While it isn't Handel's most obscure opera (hum a few bars from Catone, anyone?), Siroe, Re di Persia is definitely on the margins. It's hard to say why exactly, although the unflatteringly edited Metastasio libretto (by Nicola Haym) is surely part of the reason; the character and conflict development of the original are largely missing from the version Handel set. But the music is Handel at his best, and let's face it: from the perspective of a modern listener, plot is not the main draw of opera seria. With that in mind, Harmonia Mundi's complete recording, with Andreas Spering and the Cappella Coloniensis, is an excellent first step toward giving Siroe wider exposure. It's well played, thoughtfully conducted, and it features an excellent trio of leading ladies.

The appearance on disc of Antoine Dauvergne's opera-bouffon of 1753, Les Troqueurs is at once a happy occasion and a frustrating one. For while we can rejoice at the chance to make the acquaintance of this charming little intermede, it also serves to remind us that there are an awful lot of French comic operas from the second half of the eighteenth century that remain unheard. This is repertory that is both interesting and important to the history of opera in general, and Les Troqueurs is the work that stands at its head, for following as it did on the heels of the influential Paris performances of Pergolesi's La serva padrona it was the first real attempt at a wholly French comic opera in the same modern, dramatically light-footed mould.

A beguiling rarity. Johann Sebastian’s youngest and most cosmopolitan son composed this serenata in London in 1772. The plot revolves around the triangular relationship between Diana, her nymph Nice and Endymion, slyly manipulated by Cupid and culminating in the obligatory paean to love. In the booklet, Bruno Weil dubs Endimione ‘one of the first operettas’; but though there are touches of cruel humour, usually at Nice’s expense, the musical idiom and structure, based on a sequence of elaborate arias, are essentially those of opera seria. Bach’s suave, mellifluous style often sounds like Mozart minus the master’s dynamic impulse and control of long-range tensions.

The Last Judgement was one of the most performed works of the 19th Century; later it was forgotten. Spohr presents a vision of the end of time and the Day of Judgement in an enthralling choral work performed on period instruments for the first time. Bruno Weil directs the Cappella Coloniensis and ChorWerk Ruhr in this benchmark recording.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

It's a fairly well known fact that Bach had a keen interest in music of his musical ancestors as well as his contemporaries. His library contained music of other German composers as well as music from France and Italy. Among the composers whose music found a home on Bach's shelves were Antonio Vivaldi, Christoph Graupner, and Johann Friedrich Fasch (1688-1758). Whether or not Bach ever performed this music with his Collegium Musicum at Zimmermann's Coffee House in Leipzig is unknown, but Bach thought enough of the music of these and other composers to seek it out and collect it.

Conductor Ferdinand Leitner (1912-96), learning his trade from masters like Walter, Busch, Richter and Karl Muck (as rehearsal pianist at Bayreuth), gained the experience that lead to his being dubbed the "singers' conductor" by all who worked with him during a long and lustrous career marked by his tenure as Zurich Opera music director (1969-84) and some 300 commercial recordings. The 1970s-80s Bayreuth stalwart, bass-baritone Franz Mazura as Tamerlano and famed American lyric soprano Helen Donath as Asteria headline this 1966 Leitner-led performance of Handel’s Tamerlano.

Luigi Cherubini's Chant sur la mort de Joseph Haydn was not, in the event, written after Haydn's death in 1809, but in response to a premature report of that event in 1804. The revival of Classical-period music has thus far given Cherubini short shrift, which is surprising in connection with the man whom Beethoven called the greatest living composer. Maybe this German release, by the veteran historical-instrument ensemble Cappella Coloniensis, will stimulate fresh activity. The chief attraction here is the seldom recorded tribute to Haydn. It's a wonderful work, with an unorthodox form that seems to bespeak strong feeling. Cherubini worked from an existing funeral text by Masonic author Louis Guillemain de Saint-Victor, but the shape of the piece is his own. He opens with a slow, profound polyphonic introduction that not only must have appealed to Beethoven but perhaps even influenced the idiom of his late works.

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

This recording is the first official release in any format of this once-in-a-lifetime concert performance featuring Dame Joan Sutherland and Fritz Wunderlich. In 1959 performances of Handel were just beginning to embrace the original instrument movement making this recording an invaluable historic record of performance practice. In addition to musicological interest, the CDs present Joan Sutherland at the beginning of her illustrious career in the full bloom of youth. She was flown in as a last minute replacement for the scheduled soprano and proceeded to give a virtuoso performance of the demanding title role. Full of Handel's gorgeous melodies and with vocal fireworks in bountiful supply, it is no wonder that Sutherland completely awed the German public. She is joined by Fritz Wunderlich, the acclaimed German tenor, in their one-and-only collaboration. He as well was a last minute replacement and rises to the exacting demands of Handel. His rich and pliant tone is perfectly suited to the technical and dramatic demands of the opera.

The Music for the Royal Fireworks (HWV 351) is a suite in D major for wind instruments composed by George Frideric Handel in 1749 under contract of George II of Great Britain for the fireworks in London's Green Park on 27 April 1749. The music celebrates the end of the War of the Austrian Succession and the signing of the Treaty of Aix-la-Chapelle (Aachen) in 1748. The work was very popular when first performed and following Handel's death. Mozart called the work a "spectacle of English pride and joy".

This 10 CD-Set offers a collection of the most popular Mass compositions from the Viennese Classics up to the romantic period. It includes famous masterpieces like Mozart’s „Coronation Mass“, Beethoven Missa solemnis, Haydn „Harmony Mass“, Gounod St. Cecilia Mass but also rarities like „Missa Sancti Joannis Nepomuceni“ by Michael Haydn, the „Coronation Mass“ by Cherubini, „Missa sacra“ by Robert Schumann and the „Misa solemnis“ of the german romantic composer Friedrich Kiel. Performed by well known artists like the Vienna Boys’ Choir, RIAS Chamber Choir, Tölzer Boys’ Choir, Wiener Akademie and last but not least also includes the spectacular recording of Beethoven’s Missa solemnis with conductor Michael Gielen.

Mehul was the most famous French composer in the time of the Revolution, Consulate and Empire, praised by Mendelssohn, Schumann, Weber and Berlioz, and lauded to the skies by Cherubini, who called Stratonice (the fifth of his 35 operas) “a work of genius, Mehul’s masterpiece”. Nor was he alone in this opinion, since in Paris alone it was performed over 200 times during the next quarter of a century, though withdrawn during the Reign of Terror because of the finale praising royal compassion. The opera – comique only in the sense of including spoken dialogue – is serious in tone (as the grave and dramatic overture presages): based on a classical subject, it tells how Seleucus, King of Syria, engages a doctor (Erasistrate) to cure his son Antiochus’s suicidal depression, which is in fact caused by his love for his father’s fiancee, the Princess Stratonice.

One can easily appreciate this early William Christie recording with Capella Coloniensis, a group originally formed in 1954 (!) to perform baroque works in historically informed performances. Christie masters this orchestra well, and the playing is impeccable. The casting is excellent, including some of the great singers of the time: Emma Kirkby, in her prime, Agnes Mellon, Dominique Visse and David Cordier, among others. There is even a male soprano, Randall K. Wong, a rare type of singer indeed.