For many Italian musicians Premiata Forneria Marconi (PFM) are the pioneers of the Italian progressive rock music (rock progressivo Italiano). Without doubt the band belonged to the leading bands of the prog rock movement in the seventies. Today PFM are still active and they still play their wonderful music during live concerts. All those years, they succeeded in surviving as a band although it wasn't always easy to overcome difficulties. One of the reasons why the band survived is the fact that they came up with new ideas, just like they recently did by mixing their own compositions with those of nine classical composers. They recorded these pieces for a double album called PFM In Classic: Da Mozart A Celebration.
For this album the surviving members of the seventies Franz Di Cioccio (vocals, drums, percussion), Patrick Djivas (bass) and Franco Mussida (guitars, vocals)…

This live recording of Georg Philipp Telemann's "Flavius 'Bertaridus" is a rarity: The performance at the Innsbruck Festival of Early Music has been hailed by critics and frenetic. The Frankfurter Allgemeine Zeitung described this world premiere recording under the direction of Alessandro di Marchi - one of the leading specialists in historical performance practice. As "a milestone in German music history," "Not a single scene, no aria want to miss it," the Neue Zürcher Zeitung writes to di Marchis spectacular interpretation with orchestra and chorus of the Academia Montis Regalis. The opera is entirely filled with wonderful singers like Maite Beaumont, Ann-Beth Solvang and Nina Bernstein.

Pimpinone o Vespetta e Pimpinone-Intermezzo u ópera cómica en tres actos con música de Tomaso Albinoni y libreto en italiano de [Pietro Pariati]. Se estrenó en el Teatro San Cassiano Venecia 26 de noviembre 1708. Esta obrita pertenece a un género operístico propio del Barroco, Intermezzo , que se desarrollaba en los entreactos óperas serias. En este caso, se representó entre acto y acto de la ópera Astarto, dramma per musica en tres actos del mismo Tomaso Albinoni, con libreto de Apostolo Zeno y Pietro Pariati. Gozó de gran notoriedad en las tres décadas siguientes, representándose también fuera de Italia en lugares como Viena.

During the early 1990s Antonio Florio (together with Dinko Fabris) was making substantial discoveries in the field of Baroque repertory from Naples for performance and recording, and now that Florio and I Turchini are making new recordings for Glossa (Caresana’s Tenebrae and L’Adoratione de’ Maggi), we are delighted to be bringing back into circulation some of those earlier ground-breaking recordings, signed by Roberto Meo and Sigrid Lee, focusing here – with Il Canto della Sirena – on Neapolitan chamber cantatas from the 17th and early 18th centuries.

Eneide, a five-piece set from Padova, started off as Eneide Pop back in 1970. The boys, still in their teens, were signed by Trident after a successful supporting act for Van der Graaf Generator and an album was recorded and scheduled for release in 1972. For some reason, however, it never came out. The band kept the tapes and finally released it in LP format on their own label in '90 (in a very limited pressing, hence its current high price). The album consists of ten fairly short melodic pieces of typical 70's Italian prog, not overly complex but featuring a nice array of moods and some good interplay between the guitar, keyboard (mostly Hammond but also moog) and flute - although the highly dramatic vocals may require some getting used to.