The artistic adventure of DOS goes on, after the successful experience of the debut album that marked the beginning of an artistic bond between the voice of Eleonora Bianchini and the double bass played by Enzo Pietropaoli.

Good things always come in threes. There was once the Concerto in Italian style, BWV 971, reconfigured according to the by then modern disposition advocated in Italy at the beginning of the 18th century (anthology "Concerti italiani", 2004, OP30301). More recently, the Goldberg Variations, reimagined for a small string ensemble, crowned a fabulous apotheosis in the land of the variation ("Variations on Variations", OP30575). Here are now three completely original orchestral suites by Bach, a new fool's game organised by a tongue in the cheek Rinaldo Alessandrini, once again surrounded by his dear friends from the Concerto Italiano.

Callas first sang at Milan's legendary La Scala for the opening of the 1951-1952 season (in Verdi's I vespri siciliani) and she became closely identified with the theatre, notably in productions directed by Luchino Visconti and his protege Franco Zeffirelli. Spontini's La vestale was staged for her there in 1954, Bellini's Lasonnambula in 1955, and her final La Scala performances came in 1962 with Cherubini's Medea. 'This wonderful record gives us… Callas at her most spell-binding and enthralling,' wrote Gramophone. 'Callas at La Scala… shows the diva at her most exciting and most beautiful'.

Recorded in 1949 when Maria Callas was just 25, this debut recital encapsulates the young soprano's astonishing maturity, versatility and technical finesse. She had already sung all three roles showcased here - Wagner's Isolde and Bellini's Norma and Elvira (I puritani) - in the theatre. As Gramophone, which described the recital as 'incandescent and spellbinding', wrote: 'The Liebestod is a beautiful example of sustained interpretation, with a long line running through the whole piece, each phrase finding part-fulfilment in the next until the climax is reached,' concluding overall that: 'The eloquence of phrase and the technical control put at the service of a discerning heart and mind are obvious to hear'.

[From this exceptional event, of enormous historical and performative proportions, the documentary film "Paolo Conte alla Scala, The Maestro is in the soul" was born.
The historic concert is both its predominant fulcrum and a pretext to enter the soul of the Maestro, observe him behind the scenes and during rehearsals, and question him in his relationship with music and musicians, with words and his passions. The voice of today's Maestro then mixes with that of the young Paolo Conte, through repertoire images from the family archive that tell "under the stars of jazz, how much night has passed".

GRAMMY Award-winning mezzo-soprano Joyce DiDonato joins conductor Alan Curtis and Il Complesso Barocco for this electrifying program of royal arias from the 17th and 18th century. It features compositions by luminary figures including Handel and Vivaldi, as well as, lesser-known composers including Orlandini and Porta. Her previous album for Virgin Classics, Diva, Divo, won a GRAMMY® Award in February 2012. DiDonato calls this themed recital her “most exciting recording project to date…high drama, profound emotion, fearless vocal writing, time-stopping passages, historical significance and real discovery”.

I've always liked the idea of releasing music that has just been composed. I know well that this goes against the core principles of publishing new music: releasing material that has just been recorded leaves little time to promote it properly.
On the other side, however, is that taking the time to promote a work before it is released risks distancing those who will listen to that music from the creative moment that generated it. Over the years, I've always tried to bridge the gap as much as possible between the 'creative flame' and the work to be published, to the point that now, when it comes to solo piano, I almost exclusively release the 'first' recording of an idea, of an intuition. I rarely rework it, and I rarely use the typical 'tricks' of those who do this job. What you hear is what came to me while I was sitting at the piano—with all that this entails, including the inevitable imperfections that a 'first take' can bring.

The role of Leonora in Verdi's Il trovatore was one that Maria Callas performed some 20 times in the theatre, and this recording was her leave-taking of it. Callas's Leonora was praised by the critics for its vocal and dramatic artistry. Cecil Smith in Opera magazine said: "For once we heard the trills fully executed, the scales and arpeggios tonally full-bodied but rhythmically bouncing and alert, the portamentos and long-breathed phrases fully supported and exquisitely inflected".

The Cinema Show were formed in autumn 2011 as a progressive rock cover band (Pink Floyd, Genesis, PFM, Dream Theater, Transatlantic, Toto…). In 2014 they started writing their own material for their debut album, "L'eremita" which was recorded between february and may 2015. In 2017 they recorded their new album "L'errante", released in February 2018.

Claudio Lanzini & Organ Group.- Claudio Lanzini, saxophonist and multi instrumentalist born in Rosario, with more than 20 years of experience in the local jazz scene, will perform with his current formation: the Organ Group. Composed of two renowned musicians, such as Walter Nebreda on Hammond organ and Pau Ansaldi on drums, the Organ Group adds the new blood of two young musicians of great talent: Charly Samamé on guitar and Agostina Bertozzi on percussion.

The album title, La Dormiente, is named after the Taburno Camposauro massif. The profile of the peaks, which has accompanied Luca, Giovanni, and me, as well as all the inhabitants of Sannio, indeed appears like a reclining woman who seems to be sleeping.

Giulio Caccini played a decisive role in the birth of the solo madrigal. He not only accompanied himself as he sang them, but also formed the Concerto Caccini with his wife and children; this ensemble would go as far as to leave its mark on the French court. This double album features some of Caccini’s finest works as well as pieces by his two daughters Francesca and Settimia. It also provides the perfect opportunity for Scherzi Musicali to assemble some thirty instruments and to present the combinations of instruments used for the continuo group that developed around 1600.

Nathan Granner presents tenor arias by Paër, Mozart, Gluck, Salieri and Bologne, showcasing the rise of the tenor in the late eighteenth century, as well as the Enlightened spirit of the age. The Orchestre Philharmonique de Marseille, under the baton of Clelia Cafiero, partners with Granner to navigate a vast emotional landscape of classical period arias producing a timeless and compelling musical experience.

Karim Sulayman is a Lebanese-American tenor pays tribute to his favorite myth "Orpheus" on this debut album. He brings to life Orpheus's character through his sensitivity to dynamics and emotional delivery of this beautifully composed music. Sulayman is accompanied by leading baroque interpreters Jeannette Sorrell and Apollo's Fire.

In 1587, when the Cremona native Claudio Monteverdi (1567–1643) offered his first book of madrigals for printing, the popularity of the genre of little vocal pieces had just reached its pinnacle.