Zampa enjoyed a triumph at the Opera-Comique on 3 May 1831. This was probably because Melesville's libretto displayed some resemblances to Mozart's Don Giovanni: a godless and lawless protagonist, the pirate Zampa, attempts to force Camille, betrothed to Alphonse, to marry him, but the statue of Alice Manfredi, one of his earlier victims, comes to life and carries him off to Hell. The action skilfully combines tragic and comic elements. In musical terms, Herold responds to the Romantic sensibilities of his time: he incorporates a few discreet 'Gothic' touches, plays on local colour (the plot unfolds in Sicily), and exploits the dramatic resources of orchestration and harmony (Berlioz noted 'chords of a wild, fantastical appearance'). Zampa amplifies the opera-comique through borrowings from grand opera: vocal styles blending French and Italian elements, spectacular events such as the eruption of Mount Etna (recalling the denouement of La Muette de Portici in 1828), and the contrast between collective and intimate scenes. The work is clearly a response to the concurrent gestation of Meyerbeer's Robert le Diable.

Following their critically acclaimed recording of the Faust Symphony (BIS-2510), the Orchestre Philharmonique Royal de Liège, conducted by Gergely Madaras and joined by the Choeur Symphonique de Namur, now presents Liszt's Dante Symphony-a work reflecting his profound engagement with Dante's Divine Comedy. Initially planned in three movements-Inferno, Purgatorio, and Paradiso-the Dante Symphony was ultimately cast as two symphonic poems with a choral conclusion. The Inferno opens with a stern trombone theme beneath Dante's gate inscription, moves through lyrical episodes evoking Paolo and Francesca, and ends in demonic frenzy. The Purgatorio, serene and simple, contains a central fugue evoking souls striving toward paradise, leading without pause into the choral Magnificat. Liszt's treatment of tonality anticipates Mahler and Nielsen, while his use of the tritone and whole-tone scale confirms him as a composer ahead of his time. This recording also includes the symphony's original conclusion, later abandoned at Richard Wagner's insistence. The programme concludes with John Adams' orchestration of La Lugubre Gondola II, a visionary late work inspired by a funeral gondola procession on Venice's Grand Canal. Adams' arrangement honours the structural, stylistic, and poetic dimensions of Liszt's original, placing it's Romantic language within a modern soundscape.

Monteverdi's 1610 Vespers is the landmark work of early Baroque music. It sits at the crossroads of Renaissance polyphony and the new dramatic style heard in his first opera, L'Orfeo. 'The Vespers' redefined what sacred music could sound like - emotionally immediate, virtuosic, both looking back to the past and driving forward into the future. Monteverdi specialists I Fagiolini and Robert Hollingworth have waited until their 40th birthday to record the 1610 collection. This is a lifetime's work with every nuance of drama and colour brought out in their one-to-a-part performance.

In addition to the popular potpourri overture to Johann Strauss II's operetta The Gypsy Baron (1885) and the musical joke Perpetuum mobile, the programme of the new CD from BR-KLASSIK features mostly lesser-known, yet no less rousing, compositions by the 'Viennese Waltz King,' all of them studio productions. Johann Strauss II inherited his father's entrepreneurial passion and artistic mastery. He succeeded in further refining and expanding the repertoire, particularly in the form of the grand concert waltz. This CD features the Revolutionary March, Op. 54 (1848), as well as Perpetuum mobile - A Musical Joke, Op. 257 (1861), and the Intermezzo from the operetta 1001 Nights (1871/1906). The waltz Carnevalsbilder, Op. 357 (1873), and the fast polka Vom Donaustrande, Op. 356 (1873), are both based on melodies from the operetta The Carnival in Rome. The waltz Nordseebilder, Op. 390 (1879), the overture to the operetta Der Zigeunerbaron (1885), and the Csárdás from Strauss's only opera Ritter Pásmán (1892) are also included, as is the musical prelude Klange aus der Raimundzeit, Op. 479 (1898). The CD also has several surprises in store (as bonus tracks)!

The fourth instalment in The Mozartists' projected seven-volume series, conducted by Ian Page, pairs two turbulent minor-key symphonies by Kraus and Haydn with operatic scenes featuring soprano Alexandra Lowe. Kraus's rarely heard Symphony in C minor, which Haydn predicted would be regarded as a masterpiece for centuries, sits alongside Haydn's own celebrated Farewell Symphony. Lowe brings both fire and pathos to arias from Antigona by Traetta and La finta giardiniera by Mozart, and to the climactic scene from Benda's melodrama Medea, a work Mozart so admired that he briefly hailed it as the future of opera.

On her Cantaloupe debut, Rebekah Heller explores the full range of capabilities of the bassoon-not just as a solo instrument, but also, through careful and precise multi-tracking, as a percussive and regenerative source of sound that suggests infinite musical possibilities. The album opens with a blistering take on Julius Eastman's legendary The Holy Presence of Joan d'Arc, which Heller arranged for ten bassoons based on the painstaking transcription of Eastman's 1981 live performance at The Kitchen (NYC) by cellist and composer Clarice Jensen. From there, Steve Reich's original Cello Counterpoint is reworked into Grand Street Counterpoint-again, for ten bassoons, with bassoon soloist-with Reich himself collaborating as co-producer. Heller also commissioned three composers, all of whom have explored the modern intersection of avant-garde, jazz, experimental, and classical music, to contribute their distinctive voices to the project. Jessie Cox's Sonic Cartographies and Fay Victor's Nurture (for Ingram) both tap into a wellspring of deep inspiration (with Cox drawing from his fascination with sound and movement, and Victor from her poignant memories of jazz musician Ingram Washington), while Green's piece Righteous Rage gives the album it's title: a fiery and fierce exposition on the world we're leaving for the next generation.

Friedrich Kleinhapl writes in the booklet accompanying this CD: For me personally, Ennio Morricone is a discovery. His ability to move listeners through simplicity and restraint, his story-perhaps because it reminds me of my own younger years and the reception of Friedrich Gulda's Cello Concerto-ranges from initial criticism, asking how anyone could lend themselves to such a thing, to enthusiastic acclaim a few years later. Following Pasión Tango, Gulda meets Shostakovich, and Gran Pasión Tango, this album is yet another look beyond the familiar boundaries that enriches my approach to classical music.

Throughout the years, Drottningholm Baroque Ensemble have had the opportunity to work and tour in a number of countries and continents, among them the United States, China, Australia, Spain, Germany, France, and Japan. Many esteemed artists and musical directors have chosen to collaborate with the ensemble. In Sweden, concerts have been arranged together with Eric Ericsons Kammarkör and Bachkören. Among international names may be mentioned the directors Christopher Hogwood, Andrew Parrott, Lars Ulrik Mortensen, Sigiswald Kuijken, Emmanuelle Haïm, and Alfredo Bernardini, as well as soloists such as Anne Sofie von Otter, Malena Ernman, and Emma Kirkby.

Sakina Teyna was born into a Kurdish Alevite family in the small town of Varto in Turkey. As a teenager, she started singing with Turkish choirs and bands, but it wasn't until she entered university that she became acquainted with Kurdish musical traditions and set out to defy cultural assimilation. In 1991, she joined the Mespotamian Cultural Centre in Istanbul, a proponent of Kurdish culture, as a vocalist. Like many other Kurdish musicians, she was forced to literally go underground to practise her music, and soon she had to choose political activism over art. It wasn't until Sakîna arrived in Austria as a political refugee in 2006 that she took to singing as a full-time pursuit again. The first fruit of her concentrated creative efforts was released in the form of her first solo album ROYE MI. Suret is the story of a photograph, of a face. A story that also whispers the silent tales of the faces hanging on the walls of almost every home in Kurdistan, or hidden away in the quiet pages of photo albums. Some people visit the living world only briefly-they depart before dawn breaks, before their names are spoken widely, before their faces become etched in the memories of others. (Sakina Teyna in the booklet accompanying this CD)

The renowned recorder quartet Flautando Köln is celebrating it's 35th anniversary this year. To mark the occasion, AEOLUS now releases a live recording of a Flautando concert from November 2025, which was entitled Light and Darkness. The ensemble invited the minstrel Holger Schafer to perform as a guest artist for this project. The program spans music from the 14th to the 21st century, including works written specifically for Flautando. The recording was produced in stereo and 5.0 surround sound, promising a special experience that captures the live atmosphere.

Trio Azura's Storytellers launches the Colburn Collection: an exclusive new recording partnership between Delos and the Colburn School, Los Angeles, whose main design is to be a powerful springboard for the next generation of musicians. Nearly a century separates the works on this album, yet Charles Ives, John Harbison, and Jennifer Higdon share a distinctly American spirit of curiosity and individuality. Their music questions, provokes, implies, jokes, challenges, and explores, always searching for new ways to tell a story. Their singular compositional voices are realized in these performances by Trio Azura, praised by Gramophone for their 'intelligence and imagination' and 'profound emotion.' Ensemble-in-Residence at Colburn, Trio Azura was named the winner of the 2025 Young Concert Artists Susan Wadsworth International Auditions and the organization's first Ensemble-in-Residence, as well as the Grand Prize winner of the 2024 Fischoff National Chamber Music Competition. Trio Azura consists of Canadian violinist Duncan McDougall, South Korean cellist Yejin Hong, and Chinese pianist Yanfeng (Tony) Bai.

Living up to it's reputation of presenting music that is out of the ordinary and off the beaten track, SOMM Recordings is releasing Wood on the Tracks with Cellophonics, four of the UK's finest cellists who have been expanding the repertoire with a growing list of exciting new works and rediscovered lost masterpieces. The quartet-Christopher Allan, Adrian Bradbury, Ian Burdge, and Ben Rogerson-having gathered a whole concert's worth of commissions and discoveries, was invited by SOMM to record this debut album. Wood on the Tracks includes first recordings of works commissioned from Simon Baggs, Guy Barker, Roderick Elms, Julia Simpson, and Rowland Sutherland-recorded in the presence of the composers-and forgotten gems by William Alwyn, York Bowen, and Marie Dare. The works by Alwyn and Bowen are also first recordings. Amongst the forgotten gems is the first work on the programme, Suite for Four Cellos, by composer-pianist York Bowen (1884-1961). The parts and full score of the suite were discovered in manuscript by Ben Rogerson in the music library of his late grandfather Haydn Rogerson, one-time principal cello of the Halle Orchestra. Another rediscovery is a set of Two Irish Tunes for Cello Quartet by flautist, teacher, and composer William Alwyn (1905-1985). These had their first performance in 1933 in the Lecture Hall at the Royal Academy of Music, where Alwyn was a professor of composition. The third rediscovery comes from the most significant Scottish-born cellist-composer of her day, Marie Dare (1902-1976). Her distinctive set of works for cello includes Six Pieces for Cello Quartet. From these, Cellophonics performs IV. Aria. The first commissioned work on this programme is a Divertimento for Cello Quartet by Roderick Elms, who writes: 'I wanted to explore the wonderfully lush textures available for four cellos, and this approach is evident in the lyrical central section.' This is offset by rhythmic, somewhat jazz-influenced outer sections. A commission from wide-ranging composer Julia Simpson is Mariposa, which traces the incredible four-generation journey of migration made each year by the monarch butterfly, from Canada to the mountains of western Mexico and back. The multi-gifted Rowland Sutherland is a poet as well as a musician, and his poem HOPE-composed in Japanese haibun style-lends it's name and theme to the work he wrote for Cellophonics. The title work, Wood on the Tracks, is by trumpeter and composer Guy Barker, who says it was only after he completed the work that he realized he had written a piece about trains. The program ends with Soliloquy by conductor, composer, and violinist Simon Baggs. He writes, 'Although written for four cellos, the work stands as the utterance of one voice.'

Clarinet, voice, and percussion trio Sputter Box releases their debut album featuring composers Martha Callison Horst, Allison McIntosh, Filippo Scaramucci, Daijana Wallace & Kakia Gkoudina, Bethany Younge, and Brendan Sweeney. As the first full-length album entirely composed of works for this unique instrumentation, this album showcases their mission to build and expand the repertoire for the trio with tracks ranging from contemporary art songs to absurdist music theater.

In a triumph of creative teamwork, the UK's Phaedra Ensemble presents the group's Cantaloupe Music debut Realms - recorded and produced in collaboration with renowned composer and singer Meredith Monk. The album collects, for the first time, Monk's only stand-alone string quartet (Stringsongs), together with one of her rarely performed instrumental works for small ensemble (Backlight), and the multi-layered Realm Variations, scored for six voices and mixed ensemble.

Tenebrae - The Journey marks the choir's 25th anniversary with a programme built around the theme of passage and transformation. Conductor Nigel Short pairs three new commissions-from Jason Max Ferdinand, Joby Talbot, and Joanna Marsh-with established works by Eric Whitacre, John Tavener, Max Richter, and others. Sarah Henderson's piece, winner of Tenebrae's inaugural Undiscovered Voices composition competition, also features. Recorded in February 2026, the album demonstrates the choir's characteristic blend of precision and warmth across repertoire spanning gospel-inflected anthems, intimate meditation, and large-scale choral drama. Music, as Short puts it, that rewards attentiveness-the more you listen, the more you hear.

Active in the musical milieu of the mid-eighteenth century, Christoph Schaffrath belonged to the circle of composers who shaped the distinctive artistic profile of the Prussian court under Frederick the Great. A highly regarded keyboard virtuoso, Schaffrath served for many years as harpsichordist to Princess Anna Amalia, Frederick's sister and an important musical patron in her own right. His music reflects the stylistic transition of the mid-eighteenth century: while grounded in the structural clarity and contrapuntal discipline of the late Baroque, it increasingly embraces the melodic immediacy, expressive contrasts, and rhetorical gestures characteristic of the Empfindsamer Stil. In this recording, the Polish harpsichordist Anna Firlus joins forces with the period-instrument ensemble {oh} Orkiestra Historyczna, directed by Martyna Pastuszka. Their historically informed interpretation illuminates the elegance, expressive nuance, and vibrant musical imagination that characterize Schaffrath's contribution to the eighteenth-century harpsichord concerto.

The medieval vocal works on this recording-most of which are world-premiere recordings-come primarily from Swiss monasteries and cathedrals. They were composed in the 13th and 14th centuries, an era in which spiritual and secular power were virtually inseparable. Switzerland's religious communities maintained close ties with the major cultural centers of the time and their musical innovations. In Paris, the intellectual center of the 12th and 13th centuries, outstanding figures were active, including Philip the Chancellor (c. 1160-1236), one of the greatest scholars of his time. It is precisely this connection between European exchange and local tradition that defines the special character of the Swiss sources gathered here: St. Gallen, Lausanne, the Abbey of La Maigrauge, and the Basel Song Manuscript were explored by the singers of the Ensemble RESONEZ and recorder player Marie Verstraete through exciting musical testimonies of that era.

For his Cabinet of Delights, lutenist Eduardo Egüez has compiled a collection of French lute music centred on the composer Franz Philipp Le Sage de Richee. Virtually nothing is known about his life, except that he presumably had to flee France and subsequently found employment in Breslau. However, he occupies a central position in lute music because he brings together various styles and trends of French lute music and already foreshadows the later international style of composers such as Sylvius Leopold Weiss, Corelli, or Handel. His music survives only in his collection Cabinet der Lauten from 1695, from which Egüez performs a suite in B minor. In his preface to this collection, Le Sage de Richee states that he was a pupil of Charles Mouton and acknowledges the influence that the famous masters François Dufaut, Denis Gaultier, and Jan Antonin Losy von Losinthal had on his work. Egüez has also compiled a suite from each of these four French lute masters, thereby offering the listener a wonderful panorama of 17th-century French lute music.

Long before Bach's genius came to the fore, a line of intrepid minds patiently paved the way for the dawn of the Baroque violin in the Holy Roman Empire, lifting it out of the shadow of the voice to establish it as a commanding solo instrument. From the contrapuntal rigour of Samuel Capricornus to the theatrical brilliance of Biber, via the elegance of Krieger, Schmelzer, Westhoff, and Vilsmayr, this album unfolds an evolving Germanic musical landscape. With infinite delicacy, Louise Ayrton unearths these forgotten roots and celebrates these visionaries, who laid the foundations for the violin to finally become the absolute master of it's own musical narrative.

SOMM Recordings' Elgar from the Archives series is creating a stir amongst Elgar lovers and historic performance enthusiasts alike, with Music Web International's Nick Barnard remarking, 'SOMM's presentation is it's usual excellent self.' The series draws on the Elgar Archive of producer and master restoration engineer Lani Spahr, and SOMM is now pleased to release Volume 5, which features the oratorio The Apostles, Op. 49 (1903) and the song cycle Sea Pictures, Op. 37 (1899). Since his youth, Edward Elgar had conceived of a large-scale work depicting the disciples of Jesus and their response to the extraordinary events they witnessed. When the Birmingham Triennial Music Festival commissioned him to write a new choral work, he began to compose an intended trilogy. While the third part remains only in sketches, the first two-The Kingdom and The Apostles-are monumental contributions to British oratorio. SOMM's May 2026 release of The Kingdom (ARIADNE 5048-2) featured Sir Adrian Boult conducting The BBC Symphony Orchestra as part of the 1957 centenary celebrations for Elgar's birth. This present live recording of The Apostles is from a BBC Home Service aircheck at the Royal Festival Hall, London, on 12 June of that year. This also features The BBC Symphony Orchestra, here conducted by Sir Malcolm Sargent-who, along with Boult and Sir John Barbirolli, was strongly associated with the promotion of Elgar's music in the years following World War II. As principal conductor of The BBC Symphony Orchestra, Sargent threw himself into celebrating the Elgar centenary, when the BBC broadcast all three of the major oratorios. In addition to The Dream of Gerontius, Sargent considered both The Apostles and The Kingdom to be masterpieces, which should have been much more widely known. About Sargent's 1957 performance of The Apostles, Stanley Bayliss wrote, 'the closing pages are magnificent and give us something that cannot be found even in Gerontius. This was fully understood by Sir Malcolm Sargent, who was the hero of the evening.' Included in this album is a first CD release, newly restored by Lani Spahr, of Elgar's Sea Pictures for contralto and orchestra with Gladys Ripley and George Weldon conducting the then recently formed Philharmonia Orchestra. This was recorded in 1946 for EMI. Elgar was no doubt one of Weldon's favourite composers. In 2008 SOMM first released the Sea Pictures with Gladys Ripley and the London Symphony Orchestra (SOMMCD 073, George Weldon conducts Elgar). This was recorded in 1954 at EMI's Abbey Road and produced by the late Brian Culverhouse.

The sixteenth volume of the 'Next Generation Mozart Soloists' series-the penultimate instalment in this collection dedicated to the younger generation of performers, produced in collaboration with the Orpheum Foundation-is fast becoming iconic. This instalment features a unique and already highly acclaimed soloist: the French pianist Marie-Ange Nguci. Under the baton of Howard Griffiths, she has recorded two of Mozart's major concertos, including the Concerto in D minor KV 466, the first piano concerto Mozart composed in a minor key, dated 10 February 1785 and performed the very next day to great acclaim by Mozart himself on a pedal piano played in a similar way to an organ. The programme also features the Concerto in E-flat major KV 482, composed at the end of that same year, 1785.

The CD program Variations on Silbermann is a homage to this late-period gem of Silbermann's craft, consecrated in the chapel of eastern Thuringia Schloss Burgk in 1743, and to music of the 17th- and 18th-century composers who either hailed from Central Germany or were active there. A broader musical horizon is suggested by the inclusion of the Neapolitan Alessandro Scarlatti, whose groundbreaking contributions to keyboard music have all too often been eclipsed by the fame of his son Domenico Scarlatti. The program features variation works from the time of the Burgk Silbermann organ's construction while presenting the entire spectrum of Baroque structural and tonal possibilities on a single-manual instrument. Daniel Beilschmidt, today University Organist in Leipzig and Castle Organist in Altenburg, grew up not far away from Schloss Burgk and knows very well the instrument and it's sound possibilities.

This album is built around a remarkable instrument: the Guarneri del Gesù 'Sainton Betti' violin, once played by Prosper Sainton. More than a solo voice, the violin shapes both the repertoire and the narrative of the project. From this starting point a journey through the golden age of the Romantic violin unfolds. Works by Niccolo Paganini, Gioachino Rossini, Hector Berlioz and Richard Strauss reflect the musical world Sainton inhabited, while bringing renewed attention to this fascinating yet overlooked figure. At the heart of the project, violinist Dmitry Smirnov reveals the instrument's full expressive range, joined by Victor Jacob and the Kammerorchester Basel. Together, they create a vivid dialogue between soloist and orchestra. A programme that connects repertoire, instrument and history into a single, coherent musical narrative.

Clara Haberkamp does not like to be categorized and describes herself as a genre-open pianist and composer. Hailed as 'one of the most distinctive pianists on the German jazz scene' (radio DLF), she has recently made waves internationally with her latest record, Plateaux (TYXart, TXA24184). Blending jazz, classical music, and New Music, her sound is direct, intimate, and unmistakably her own. Occasionally, she adds her voice as another color in her musical palette, speaking directly to the listener. Clara Haberkamp's solo piano album LOVE MAPS (including also two vocal tracks) is a masterpiece of musical navigation-a beautifully crafted sonic map bridging jazz, classical music, and multifaceted improvisation. Familiar pieces and original compositions are transformed through her unique artistic sensibility.

The music on this album grew from the idea for a new song cycle in which women-so often silent in history and mythology-were to speak for themselves and in which all material would be created and performed by women. The Ragazze Quartet found a true kindred spirit in soprano Katharine Dain. A remarkable group of female composers and librettists also joined the project entitled They Have Waited Long Enough, each contributing in their own unique and personal way. The result is a rich and diverse collage of songs by Aftab Darvishi, Annelies van Parys, Calliope Tsoupaki, Aida Shirazi, and Saskia Venegas Aernouts. What unites them is the urgency that resonates throughout: it is important-if not essential-that these stories are recorded and heard. The fact that these stories are historical or mythological does not make them any less relevant today. The female perspective carries just as much weight as the male one-and deserves to be remembered. In addition to soprano Katharine Dain, the Ragazze Quartet is joined by Raphaela Danksagmüller (duduk), Anna voor de Wind (clarinet), Osama Abdulrasol (qanun), Elif Canfezâ Gündüz (kemenche), Marianna Soroka (percussion), and Agata Kruszewska (percussion).

Between longing and farewell, memory and transformation, Viktor Ullmann's songs unfold as a universe of remarkable poetic intensity. Hard It Is to Leave Beauty Behind offers a richly faceted portrait of a composer whose voice resonates with particular urgency today: rooted in late Romanticism, sharpened by modernism, and indelibly marked by the upheavals of the twentieth century. Soprano Aurea Marston approaches this repertoire with acute textual sensitivity and a voice that balances radiance and fragility. At her side, Cornelia Lenzin shapes the piano part not as mere accompaniment but as an equal partner. The result is a recording that presents Ullmann's songs not simply as historical testimony, but as living art of timeless relevance-music that seeks to preserve beauty, even in the knowledge of it's transience.

Admired by Beethoven, Friedrich Kuhlau (1786-1832) made the four-hand piano genre his own. From the buoyant early Sonata in F major, Op. 8b, to the Beethovenian struggle of the late Allegro pathetique, Op. 123, this is melodically rich music, formally adventurous, and by turns convivial and dramatic. Marie-Luise Bodendorff and Xenia Kandel Frederiksen present the complete works, including several world premiere recordings, which together form a cornerstone of the Danish four-hand piano repertoire.

Adolf Reichel, born in 1816 in Tursnitz, was a prominent pianist, composer, and conductor who followed in the footsteps of Beethoven, Mendelssohn, and Siegfried Dehn. After studying in Dresden and Berlin, he spent several years in Paris, where he began a lifelong friendship with the anarchist Mikhail Bakunin. After stints in Meiningen and again in Berlin, he was appointed to Bern, where he assumed all leadership roles for the orchestra, various choirs, and the conservatory. Both symphonies were premiered in Bern (1869 and 1870). Elegance and contrapuntal virtuosity are complemented by original thematic development and a fundamental commitment to classical aesthetics. The Bern Symphony Orchestra performs the two symphonies by it's first chief conductor in a world-premiere recording under the baton of Christoph-Mathias Mueller.