So why bother with the Original Jacket Collection? There are two reasons: One, these new remasterings improve upon previous CD transfers; two, there's a bonus disc with rare material from the 1940s, featuring the New York Philharmonic, the Woody Herman Orchestra, and violinist Joseph Szigeti. This material is stunningly restored from the original laquers, and sounds amazingly vivid and full-bodied.
Stravinsky knew how his music should sound, and usually got the results he wanted. True, there are recorded interpretations of certain Stravinsky works that are slicker and better engineered. Few, however, match the authority and sense of occasion you get from the proverbial horse's mouth.

–Jed Distler, ClassicsToday.com

Boundary crossing has become a part of musical life for classical and jazz musicians in recent years, opening ears and minds to sound worlds once jealously guarded by purist audiences and critics. The musical meeting of Emmanuel Pahud, one of the world’s most celebrated classical flute players, with acclaimed jazz pianist Jacky Terrasson has created a fresh, beguiling take on melodies originally conceived for the formal setting of the concert hall or recital room.

La púrpura de la rosa (The Blood of the Rose) is an opera in one act, composed by Tomás de Torrejón y Velasco to a Spanish libretto by Pedro Calderón de la Barca. First performed in Lima in 1701, it is the first known opera to be composed and performed in the Americas and is Torrejón y Velasco's only surviving opera.

This is, in short, a powerful realization of Rameau's first dramatic masterpiece. It cannot … take precedence over Minkowski's complete and stylistically more authoritative reading but it will be for ever treasured by those who recognize in the contributions of Baker and Shirley-Quirk a profound and moving account of their tragic predicament.
- Gramophone, 1996

The decision to use gut strings on all the stringed instruments on this recording gives this attractive account of these six very distinctive sonatas a welcome warmth and colour. Jonas Iten plays with verve and alacrity in works written by one of the 18th century's most celebrated cellists. Jean-Baptiste Barrière was also a viola da gamba player and the choice of gamba for the basso continuo parts adds another authentic dimension to the recording.
- Stephen Pritchard, The Observer