Mary & George

George Michael (born Georgios Kyriacos Panayiotou; 25 June 1963 – 25 December 2016) was an English singer, songwriter, record producer, and philanthropist who rose to fame as a member of the music duo Wham! and later embarked on a solo career. At the time of his death, Michael had sold over 115 million records worldwide, making him one of the best-selling music artists of all time. He achieved seven number-one songs on the UK Singles Chart and eight number-one songs on the US Billboard Hot 100. Michael won various music awards, including two Grammy Awards, three Brit Awards, three American Music Awards, 12 Billboard Music Awards, four MTV Video Music Awards, and six Ivor Novello Awards. In 2008, he was ranked 40th on Billboard's list of the Greatest Hot 100 Artists of All Time.

With acclaimed recordings of the Symphonies and selected orchestral works, Cpo has gone some way in demonstrating this American composer was one of the twentieth century’s most important composers. Antheil wrote his one act opera The Brothers in 1954. The libretto, penned by Antheil himself, drew on the biblical story of Cain and Abel. Its setting is the working-class world of post-war America, and the four men and one woman presented by Antheil on stage are all damaged and traumatized.

Countertenor Tim Mead leads an all-star cast in the Early Opera Company’s recording of Handel’s Amadigi di Gaula, conducted by Christian Curnyn. The opera was first performed in London in 1715, in the first season under the reign of George I, in the King’s Theatre on the Haymarket. The complex, twisting plot features lovers Amadigi and Orianna, imprisoned by the sorceress Melissa (who wants Amadigi’s love). Amadigi’s ally Dardano turns against his friend when he realises his love for Orianna (with whom Dardano is in love) and sides with Melissa. Her plans are repeatedly foiled, and true love triumphs at the final curtain! Amadigi is considerd the finest of his early London operas in terms of musical sophistication, theatrical pacing, and a perfectly balanced exploration of the interconnected relationships, motivations, and emotional divergences among just four dissimilar yet equally arresting characters.

It is a studio production with all the benefits of excellent acoustics, perfect balance, no disturbing noises from stage movements or audience reactions and the option to re-record momentary lapses. And there is another advantage: these studio sessions were based on a staged production at the Thesaloniki Concert Hall in March 2008! I suppose this is a misprint. If it is, this is the only error in this wholly delightful production.

In the winter of 1733-1734, the opera houses of London were abounding in Ariannas. In late December, Porpora's Arianna in Nasso was staged by the Opera of the Nobility. In late January, Handel's Arianna in Creta was staged by the composer's own opera company. Comparison, apparently, proved odious – and fatal: Porpora's Naxos Arianna has fallen from the repertoire while Handel's Cretan Arianna has barely hung on by her finger tips. This 2005 Greek performance with George Petrou leading the Orchestra of Patras is the work's first recording in decades – and, thankfully, it's quite fine.