The Devil’s Dream

The duo of gambist Vittorio Ghielmi and lutenist Luca Pianca even has its own domain name
(www.pianca-ghielmi.com), as well as several previous releases, of which the first has perhaps my favorite CD title ever (Bagpipes from Hell).

ARNE: Six cantatas for a voice and instruments; Advice to Cloe

The English, though fundamental to the early music revival of the last half-century, have been rather remiss in exploring their native music dating from after the death of Purcell, and particularly that produced after the death of Handel.

VERDI: Rigoletto

Sorry my friends, but this rich-looking DVD has a feature that disqualifies it for me.

Jaume Aragall en Vivo

During any recital by an aging divo there comes a moment of truth when he sings an operatic aria
(usually E lucevan le stelle , as the highest note is an A). That is the defining moment when he no longer can hide behind idiosyncratic interpretation, expressive breathing and a lot of clever transpositions.

PURCELL: Dido and Aeneas

This disc is a reissue of a 1993 recording made at Skywalker Sound in Marin County, California, but new to me.

PROKOFIEV: Peter and the Wolf

I suppose you will find this quite an addition to the Melchior legacy if you are a collector of every sound Melchior ever uttered.

CHARPENTIER: Judicium Salomonis, H. 422; Motet pour une longue offrande, H. 434

Neither of these late works (the Judicium Salomonis is from 1702) is new to disc – the former
has two recent recordings, from ten and from twenty years ago, and the latter one, by Herreweghe, released in 1985.

Walewska i przjaciele: Najpiękniejsze pieśnie, arie i. piosenki

The title Walewska i przjaciele, “Walewska and friends,” reflects the intention of the mezzo soprano Małgorzata Walewska, one of the foremost contemporary Polish singers to present herself and some of her colleagues in recording of various kinds of music.

BERLIOZ: La damnation de Faust

Why do some conductors make it and others don’t?

EDER: Musik f¸r die Felsenreitschule

While many associate it with traditional music, the Salzburg Festival is also a venue for new
productions and, to a degree, new compositions.