Donizetti Le Nozze in Villa opera to a libretto by Bartolomeo Merelli. Directed 2020 by Davide Marranchelli at the Teatro Donizetti Bergamo. Stars Gaia Petrone (Sabina), Omar Montanari (Don Petronio), Fabio Capitanucci (Trifoglio), Giorgio Misseri (Claudio), Manuela Custer (Anastasia), Claudia Urru (Rosaura), and Daniel Lettieri (Anselmo).

Tristan und Isolde ist eines der Größten Musikdramen Richard Wagners (1813-1883). Leonard Bernstein nennt es sogar das zentrale Werk der gesamten Musikgeschichte.

The same men and women of Cappella Romana who brought you the Lost Voices of Hagia Sophia bestseller (43 weeks on Billboard), now sing the earliest music we have by a female composer, including long-suppressed hymns recorded here for the first time.

The word opera conjures up images of large casts, a huge orchestra and chorus and massive logistical issues. Not Cooperstown! A jazz opera in nine innings, Cooperstown utilizes five solo singers and a 1950s modern jazz quintet. Based on A. Bartlett Giamatti's essay, "The Green Fields of the Mind," composer Sasha Matson has, with librettist Mark Miller, used baseball as an art form, with the capacity to express the deepest emotional truths about individuals and society. Matson reflects baseball's own specific historical musical attributes in his composition. One is the sound of the stadium organ, which led him to score the music for a "Miles" jazz quintet. This particular grouping of instruments is as capable as any large orchestra of realizing music in all its potential variety.

Academy of Ancient Music, Cambridge Handel Opera Company, Cambridge Early Music and Julian Perkins are proud to present the first professional recording of John Eccles’s Semele (ca 1707), a notable early setting of the great English libretto by William Congreve better known in a version by Georg Friedrich Handel from 1744.

During times of need and tribulation humanity turns its eyes to the Holy, searching for comfort, reassurance, and strength. Marina Rebeka's new album, CREDO, is an uplifting selection of pieces written by some of the most extraordinary composers of our Western civilization. This timeless, heavenly music is particularly meaningful today.

Malin Byström is a Swedish soprano, trained at the University College of Opera in Stockholm. She has been coached by Jonathan Morris since 1997 and collaborates with him, still to this day. In 2016 Malin Byström received the Litteris et Artibus medal and in 2018 she was appointed Hovsågerska (Court Singer) by H.M. the King. She was named Female Singer of the Year in the 2018 International Opera Awards. This is Malin's debut album (solo) with orchestral songs by Ture Rangström, Austrian Alban Berg and Duparc. Recorded(2019) together with HSO under the direction of the chief conductor Stefan Solyom.

Album ‘20’ is set for release in October, twenty years on from Russell Watson’s acclaimed and hugely successful debut album ‘The Voice’.

This is a very satisfying account of ‘Die Zauberflöte‘, principally on account of Böhm’s handling of the score. He inspires the Berlin Philharmonic to convey a Masonic ‘gravitas’ which is in keeping with the philosophy of Enlightenment Reason which lurks behind the pantomime elements of this unusual work. You will certainly find deliberate speeds here, which may not be to your taste if you like fleet, revisionist, original-instrument Mozart. Vocally it’s the women in this recording that have had a bad press: but Evelyn Lear has some lovely tones in her voice even if there are occasions when Pamina’s music presents her with challenges.

The Rhine is where Richard Wagner’s cycle of operas “Der Ring des Nibelungen” begins and ends – and it was beside the Rhine in 1851 that the composer first dreamed of this equally visionary and monumental work. Even if Wagner’s plans for a festival would ultimately be realised in an entirely different part of Germany, the performance of a “Ring on the Rhine” will always remain something very special.

‘Why has this intense, brilliantly orchestrated, claustrophobically gripping masterpiece been so neglected since its 1977 premiere?’ asked Richard Morrison in The Times of the concert performance in the Barbican that preceded this recording.

Handel’s dramatic opera-oratorio Semele, which was recorded from a live performance at London’s Alexandra Palace Theatre in May 2019.

The baroque ensemble Artemandoline and the renowned soprano Nuria Rial are set to release their new album Venice’s Fragrance on June 12th, on the German label Sony, Deutsche Harmonia Mundi and on the French label Sony France.

Newly remastered at Emil Berliner Studios. Abbado’s years with the London Symphony Orchestra resulted in three celebrated sets with the Spanish mezzo Teresa Berganza in central roles – and few could be more “central” than Bizet’s Carmen. Made in 1977, the recording followed staged performances directed by Piero Fagioni at the Edinburgh Festival. Berganza had studied the Carmen story, immersed herself in the opera’s background and delivered a characterization that emphasized the gipsy’s nobility, while Abbado’s conducting was both dramatic and vividly coloured.

The American mezzo sings the title role of the scheming Roman matriarch in a starrily-cast recording of Handel's early opera with Il Pomo d'Oro, conducted by Maxim Emelyanychev.