During the early nineteenth century the new 1804 Viennese version of La Clemenza di Tito, was Mozart's most popular opera in Europe. However, in keeping with the practice during that period, it was performed in versions adapted to the times and the taste of the opera public and this is precisely the starting point for our recording's conductor Alessandro De Marchi. He would like to present Tito in the form in which it was staged and acclaimed in great houses from the Vienna Court Opera to the Milan Scala and from Dresden and Hamburg to Paris during the early years of the nineteenth century. Our recording is based on the acclaimed production at the Innsbruck Festival Weeks 2013 with the Academia Montis Regalis performing on historical instruments.

Helena Juntunen is currently one of Finland s most dazzling young sopranos to have established an international career. Her responsive soprano voice enraptures audiences with its freshness, and her phrasing is praised for its expressive and natural quality. Helena s career in Finland was established through winning many competitions, one of the most important of which was the ladies section of the Lappeenranta Singing Competition in 2002, and in October 2006 she was awarded the Karita Mattila prize.

Demofoonte dates from the early Milan years of Christoph Willibald Gluck (1714-1787), long before the radical reform operas for which he is most famous and his break with opera seria and the librettos of Pietro Metastasio. Gluck arrived in the northern Italian city in 1737 and was mentored there by composer Giovanni Battista Sammartini. Though Sammartini primarily composed symphonies and music for the church, Milan boasted a vibrant opera scene, and Gluck soon formed an association with one of the city's up-and-coming opera houses, the Teatro Regio Ducal.

Original 60s, 70s, 80s Stars!

This was to be the end of the line for Italian word-setting by Viennese composers: once the confident sentiments that belonged to the poet Metastasio's opera seria felt the chill and threatening wind of Enlightenment and Revolution, their time was up. Even we, for the most part, prefer to remember the German-speaking Beethoven, Schubert and Haydn. So it is good to be reminded of their responses to the Italian muse (usually as part of their craft-learning student work) in this particularly well-cast recital. Central Europe, in the person of Andras Schiff meets Italy, in Cecilia Bartoli, to delightful, often revelatory effect.

The story of Campo di Marte (named after an area of Florence) is a familiar one in the annals of Italian progressive rock. Like many of their fellow countrymen they released one album and due to a lack of interest and record company promotion split up. In fact the band had already called it a day before the album was released. Nevertheless it remains an important release and well worth seeking out for anyone with more than a passing interest in the genre.
Musically the band played classical influenced symphonic prog alternating with a heavy rock style. Fans of PFM should find much to their liking and parallels can be drawn with De De Lind on the heavier sections. A high standard of musicianship is present and the albums subject matter deals with the futility of war. Confusion may arise with the sequencing of the album…

The Art of Renée Fleming is essentially an album of the soprano's most popular hits, probably not targeted at listeners who are already big fans (who are likely to already have the albums from which these selections were culled), but at more general audiences interested in expanding their operatic horizons. With a few very familiar exceptions, the songs and arias are from the Romantic and post-Romantic eras, and showcase the luxurious creaminess of Fleming's voice and her ability to spin out melodic lines with seamless, soaring lyricism.

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Murple unfortunately released only one album (until their belated reunion in 2008) titled "Io Sono Murple" which stands out as a superb piece of 70's Italian Progressive Rock. Centred around the symphonic keyboard and piano work of Pier Carlo Zanco this album blends all of the progressive rock characteristics that made this such a beloved region for this art rock genre. Comprised of just two lengthy tracks (side one and side two) "Io Sono Murple" draws on the classic 70's Ital-prog vibes with gorgeous piano and synthesizer work mixed with fantastic guitar, bass and drum interplay. The 2 songs are both drop dead fantastic and contains the romanticism of I Pooh and Locanda delle Fate with the musical prowess PFM.

Italian-born Caterina Valente comes from one of Italy's most prestigious families of artists. Her mother Maria Valente was the most famous circus clown of her time, her brother Silvio Francesco (1927-2000) was also active in show business and made numerous recordings and performances together with Caterina. Caterina was already performing in the circus ring with her siblings at the age of five. Her extraordinary international career began in 1953 as a guest singer with the Kurt Edelhagen Orchestra. Her first record, Istanbul, reached the top 20 of the German charts. With her first No. 1 hit Ganz Paris träumt von der Liebe, Caterina Valente remained in the German charts for 36 weeks. The song sold half a million copies in Germany, which was unusually high for the time. Other top placings included Baiao Bongo (#2, 1955) and her second No. 1 hit Wo meine Sonne scheint (1957), followed by Tschau Tschau Bambina (#2, 1959) and her third No. 1 Ein Schiff wird kommen (1960). At the beginning of the 1960s, Caterina Valente achieved further top placings with Pepe (#3, 1961), Ein Seemannherz (#5, 1961), Quando, Quando (#9, 1962) and Rosen sind rot (#7, 1962).

Patty Pravo, one of Italy’s most iconic and enduring pop stars, shines brightly in her 2013 compilation album, Best of Patty Pravo. This album is a carefully curated collection that spans the breadth of her illustrious career, showcasing her unique voice, charismatic style, and the timeless quality of her music.

After having revisited Dante's "Divine Comedy" ala Progressive rock, Finnish fanzine Colossus and French label Musea dig deeper into Italian literature of the Renaissance with another classic: Giovanni Boccaccio's "Decameron". Many bands (Nexus, Phideaux, Daal, The Samurai of Prog, Jukka Kulju, Senogul and others) worked hard on that beutiful four-CDs album, worth listening.

When it comes to younger generation musicians dedicated to preserving and advancing the fine art of mainstream jazz guitar culture, Pasquale Grasso has become part of the upper echelon of living practitioners. Through his precision-geared, clean-toned and tradition-steeped legacy in progress, the virtuosic Italian-born and NYC-based guitarist has gained due respect in the guitar scene–including high praises from Pat Metheny–and beyond. After establishing himself through work with celebrated vocalist Samara Joy and a series of recordings dedicated to such jazz icons as Bud Powell (one of his heroes), Charlie Parker, Duke Ellington, Thelonious Monk and 2022’s genre tribute Be-Bop, Grasso comes out swinging in a more varietal way on his bold new trio album Fervency, available now on Sony Music Masterworks.

Here, a year after her sensational Metropolitan debut as Prokofiev’s Natasha from War and Peace, comes the debut solo recital album of 30-something soprano Anna Netrebko. She hails from southern Russia, and her emergence from the life of a conservatory student has a touch of the Cinderella tale—the bit, that is, about being discovered by Gergiev mopping floors for the Kirov as a part-time job and making her way into the Kirov's ranks.

In the bicentenary of Paisiello’s death, Catania’s Bellini Theatre staged Fedra, a world premiere performance in modern times of this opera by the composer from Taranto. It was a musical and cultural operation of great interest, which saw the revival – based on the original manuscript and on various transcriptions – of a rich, complex score, and attracted the attention of the Italian and international critics. The French conductor Jérôme Correas, an authority in this repertoire, was on the podium. Fedra had only been performed once in the 20th century for a radio recording and had never been staged in our century before. That single radio recording, however valuable, is however incomplete and, unlike this edition, unfaithful, in many ways, to the original score.