Oratorios were to become Handelís favorite form of composition from the late 1730ís onward, and of the impressive series of works written during the last two decades of his life the oratorio Judas Maccabaeus was the most successful of this genre, eclipsing even The Messiah in popularity. Handel and librettist Reverend Thomas Morell drew upon the story of the revolt of the Israelites in 168 B.C. against the decree of Antiochus IV forbidding the practice of their religion, focusing on Judas Maccabaeus, the fearless supreme commander in the battle for freedom.

Beethoven’s monumental contribution to Western classical music is celebrated here in this definitive collection marking the 250th anniversary of the composer’s birth. Surveying the totality of his career and achievement, the Complete Edition spans orchestral, concerto, keyboard, chamber, music for the stage, choral and vocal works, encompassing his most familiar and iconic masterpieces, alongside rarities and recently reconstructed fragments and sketches in world premiere recordings. The roster of artists and ensembles includes some of Beethoven’s greatest contemporary exponents, in performances that have won critical acclaim worldwide.

From fairy tale to great opera: With Die Zauberflöte Mozart made the step from simple Singspiel to a full-blown German opera, thus laying the foundations for an independent opera culture in the German language. The 1973 Electrola recording combines a truly legendary vocal ensemble, featuring first and foremost Edda Moser, whom many people still regard as the best Queen of the Night of all time, Walter Berry as a Papageno oozing Viennese charm, Anneliese Rothenberger as the enchanting Pamina and Peter Schreier as her loving Tamino.

If not at the beginning of the opera, then surely with the well-known prisoner chorus “O welche Wonne!” everybody will recognise the outstanding quality of this Fidelio. Leonore’s “Töt erst sein Weib!”, sung by the soprano Anja Silja, is only one out of many deep emotional moments of this studio production of the Hamburg State Opera, recorded in 1968 under the artistic direction by Rolf Liebermann. This very natural set and unostentatious production goes without any wrong pathos and lives through its simple beauty, strong emotions and great musical moments. A reunion with great opera stars: Anja Silja as Leonore, Lucia Popp as Marzelline, Richard Cassilly as Florestan, Hans Sotin as Don Fernando und Theo Adam as Don Pizarro.

Die aufnahmetechnisch hervorragendste, die erste digitale 'Ring'-Produktion: Dynamische Expansion, Brillanz des Klangbildes, instrumentale Qualität und Präzision des Zusammenspiels sind vermutlich nicht zu übertreffen. Die Staatskapelle Dresden erweist sich etwa den Wiener und Berliner Philharmonikern bei Wagner als gleichwertig. Janowski, ein vorzüglicher Musiker, ist als Koordinator von Orchester und Sängern, als Disponent des Gesamtklanges außergewöhnlich gut. Gleiches gilt für Schreiers Loge, die auffallendste Einzelleistung.

Janowski's unfussy, clearly laid out performances, with the Dresden Staatskapelle on superlative form, may lack the sweep and energy of Solti's, or the compelling beauty of Karajan's, but they still have much to recommend them… Jessye Norman, then at the height of her vocal powers, is a rich-toned Sieglinde.

The Staatskapelle Dresden plays spotlessly for Marek Janowski … An excellent 'Ring' experience." Das Rheingold is dominated by Siegfried Nimsgern's vibrant, articulate Alberich, Peter Schreier's wonderfully vital, strikingly intelligent and articulate Loge and Theo Adam's experienced Wotan. But Fricka, the Giants and Rhinemaidens are all well cast, and the whole performance grips one's attention from start to finish.

Bachs Passions and other great choral works in performances with the Staatskapelle Dresden under the masterly direction of Peter Schreier who also sings the role of the Evangelist. Schreiers aim in Bach interpretation is to bring new lightness without following the full dictates of authentic performance, and in this he succeeds superbly. The recording is first rate, with the choral forces well separated.