The one drawback of live albums is that the listener is left on their own to visualize what is happening on the stage. For most pop/rock recordings this is not a serious detriment. But for a highly stylized and theatrical show such as Sarah Brightman's Harem World Tour: Live From Las Vegas, the music and visuals go hand-in-hand and this edited CD version of the program lacks the impact felt by the enthusiastic live audience. With applause heard within instrumental passages, including the elongated opening, it leaves a listener puzzled as to what is happening. Without any visuals all that is left is the music, which is immaculately performed yet devoid of any spontaneity.

Concerto: One Night in Central Park is a live album by Italian tenor Andrea Bocelli. The album was recorded September 15, 2011, during a concert at the Central Park's Great Lawn, in New York. Guest performers included Celine Dion, Tony Bennett, Chris Botti, Bryn Terfel, Pretty Yende, and music producer David Foster. The album, immediately upon release, entered the Billboard Top 10 and peaked at No. 4 on the Billboard 200.

After being discovered by Simon Cowell in 2003, Il Divo went on to sell over 30 million albums and sell out arena tours worldwide. For their 10th studio album, Il Divo celebrated the hits of Motown. Stand out remakes on the album include Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough”, Stevie Wonders “For Once in My Life” and The Temptations’ “My Girl.” The album also features Motown greats Smokey Robinson and Boyz II Men on their most notable hits.

It is the first joint venture project between Universal Music and Disney in Greater China. The album contains 11 classic Disney songs, including 10 cello interpretations of movie theme songs with full orchestra, and one mandarin vocal track featuring the legendary artist Jackie Chan. All tracks are picked by Nana herself and performed with the Bulgaria Film Orchestra. The album includes a special duet with Jackie Chan, A Whole New World in Mandarin.

Classical musicians have always recognized the musicality and originality of The Beatles' songs, Leonard Bernstein declaring the Lennon-McCartney composing team 'the Schuberts of our time'. This sequel to Peter Breiner's multi-platinum Beatles Go Baroque (Naxos 8.555010) takes the original concept even further, keeping 18th-century masterpieces such as Vivaldi's The Four Seasons and Bach's famously stylish and beautiful Violin Concerto No. 1 largely intact, elegantly combining them with The Beatles' most enduring melodies to create a joyously genuine 21st-century mashup. Peter Breineris one of the world's most recorded musicians, with over 200 albums released and multiple streams and downloads.

Sarah’s new album ‘FRANCE’ will be released on November 20th exclusively in France! The first single, “Just Show Me How to Love You,” a masterful duet with the greatest French voice performer Florent Pagny, accompanied by the London Symphony Orchestra, will be released digitally on November 6th. The beautiful ‘FRANCE’ album also features artists Vincent Niclo, I Muvrini, Alessandro Safina, Roch Voisine, as well as other special guests such as Andrea Bocelli performing beloved classics. ‘FRANCE’ also includes a song by classical pianist Paul Ji, winner of Season 6 of ‘Prodiges,’ the acclaimed French musical competition television show on which Sarah will act as musical godmother in December.

No composer looms over modern jazz quite like Johann Sebastian Bach, whose harmonic rigour seems to have provided the basis for bebop and all that followed. Listen to the endlessly mutating semiquavers tumbling from Charlie Parker’s saxophone and it could be the top line of a Bach fantasia; the jolting cycle of chords in John Coltrane’s Giant Steps could come straight from a Bach fugue and Bach’s contrapuntal techniques crop up in countless jazz pianists, from Bill Evans to Nina Simone. Bach certainly casts a long shadow over US pianist Brad Mehldau: even when he’s gently mutilating pieces by Radiohead, Nick Drake or the Beatles, he sounds like Glenn Gould ripping into the Goldberg Variations. Which is why it comes as no surprise to see Mehldau recording an entire album inspired by Bach. However, this is not a jazz album. Instead of riffing on Bach themes, as the likes of Jacques Loussier or the Modern Jazz Quartet have done in the past, After Bach sees Mehldau using Bach’s methodology. Mehldau plays five of Bach’s canonic 48 Preludes and Fugues, each followed by his own modern 21st-century response.

Wielding her violin like a huntress' bow, Lindsey Stirling focuses her classical crossover vision with a deeply imaginative concept for her fifth album, Artemis. Named after the Greek goddess of the hunt and the moon, the effort finds Stirling hitting her artistic stride with a grand soundtrack to a movie that doesn't yet exist, like a neon cyberpunk take on Howard Shore's Lord of the Rings score. Making her early work feel small-scale by comparison – early-2010s tracks like "Song of the Caged Bird," "Beyond the Veil," and "Heist" come closest to what she's offering here – Artemis also benefits from fewer special guests, which was a distraction on her previous full-length, Brave Enough.

After a self-titled release that flirted with pop crossover, violinist David Garrett dives deep into that world with his 2010 effort, an album that rocks like its 1766. Most arrangements are simple as Garrett takes the melodies from Nirvana’s “Smells Like Teen Spirit" and Led Zeppelin’s “Kashmir” and plays them furiously in front of an equally aggressive orchestra that’s augmented by electric guitars and a standard rock kit drummer. No great revelations to be had, but the tracks work well enough, recasting some of rock’s classics as Romantic-era works that are prime for television commercials designed to sell diamonds or wine to the post-Woodstock set. Rock symphonies exceeds its predecessor when it comes to the more clever cuts, such as the “Vivaldi vs. Vertigo,” a mash-up of Vivaldi’s Four Seasons and U2’s “Vertigo.”

The fourth Sky album - Sky 4 Forthcoming - was released in March 1982. This was Sky's first album to feature no original material. It consisted predominantly of arrangements of classical compositions (with the exception of a version of Hoagy Carmichael's "Skylark" and a band-composed variation on Adam de la Halle's ballet score for "My Giselle") and was marketed under the slogan "Genius Past, Genius Forthcoming". Music on the album included Sky treatments of pieces such as Berlioz's "March To The Scaffold" and Wagner's "Ride Of The Valkyries".

Perhaps best-known for his distinctive vocal style, Australian polymath Nick Cave here steps into the spotlight as librettist rather than performer, for a second operatic project with Belgian composer Nicholas Lens. Having collaborated on Shell Shock in 2014, they joined forces again during the global lockdown to create a new work, L.I.T.A.N.I.E.S.. At Lens’s request, Cave penned 12 litanies – “petitions to a divine maker” – simple, moving texts which the composer then wove into what he calls a “modest chamber opera of sleeping dreams”.