La Bicicletta From Aprile 2016

In its day La scuola de’ gelosi (1778) was one of the best-known comic operas by Antonio Salieri (1750–1825), remaining a box-office hit for decades. All the more astonishing is the fact that it could sink into obscurity. Even Goethe was excited by this masterpiece: “The opera is the audience’s favourite, and the audience is right. It contains an astonishing richness and variety, and the subject is treated with the most exquisite taste. I was moved by every aria.” In the wake of its world premiere in Venice in 1778, La scuola de’ gelosi was performed in opera houses all over Europe, from Dresden, Vienna, Prague and Paris to cities as far away as London and St Petersburg, before it passed into near-oblivion.

Since he became the music director and conductor of the San Francisco Symphony, Michael Tilson Thomas has largely focused his attention on presenting the symphonies of Gustav Mahler in splendid audiophile recordings, for which he has received critical and popular praise. So his first hybrid SACD of works by Claude Debussy comes as a surprise, not only because the sound world is quite different from Mahler's, but Tilson Thomas' interest in Debussy has seemed less obsessive over the years.

Cadiz-based sextet, La Banda Morisca merge oriental and occidental influences, exploring the heritage of al-Andalus and the southern Mediterranean, inspired by Mahgrebi chaabi, the flamenco of Sevilla and Andalucian rock.

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.

Cinq chefs-d'œuvre de Ravel dans cinq interprétations sélectionnées par vos critiques préférés. Merci qui ? Une seule signature en bas de page, mais seize oreilles de Diapason à l'œuvre pour le nouvel Indispensable. Son programme n'est pas le fruit du hasard : il met en perspective les cinq partitions majeures de Ravel après guerre.

Self-proclaimed underground troubadour Arnaud Bukwald, a native of France, is certainly one of the more unique creative forces to enter the prog sphere in the 21st century. With a whimsical, unpredictable approach to composing music, Bukwald's output is every bit as eccentric as it is eclectic. After the world music-oriented Moondragore - ethnic collection, Bukwald's prog career began with the 2011 album bizarremporium. A humorous, almost vaudevillian work, bizarremporium marked the beginning of Bukwald's signature style, mixing jazz and psychedelic rock in a soundtrack-like context. Over the years, Bukwald's music shifted away from its jazz-heavy roots and began to explore psychedelic influences to a greater extent…

La Mujer Barbuda have got started as an Argentine RIO quartet, founded by Martin Pantyrer (saxophones, clarinets), Sergio Álvarez (electric guitar), Franco Fontanarrosa (bass), and Lulo Isod (drums, percussion). They've opened their monstrously innovative curtain with their debut album "Musica Para Cuando Aparece El Monstruo" in 2008, followed by their second reptilian shot "Lagartos Terribles" in 2011, released via an independent label S-Music. "Agridulce" (2016) is their third studio album.