes included pandemics) to understand the impact that oppression and lack of freedom had on the creative process. In the course of our extensive research, we finally became aware of the "positive" aspect of this topic: we were not so much interested in what people could not do due to restrictive situations and adverse circumstances, but above all in what they were able to achieve despite these circumstances. During our research, we came across impressive artistic personalities who have left behind music of great value.

Isabella Lundgren - vocals
Carl Bagge - piano, music arrangements
Musica Vitae - string ensemble

On the 20th of January 2009, Barack Obama was inaugurated as the 44th president of America. In his speech, he said: “Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America”. With those words, he echoed the lyrics from the song "Pick Yourself Up," written by Dorothy Fields in 1936.

Dorothy Fields (July 15, 1904– March 28, 1974) was an American librettist and lyricist. She wrote over 400 songs, 15 Broadway musicals, and 26 films. Her strong characterizations, precise language, and heartfelt and humorous approach have granted her a special place in the history of American music and popular culture.

This album is a love letter to this remarkable woman who was way ahead of her time.

The German-Greek pianist Danae Dorken belongs to the elite of a new generation of internationally sought-after artists. The current album is a tribute to the great Greek composer Mikis Theodorakis on the 100th anniversary of his birth, which is on 29 July 2025. Theodorakis compositions blended classical, folk, and modern elements, often expressing the struggles and spirit of the Greek people. The Staatskapelle Weimar under Kornilios Michailidis are accompanying the pianist with the Suite No. 1 and the Helikon Concerto No. 2 for piano and orchestra.

Isabella Lundgren - vocals
Carl Bagge - piano - music arrangements
Musica Vitae - string ensemble

On the 20th of January 2009, Barack Obama was inaugurated as the 44th President of America. In his speech, he said: “Starting today, we must pick ourselves up, dust ourselves off, and begin again the work of remaking America.” With those words, he echoed the lyrics from the song "Pick Yourself Up," written by Dorothy Fields in 1936. Dorothy Fields (July 15, 1904– March 28, 1974) was an American librettist and lyricist. She wrote over 400 songs, 15 Broadway musicals, and 26 films. Her strong characterizations, her precise language, and heartfelt and humorous approach have granted her a special place in the history of American music and popular culture.

This album is a love letter to this remarkable woman who was way ahead of her time. /Isabella Lundgren

The piano works on this CD date from different periods in Gian Francesco Malipiero’s creative life. From his unpublished juvenilia to the late Ricercar toccando, from the evocative Poemi asolani of 1916 to the disillusionment of the pieces written in the years following the First World War: a range of works that bear witness to the development of the composer’s conception of the piano miniature as a kind of intimate diary, between nostalgic impressions and aphoristic humour.

A piece of music history comes alive on Friday, May 10, as Storyville Records releases a new recording capturing the legendary Duke Ellington live in Copenhagen, Denmark, 1958. This recording, Copenhagen 1958 (Bonus: After Hours 1950), offers a rare glimpse into Ellington’s genius during a pivotal period in jazz history. In the late autumn of 1958, Ellington and his orchestra embarked on a whirlwind tour across Europe, leaving a trail of musical brilliance in their wake.

Among the highlights of this tour were two electrifying concerts held at Copenhagen’s iconic sports center, KB Hallen, on November 7. Although the original tapes have been lost to time, segments of these historic performances were broadcasted on separate occasions. Now, these broadcast recordings serve as the foundation for this release, transporting listeners back to a time when Ellington’s music redefined the jazz landscape.

The album opens with Ellington’s signature tune, "Take the A Train," over the vibrant energy of "Newport Up" to the soulful strains of "My Funny Valentine," each track showcasing the orchestra’s talent and Ellington’s innovative compositions. The orchestra was in great form in the late '50s, with the mixture of veterans like Johnny Hodges and Harry Carney, and modernists like Jimmy Hamilton, Clark Terry, and Paul Gonsalves.

One of the highlights is the rendition of "Diminuendo and Crescendo in Blue," featuring Paul Gonsalves’ legendary solo. In addition to the live recordings from the 1958 tour, this album also includes bonus tracks from after-hours settings in 1950; three tracks from a jam session at the dance restaurant Sct. Thomas in Copenhagen and two solo Ellington tunes recorded at a social charity event in Aarhus.

Copenhagen 1958 stands as evidence of Ellington’s enduring musical legacy, demonstrating that his music remains as pertinent and influential today as it was during its inception!

Storyville Records is pleased to announce the release of In Rome, a new album by Danish bassist Thomas Fonnesbaek alongside esteemed jazz musicians, pianist Enrico Pieranunzi, saxophonist Rosario Giuliani, drummer Roberto Gatto and singer Valentina Ranalli. This recording consists of 11 original compositions, 9 by Pieranunzi, 1 by Fonnesbaek and 1 by Gatto. Thomas Fonnesbaek is considered one of the most important and distinctive bassists on the European jazz scene today. His virtuosic technique, "Nordic sound" and ability to craft cohesive solos place him in the lineage of Danish bassists like Niels-Henning �rsted Pedersen, Bo Stief and Jesper Lundgaard, while also showing kinship with greats like Dutch bassist Hein van de Geyn and prominent Swedish bass players. Nevertheless, Fonnesbaek's style is uniquely his own, honed through a self-taught journey that captivates audiences with a rare ability to evoke Duende - the inexplicable power of attraction that moves listeners emotionally, a concept coined by Spanish poet Federico Garcia Lorca. For those who have had the privilege of experiencing Fonnesbaek live, they will recognize this Duende in his playing. He often takes risks that challenge both his fellow musicians and audiences, creating moments of magic. In Rome captures these moments, highlighting Fonnesbaek's collaboration with some of Europe's finest musicians. At the core of the album is the partnership between Fonnesbaek and Enrico Pieranunzi, one of Europe's most revered pianists. Pieranunzi, known for his collaborations with the likes of Chet Baker, Marc Johnson, Paul Motian, and the legendary film composer Ennio Morricone, brings his extensive jazz and classical music background to this recording. Having recorded numerous albums together, Pieranunzi and Fonnesbaek share a musical chemistry that fuels this project. Joining the trio is Roberto Gatto, a drummer celebrated in European jazz circles. His elegant, sensitive approach enhances the group's interplay, while Rosario Giuliani on saxophone and Valentina Ranalli on vocals further elevate the music. In Rome is a testament to the creativity and mastery of European jazz. This album is jazz at it's finest!

Storyville Records is pleased to announce the release of In Rome, a new album by Danish bassist Thomas Fonnesbaek alongside esteemed jazz musicians, pianist Enrico Pieranunzi, saxophonist Rosario Giuliani, drummer Roberto Gatto and singer Valentina Ranalli. The album is set for release on November 1, 2024. This recording consists of 11 original compositions, 9 by Pieranunzi, 1 by Fonnesbaek and 1 by Gatto. Thomas Fonnesbaek is considered one of the most important and distinctive bassists on the European jazz scene today. His virtuosic technique, "Nordic sound" and ability to craft cohesive solos place him in the lineage of Danish bassists like Niels-Henning orsted Pedersen, Bo Stief and Jesper Lundgaard, while also showing kinship with greats like Dutch bassist Hein van de Geyn and prominent Swedish bass players. Nevertheless, Fonnesbaek's style is uniquely his own, honed through a self-taught journey that captivates audiences with a rare ability to evoke Duende - the inexplicable power of attraction that moves listeners emotionally, a concept coined by Spanish poet Federico Garcia Lorca. For those who have had the privilege of experiencing Fonnesbaek live, they will recognize this Duende in his playing. He often takes risks that challenge both his fellow musicians and audiences, creating moments of magic. In Rome captures these moments, highlighting Fonnesbaek's collaboration with some of Europe's finest musicians. At the core of the album is the partnership between Fonnesbaek and Enrico Pieranunzi, one of Europe's most revered pianists. Pieranunzi, known for his collaborations with the likes of Chet Baker, Mark Johnson, Paul Motian, and the legendary film composer Ennio Morricone, brings his extensive jazz and classical music background to this recording. Having recorded numerous albums together, Pieranunzi and Fonnesbaek share a musical chemistry that fuels this project. Joining the trio is Roberto Gatto, a drummer celebrated in European jazz circles. His elegant, sensitive approach enhances the group's interplay, while Rosario Giuliani on saxophone and Valentina Ranalli on vocals further elevate the music. In Rome is a testament to the creativity and mastery of European jazz. This album is jazz at it's finest!