Andrea Pirlo4

Giya Kancheli is a Georgian composer whose intensely personal style is closely related to Minimalism and New Spiritualism.

Unique to the current catalogue, a keyboard-only version of six attractive suites by the perennially under-rated Telemann, and played with tremendous verve by an experienced specialist in Baroque keyboard masterpieces.

Internationally renowned Italian tenor Andrea Bocelli releases breathtaking new album, Believe, celebrating the power of music to soothe the soul. It follows his record-breaking `Music for Hope' performance at Easter from Milan's historic Duomo cathedral. Features classic favorites, a previously unreleased track from late Italian composer Ennio Morricone, Gratia Plena (from acclaimed film Fatima), duets w/ Alison Krauss & Cecilia Bartoli and interpretations of Ave Maria and Cohen's Hallelujah.

Following the spiritually flavored Sacred Arias, Andrea Bocelli presents an album of the music of Giuseppe Verdi, covering arias from several operas, leaning heavily on Il Trovatore, La Triviata, and Rigoletto. Supported by the Israel Philharmonic under the direction of Zubin Mehta, Bocelli reprises his role as the crossover-friendly opera tenor, offering his interpretations with capability and grace and warmly embracing the songs with his familiar voice…

Andrea Zani (1696-1757) was active in his native northern Italy but his career included an extended period in Vienna in the 1730s, where he enjoyed the patronage of Count von Schönborn. These 12 cello concertos survive in manuscript parts in the Schönborn archive and have been rediscovered by Zani’s biographer, the New Zealand musicologist Jill Ward. They make a notable addition to the 18th-century cello repertoire; the idiom is quite Vivaldian but tending towards the decorative elegance characteristic of the middle of the 1700s and demonstrating a distinctive, pleasing melodic quality.

Andrea Rost gained recognition in the 1990s as one of the world's leading new lyric sopranos. Her family was not especially musical, but, she says, she was always singing. She copied what she heard on the radio and joined the school chorus. She was 16 when she first attended the opera, at the Budapest Opera House. The fare was Donizetti's Don Pasquale. She was entranced by the blend of music, story, and dramatic staging and said, "Oh my God, I have to do this." She studied voice, then entered the Franz Liszt Academy of Music in Budapest. Her teacher was Professor Zsolt Bende.

Andrea Bacchetti follows his album of sonatas by Baldassarre Galuppi with another little-performed 18th century Venetian, Benedetto Marcello, whose work has a surprisingly modern character. The "Sonata III", for instance, opens with a sequence in which the right hand plays the same note 48 times in rapid succession, while the left cycles quadruplets around it – the kind of gambit you'd expect from a Cage or Feldman, but hardly from a contemporary of Vivaldi. Marcello is said to have once fallen into a grave that opened beneath him, a trauma perhaps responsible for the austere, near-spiritual logic of pieces such as the "Sonata V", where the absence of frills prefigures the enigmatic miniatures of Erik Satie.