Passion, loyalty and political conspiracy are the three pillars of Un ballo in maschera (1859), the ‘most operatic of all operas’. Set in 19th-century Boston, Mario Martone's atmospheric production for the Teatro Real brings out all the innate theatricality and drama of Verdi's work. World famous Argentinean tenor Marcelo Álvarez, in the role of Riccardo, leads a fabulous cast including Lithuanian soprano Violeta Urmana as his lover Amelia, and Elena Zaremba as the witch Ulrica. Jesús López Cobos conducts the Chorus and Orchestra of the Teatro Real in a performance that emphasises the lyricism and majesty of this wonderful work, in which grand opera and opera comique are woven together with classic Italian style.

Kraus' last and greatest works, the Symphonie funebre and Funeral Cantata for Gustav III, are fully able to stand with the best works in the forms of the period, as great as the late symphonies of Haydn and Mozart and, yes, even as great as the Requiem of Mozart. Written under the overwhelming personal and national tragedy of the assassination of the King of Sweden then at the peak of its cultural and national greatness, Kraus' funeral music is numb with shock and wild with grief, but always completely controlled, masterfully balanced, and profoundly moving. If there are only two works you ever listen to by Kraus, let them be these two works.

Intimacy, intensity, passion this album explores the unfamiliar idea that fifteenth-century songs might cause us to sigh, weep, or laugh out loud. In bringing to life a world in which crying in public was not just acceptable but required, we have to take seriously the crushing despair of a line like My only sorrow is that I am not dead, or the undisguised sarcasm of This is how she chopped and cooked me up. In Johannes Ockeghem's (d. 1497) roughly two-dozen songs we find not only unparalleled compositional prowess, but feelings that range from happiness to loss, anger to despair, and bitterness to merriment. The album's all-vocal, fully texted, close-mic'd performances are rooted in a flexible, full-blooded vocal technique that aims to capture the music's technical brilliance and emotional depth.

Released in 2001 by Red Toucan Records, Shooters and Bowlers is a duo recording featuring British saxophonist John Butcher and American percussionist Gerry Hemingway. Recorded live and in studio settings across North America in 1999 and 2000, the album highlights extended techniques, acoustic multiphonics, and subtle electronic sampling. Blending Butcher's intricate tenor and soprano saxophone textures with Hemingway's versatile percussion, vibraphone, and MIDI-triggered samples, key tracks include the extended 17-minute piece "Shift," "End of Cane Cloud," and the title track "Shooters and Bowlers."

Released in 1992 by Mellow Records, Il Tempo Della Semina contains the legendary unreleased second album recorded in 1975 by Italian progressive rock icon Biglietto Per L'inferno. Recorded shortly after their classic 1974 debut, the album went unissued for nearly two decades after their original record label collapsed. Featuring the original lineup of vocalist Claudio Canali, keyboardists Giuseppe Banfi and Giuseppe Cossa, guitarist Marco Mainetti, bassist Fausto Branchini, and drummer Mauro Gnecchi, the release delivers powerful Rock Progressivo Italiano (RPI) defined by dual keyboards, heavy flute, complex arrangements, and dramatic vocals. Highlights include the multi-part 10-minute title track "Il Tempo Della Semina" and the expansive "La Canzone Del Padre."

Released in 2009 by AMS Records, Tra L'Assurdo E La Ragione marks the unexpected return of seminal 1970s Rock Progressivo Italiano (RPI) act Biglietto Per L'inferno. Reimagining their classic hard-prog sound through an acoustic and folk-infused lens, the album features original members Giuseppe Cossa and Mauro Gnecchi alongside traditional instruments such as bagpipes, ocarinas, mandolin, and accordion. The release includes acoustic rearrangements of iconic 1974 tracks alongside new compositions, highlighted by "Il Tempo Della Semina," "Una Strana Regina," "Confessione," and the title track "Tra L'assurdo E La Ragione."

Released in 1983 by Warner Bros., Fall on the Avenue is a acclaimed Latin jazz and fusion album by legendary Japanese pianist, composer, and arranger Naoya Matsuoka. Recorded in New York with a stellar lineup of American fusion and Latin jazz heavyweights—including drummer Omar Hakim, bassist Francisco Centeno, guitarist Dean Brown, and percussionists Jerry Gonzalez and Nicky Marrero—the album seamlessly blends urban Japanese fusion sensibilities with vibrant Afro-Cuban rhythms and tight brass arrangements. Highlights include the upbeat "Touch the New York Pink," "Mirage," and the atmospheric title track "Fall on the Avenue."

Released in 2007 by Columbia, Country Dream is a stellar jazz-fusion album by acclaimed Japanese guitarist Kiyoshi Sugimoto. Blending intricate jazz-rock arrangements, groove-heavy rhythm sections, and Sugimoto's distinct, fluid guitar technique, the record stands as a prime example of Japanese contemporary jazz fusion. The 5-track album delivers rich improvisational depth and dynamic performances, highlighted by the sprawling "Step Ahead," the groove-driven "D-51," and the expressive title track "Country Dream."

Released in 2003 by K's Tracks, Battery's Not Included is a collaborative studio album by acclaimed Japanese jazz drummer Takeo Moriyama and renowned jazz guitarist Kiyoshi Sugimoto. Blending post-bop sensibilities with subtle fusion elements, the album showcases the dynamic interplay between Moriyama's powerful, expressive drumming and Sugimoto's refined guitar phrasing. The 8-track recording features original compositions along with interpretations of classic jazz standards, highlighted by renditions of Wayne Shorter's "Nefertiti" and Miles Davis's "Blue in Green."

Released in 1994 by Tokuma Japan Communications, Over the Rainbow is a landmark Japanese jazz album led by master drummer Takeo Moriyama. Featuring a powerful quintet with pianist Fumio Itabashi, saxophonists Toshihiko Inoue and Eiichi Hayashi, and bassist Hiroshi Yoshino, the album captures an intense, passionate synthesis of post-bop and free-jazz improvisation. The recording is renowned for its thrilling dynamic energy, featuring soaring renditions of Harold Arlen's title standard "Over the Rainbow" alongside classic Fumio Itabashi compositions like "Watarase" and "Goodbye."