Virginia Biano Mathis

"Johnny's Greatest Hits" is a compilation album by American vocalist Johnny Mathis that was released by Columbia Records in 1958, and has been described as the "original greatest-hits package". It collected all but one of the songs from the first six singles he recorded, including eight A- and B-sides that made the singles charts in The Billboard (now simply known as Billboard magazine) as well as three B-sides that did not chart and one new track ("I Look at You") that was co-written by Mathis but not released as a single. The collection includes "Chances Are", "It's Not for Me to Say", "Wonderful! Wonderful!", and "The Twelfth of Never". This LP stayed on the charts for ten years.

Swiss-french violist Mathis Rochat is quickly gaining attention as “one of the most upcoming and creative violist of his generation” (concerti.de). As a soloist, Mathis has appeared with the Geneva Chamber Orchestra, The Camerata Schweiz and the Norddeutsche Philharmonie.

Christmas Time Is Here is a brand-new full-length album from The Voice of Christmas himself, Johnny Mathis. Marking his seventh decade of recording, Christmas Time Is Here features unforgettable classics such as “Have Yourself A Merry Little Christmas,” “Auld Lang Syne,” and “Santa Claus Is Coming To Town” performed with Broadway superstar, Kristin Chenoweth. This album is yet another example of Johnny’s lasting music legacy, and the indelible impression he continues to have on everyone’s holiday season.

Soprano Edith Mathis has had one of the leading international vocal careers of the twentieth century and was particularly well known for her Mozart and Strauss roles. She studied at the Lucerne Conservatory and made her stage debut there as the Second Boy in Mozart's Die Zauberflöte. After singing in Zürich, she joined the Cologne Opera in 1959. Remaining with the company until 1963, she began singing the major repertory roles.

Alongside the flourishing musical life of Germany’s numerous courts and princely seats, which were of equal cultural eminence with the autonomous »free cities« of the Holy Roman Empire, the country’s cultural landscape became further enriched in the last two-thirds of the 18th century by a burgeoning enthusiasm for concert-going among the middle classes. The Prussian capital, Berlin, came to play a special role in this respect because the young kingdom had in Frederick II (the third monarch to be honoured with the sobriquet »the Great«) a ruler who was particularly fond of music. However, the capital subsequently lost out when, long before he became known as »old Fritz«, the young Frederick transferred his courtly household from Berlin to Potsdam. There he presided over a men’s music club and »put on chamber concerts every evening, in which he usually played flute concertos composed by himself«, as described in Nikolaus Forkel’s biography of Johann Sebastian Bach, where we read of the visit by »old Bach« to his son, Carl Philipp Emanuel, then employed as »chamber harpsichordist« to the Prussian king.

Very few musical compositions truly deserve that overworked adjective “unique,” but it accurately applies to William Walton’s Façade.”] Or perhaps we should call this mostly-early work Façades, as it is recorded here in three parts: “Façade – An Entertainment” (21 pieces dating from 1922); “Façade 2 – A Further Entertainment” (8 more pieces; 1978-79); and the four pieces of “Façade: Additional Numbers” (1922, 1977).

A distanza di oltre dieci anni dall’uscita dell’album “Napoli”, pubblicato con il progetto No-Lounge e divenuto un cult nel suo genere, Virginia Mancaniello lancia il suo primo disco "Ritorno a Napoli".

A distanza di oltre dieci anni dall’uscita dell’album “Napoli”, pubblicato con il progetto No-Lounge e divenuto un cult nel suo genere, Virginia Mancaniello lancia il suo primo disco "Ritorno a Napoli".