Felsenstein’s Ritter Blaubart is accompanied by the music of French composer Jaques Offenbach and was performed to great critical acclaim in Paris in 1866. Opera reviewer Oscar Bie delightfully remarked: “How the music flourishes in soil like this. How the tragedy laughs, and how seriously the comedy takes itself. […] This is not opera, nor is it comedy, and only on occasions is it parody. No, this is something much more sublime altogether: it is that wonderfully shimmering realm, full of truth about life, which borders grand fates and all-conquering humour.” Felsenstein’s adaptation of this diversified opera affords countless opportunities for audiences to make associations, moments in which they are torn between laughter and abomination, but which all the while reveals an aptitude of theatrical magic one could only admire.

Libor Pešek offers a fulsome selection of Romeo and Juliet excerpts–more than 71 minutes’ worth. Rather than the usual suites, Pešek’s selections follow the order of their appearance in the full ballet, thereby creating a cogent narrative (as opposed to Prokofiev’s own suites that, while not necessarily following the story line, are nonetheless dramatically effective). Pešek proves a fine ballet conductor, ever alert to the music’s rhythm, energy, and color. He beautifully shapes Folk Dance, Friar Lawrence, and Juliet’s Funeral, taking care to highlight rhythms and accents while pointing up the music’s drama. The balcony scene flows smoothly yet surges with unabashed feeling at the climaxes.

This boxed set, according to the jacket were recorded between 1964 and 1978 by the SWF Sinfonierorchester Baden-Baden [ & Freiburg] under the baton of Ernest Bour, its Music Director (1964-78). No specific dates are given for any of these individual recordings. Many of the current generation may not be familiar with Mr. Bour, or his orchestra, which is unfortunate.

The original Spanish crooner to the stars returns with his first studio work since 1996's TANGO with NOCHE DE CUATRO LUNAS. This first-class production moves deftly back and forth between the Iberian Peninsula and the Americas, navigating a swirl of arid flamenco melodies, Caribbean rhythms and cosmopolitan electronic pop finesse. The enlisting of such winning producers and songwriters as Rene L. Toledo and Robbi Draco Rosa seals the album's course for international appeal. As always with Senor Iglesias, romance is the name of the game. "Gozar La Vida" ("To Enjoy This Life") starts the set off with a bang, clearly riding the hit wave begun by Carlos Santana and Rob Thomas' "Smooth" with its hard-hitting guitar, organ and horn rhumba.

A super-sizing of this long-running but under-publicized group's productive years – from 1970 to 1979 – on Roulette, Philadelphia International, Epic, and Ariola Records. Only diehards will miss earlier (excluded) sides from 1965 to 1969 on Swan, ABC, Warner Bros., Metromedia, and Neptune. This set beams up their hits: "TSOP," "When Will I See You Again," "Maybe," "Dirty Old Man," "Long Lost Lover," etc, and spans to include scorching renditions of New York City's "I'm Doing Fine Now," Marvin Gaye's "Let's Get It On," and Aretha Franklin's "Do Right Woman, Do Right Man." Essential for girl group fans, and a good buy for casual fans.

Two pianos sounding in tandem can feel – given that the instrument belongs to the percussion family – like a kind of 176-key gamelan, an atmospheric orchestra ringing and resonating and radiating in unity. In that way, the music of How to Turn the Moon by pianists Angelica Sanchez and Marilyn Crispell vibrates with a special, luminous quality. In composing all the pieces for this album, Angelica was inspired by Marilyn’s ever-questing sound and sensibility, as well as the uncommon rapport they share as players and as people.

The Cult has reveled in a storied career. From the pre-millennial iconic Love album bursting with idealism and the full on blast of 2001’s Beyond Good and Evil to the recent biting truth of Hidden City, the band has lived their art. How the future unfolds will be decided in part by current cultures response and the group’s response. One thing is for sure, The Cult will respond. It’s what they do. The Cult’s next endeavor is Under The Midnight Sun.

Nonesuch Records releases the first recordings of Steve Reich’s Runner (2016) and Music for Ensemble and Orchestra (2018), performed by the Los Angeles Philharmonic and conducted by Susanna Mälkki.

The Juilliard-level pianist and genre-hopping sideman with A$AP Rocky, Meshell Ndegeocello, and more makes his imaginative debut at age 23 with Let Sound Tell All. Rodriguez’s acoustic-jazz chops are formidable from the start of the hard-swinging “Blues at the Barn.” But already on this opener, there’s an intriguing blend between gritty lo-fi sound and more polished studio production, even within the same track. Rodriguez and co-producer Drew Ofthe Drew set ambitious goals and conjure a sonic atmosphere that avoids the obvious.