Born in Tallinn in 1962, Paavo Järvi is renowned for his dynamic interpretations and innovative programming. He has held prominent positions with leading orchestras, including the Cincinnati Symphony Orchestra, Orchestre de Paris, NHK Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, or the Tonhalle-Orchester Zürich more recently. Paavo Järvi's approach combines technical precision with expressive depth, making him a favourite among musicians and audiences alike.

This is a beautiful anthology of sacred liturgical music. Chung coordinates his forces in larger choral pieces with power and vertical balance. Contributions by Cecilia Bartoli find the mezzo in top form, and Bryn Terfel brings charismatic presence to “Pie Jesu” from the Fauré Requiem. Also included are the interminable "Song for Athene" by John Taverner and a great performance by Andrea Bocelli in Eric Levi's hymn for the world, "I Believe".

A violinist in a class of his own, Renaud Capuçon shows why he is 'Le Violon Roi'; (The Violin King) in this 3-CD collection. As the leading French violinist of his generation, Capucon records exclusively for Virgin Classics and has a rich discography. The set brings together not only some of his best and most popular performances as a soloist but as a collaborator.

By today's standards, there's nothing particularly jarring or seemingly progressive about the mature works of Gabriel Fauré. In his own time, however, he was often criticized for his curious, almost experimental use of harmony in his chamber music, and for what some saw as his neglect of the individual qualities of the instruments for which he was composing. Some of these sentiments have endured and resulted in the infrequent performance of many of his chamber works, in this case the two sonatas for cello and piano. While the cello "miniatures," such as the Op. 24 Elegie and the Op. 7 Apre un Reve (transcribed by Casals), have enjoyed popularity particularly in high school and early college studios, they are not representative of Fauré's developed harmonic language.

During the period of lockdown in 2020, tenor Alessandro Fisher and his wife spent many hours in their garden. A heightened awareness of the beauty of nature, the flowers in their garden and the changes to the garden as winter moved to spring, and then to summer formed the basis of this beautifully curated recital.

In this recital, Véronique Gens and Hervé Niquet bring back to life a neglected aspect of France’s Romantic heritage: songs with orchestral accompaniment. Aside from a few pieces by Debussy and Duparc, and Berlioz’s famous Nuits d’été, orchestral mélodies form a virtually forgotten continent. In collaboration with the specialists of the Palazzetto Bru Zane, Alpha Classics now revisits these musical landscapes, taking us from Brittany (Hahn) to Persia, whose beauties Fauré and Saint-Saëns exalt in very different ways. Mélodies by Chausson, Gounod and Dubois and rarely heard instrumental pieces by Massenet, Fauré and Fernand de La Tombelle round out the journey with their musical reveries.

French composers had taken little interest in the cello until the 1870s when three wonderful masterpieces were written. Orchestre National de Lyon led by Emmanuel Krivine accompanies the magnificent, Anne Gastinel in performances of cello works by Saint-Saëns, Lalo and Fauré. The vigour, elegance and charm of Saint-Saëns, the expressiveness, imagination and exotic touch of Lalo, the humanity, feeling and depth of Fauré: these three works sum up the spirit of French music.

The duo of violinist Elena Urioste and pianist Tom Poster have often recorded eclectic fare, but here, in a more or less conventional program of late Romantic French fare, they excel with deeply affecting playing. The album made classical best-seller lists in early 2024, and one reason was certainly the presence of the little-known Violin Sonata in F sharp minor, Op. 112, of Mel Bonis. This female composer, whose life is richly deserving of feature film treatment, was recognized in her own time (as the high opus number suggests) but was later forgotten, and even the recent rediscovery of music by women has only slowly revealed her talent.

Mezzo-soprano Marianne Crebassa and pianist Fazıl Say share some tantalising, captivating and sensuous Secrets in this album of songs, centred on Debussy’s Trois Chansons de Bilitis, Ravel’s Shéhérazade and Fazıl Say’s own Gezi Park 3 – which he and Crebassa premiered in 2014. Describing the recording sessions, Marianne Crebassa says: “Sometimes we worked in a kind of trance … there were some moments when nothing seemed to exist around us …”

Lang Lang presents a treasure trove of musical discoveries in this album: Saint-Saëns’s Piano Concerto No. 2, recorded with the Gewandhausorchester and Andris Nelsons, is a true romantic masterpiece for Lang Lang that rivals the great concertos by Rachmaninoff or Tchaikovsky. Pairing it with Carnival of the Animals, a whimsical menagerie that has captivated young hearts for generations, Lang Lang continues his heartfelt wish to promote the love of classical music to young people and it also gives him a chance to collaborate with his wife, pianist Gina Alice. These two large scale orchestral works are complemented with solo compositions, including hidden gems by five female French composers as well as beloved French Classics.

From the overt Romanticism of Saint-Saëns to the nostalgia-laden modernity of Poulenc, Bruno Philippe takes us on a journey through (almost) a century of French cello music. Alongside Tanguy de Williencourt, he also performs the cello version of Franck's famous Violin Sonata, one of the absolute peaks of nineteenth-century chamber music.

The gestation of this project lasted two years. Anna Prohaska and Julius Drake finally concentrated their research on the themes of Eve, Paradise and banishment. Some songs were obvious choices, such as Fauré's Paradis, in which God appears to Eve and asks her to name each flower and animal, or Purcell's Sleep, Adam, sleep with it's references to Genesis. But Anna Prohaska also wished to illustrate the cliché of the woman who brought original sin into the world and her status as a tempter who leads man astray, as in Brahms's Salamander, Wolf's Die Bekehrte or Ravel's Air du Feu.

With the release of each new album, violinist Arabella Steinbacher proves again and again that she not only performs an impressively wide and diverse repertoire, but that she commands different facets of it with incredible precision. This installment features works for violin and piano by French composers Fauré, Poulenc, and Ravel, whose output traverses three generations of wonderfully contrasting music.

Even in an age of thrilling countertenors, Max Emanuel Cencic stands out for the heroic scale and brilliance of his voice, his expansive lyricism, and his imagination and enterprise in choice of repertoire. Cencic has excelled as both a soprano and a mezzo-soprano, and Fantastic Cencic showcases his extraordinary interpretative range – from the great and lesser-known masters of the Baroque to the bel canto of Rossini and composers of the Romantic era from Schubert to Strauss. The third of these three CDs comprises recordings from the early 1990s, shortly after Cencic left the Wiener Sängerknaben, which are released here for the first time.

The music in this collection, inspired by religious thought and liturgical text, has been selected in honor of Pope John Paul II's visit to Paris in August of 1997 to celebrate Mass as part of the Worldwide Days of Youth. Much of the music here is very familiar to even casual listeners to classical music. From J. S. Bach's "Jesu, Joy of Man's Desiring," to a rousing version of "Hallelujah" from Handel's 'Messiah,' this CD plays like a greatest hits of church music from the last 400 years.