Star countertenor Philippe Jaroussky continues his exploration of operatic settings of the Orpheus myth with the most famous of the many operas inspired by the story of the Greek poet who searches for his dead wife in the Underworld: Gluck's Orfeo ed Euridice. It contains one of the world's best-loved operatic arias, Orfeo's restrained, but moving lament, 'Che farò senza Euridice'.

What matters is not what he can do, for this is only the beginning. What matters is how many ideas occur to him and how much he can demand of the music and of himself. In short, he is an artist who must be taken seriously, a hugely talented pianist who radiates an extraordinary fascination. In a word, he is exciting.

Johann Christian Bach's op 17 sonata's were written considerably later than the op 5 and therefore display a more mature style. The op 5 published for harpdichord or fortepiano were keen to dazilingly exploit the possibilities of the the new piano, the op 17 were written when the piano was more comfortably established (Broadwood was now producing pianos almost exclusively the last harpsichord being produced in 1783), and therefore do not strive to employ such fantastic devices such as extreme contrasts of dynamics and orchestral effects as their predecessors.

The most popular opera of Gluck might be Orfeo ed Euridice, but this one, Iphigénie en Tauride, is probably his most dramatically involving. It is about familial love and deep friendship and, as such, lacks the usual "love" music and interest. But the waters here run deep, and Martin Pearlman and his singers plumb those depths. Christine Goerke's Iphigénie is dignified, rich with expression and beautiful tone. Almost no less good is the Orestes of Rodney Gilfry, who uses his high baritone with intelligence and ease, singing tenderly when needed and explosively at other times. Vinson Cole brings grainy, expressive tenor to the role of Pylades firmly and effectively; and Stephen Salters, as the villainous Thaos, might sing coarsely, but it suits the character.

In 1789 Mozart arranged George Frideric Handel's Messiah on behalf of a group of Viennese noblemen.He abridged the work in an effort to tauten the drama, transposed arias to suit his singers' abilities and he subjected it to a fundamental re-orchestration to adapt the sound of the work to the musical taste of his time. lt was not until the 20th century that the historical and musical value of Mozart's Messiah arrangement was reappraised. Mozart's interpretation of Handel's Counterpoint and his synthesis of Baroque and Classical stylistic elements give the work a compelling new sound.

This latest version of Gluck’s masterpiece is something of a double hybrid: its starting point is the Berlioz version, which combines what Berlioz regarded as the best of the Italian original and the French revision (and using a contralto Orpheus), and then it is modified further, with a number of reorderings and some music restored, as well as revised orchestration. It isn’t very ‘authentic’, in terms of Gluck No. 1, Gluck No. 2 or Berlioz, but that of course doesn’t much matter as long as it works.

…Gardiner's account of the Vienna Orfeo ed Euridice is peerless. One soon loses all sense of its being a period-instrument performance at all, so profound, at times overwhelming is its impact - so utterly right. In detail after detail - hauntingly poetic offstage instrumental complement, perfectly positioned in the drama (and perfectly captured by the excellent Philips recording); superbly stirring brass playing, which makes every entry a dramatic event; choral singing extraordinarily light in weight yet rich in emotional substance; exquisitely refined dance movements - and in sustainment of a delicately tenebrous, uniquely Gluckian atmosphere throughout, Gardiner's command of an opera championed since his first London concert performance, 21 years ago, is revealed as simply larger and fuller than almost anyone else's.

Although Joseph Haydn is still regarded principally as a master of instrumental music, he was also one of the forward-looking opera composers of his day, devoting a significant portion of his working life to the genre. As the opera director for Prince Esterházy, he oversaw more than a thousand opera productions at the Esterházy court, which included popular stage works of the time, as well as his own. These two operas are unusual and ahead of their time in that it is women who take centre stage. These female protagonists are people of real flesh and blood, strong, pragmatic, and clearly representative of the spirit of the Enlightenment.

This enthralling recital by the young American pianist George Li, silver medallist at the 2015 International Tchaikovsky Competition, marks his recording debut and launches a new relationship with Warner Classics. Captured at a live performance in the Mariinsky Concert Hall in St Petersburg, it presents a dramatically conceived programme of works by Haydn, Chopin, Rachmaninov and Liszt: a descent into deep darkness; re-emergence into the light, and a concluding, boisterous celebration.

Avie inaugurates a new series with the Northern Sinfonia with the first commercial recording to be made at the spectacular Sage Gateshead, the landmark waterfront venue on Tyneside. In residence at the Sage Gateshead since its opening in 2004, the award-winning Northern Sinfonia's dynamic approach to programmes, performances and recordings have earned them plaudits aplenty. The poetic pianist Imogen Cooper has a close association with Northern Sinfonia and the Sage Gateshead, having chosen the Steinway piano for the venue which she performs on this live recording.

Hoewel van de 105 symfonieën van Joseph Haydn meestal de Londense uitgevoerd worden, geven zijn eerste werken ook al blijk van natuurtalent. De symfonieën 6 (Le Matin), 7 (Le Midi) en 8 (Le Soir), die samen "Die Tageszeiten" vormen, stralen de vrolijkheid, de frisheid en de muzikale oprechtheid van de jonge Haydn uit. Hoewel Haydn als musicus in dienst van het hof van de graaf Paul Anton Esterházy in Eisenstadt beperkt was in zijn vrijheid, kunnen de "Tageszeiten Symfonieën" zelfs als experimentele muziek bestempeld worden. Informatie van deze strekking is te vinden in het viertalige booklet van de onlangs uitgekomen cd "Die Tageszeiten" van Haydn (1732-1809), uitgevoerd door het Belgische kamerorkest "Prima La Musica" onder leiding van Dirk Vermeulen.

Mozart, the innovator, wrote for organ only out of necessity or for commission. The three most interesting pieces on this Accord CD are the two Fantasies (K608 & K594) (12:55 & 10:50)and the Andante (K616) (6:25) that he wrote for an organ that was built into a clock in the waxwork museum owned by Count Deym, alias Muller. Though that organ was limited both in tone & pitch, Mozart wrote for it some of his finest music, in 1790 and 1791, near the end of his life. The other nine works on this CD, recorded in France in 1991, are Sonates "all'epistola" which he wrote while employed as court organist in Salsburg between 1772 and 1780. Ranging from 3 to 5-1/2 minutes in length, they are church sonatas, written for two violins, cello, contrabasse, and organ.

The present recording honors three important composers celebrating major anniversaries in 2009: Handel, Mendelssohn and Haydn. George Frideric Handel’s Dettinger Te Deum is presented here not in its original version, but rather in an arrangement by Felix Mendelssohn Bartholdy, who rendered outstanding service to music not only through the revival of Bach’s choral works, but also through those of Handel. In addition, The Storm, the little-known choral work by Joseph Haydn, is also to be heard here. He composed it during his first visit to England and later arranged it for a large ensemble.

In spite of the French title, and the conductor known for his interest in period performance, this is not the French Orphee et Eurydice of 1774; it is a different 'period version', the period in question being not Gluck's but that of Berlioz (or, as we shall see, nearly so). In 1859, Berlioz, always a passionate admirer of Gluck, prepared a version of the opera for the contralto Pauline Viardot. The alto version of the opera was of course the original Italian one, of 1762, for a castrato, but Berlioz wanted to incorporate some of the changes Gluck had made in 1774 and to use a French text. His compromise version has served as the basis for most revivals of the opera, in whatever language, from then until relatively recent times, though its four-act structure has rarely been followed.

After the wars with the Ottoman Empire, the Turks – their dress, manners, and music-fascinated 18th century Europe, and poking fun at them became standard fare in Parisian vaudevilles. Gluck picked up the theme in 1761 after he became conductor of the French Opera in Vienna, using a translated French libretto by P.R. Monnier that had already been set to music by Monsigny. La Cadi Dupée ("The Duped Cadi") was believed lost until it was rediscovered in the archives of the Hamburg State Opera by the producer of this recording. The central character is a Cadi (a Muslim judge) who wants to marry the reluctant Zelmire, to the dismay of his wife Fatime. Zelmire, in love with Nuradin, pretends to be Omega, the unattractive daughter of the dyer Omar; after the marriage contract is signed and Omega appears, the Cadi has to buy his way out of the imbroglio and return contritely to Fatime while Zelmire and Nuradin go off happily.