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Up and coming bel canto specialist Daniele Rustioni leads the BBC Symphony Orchestra in Bellini's first opera, Adelson e Salvini, written in 1825 while the composer was still a student at the Naples Conservatory. This is Opera Rara's third complete opera recording of music by Bellini, following La straniera and Il Pirata, and is the symphony's fourth collaboration with the label. Daniela Barcellona sings the role of Nelly and is joined by Enea Scala as Salvini and Simone Alberghini as Lord Adelson. Opera Rara's revival is based on a new critical edition using Bellini s original score. This studio recording was made a week prior to a concert performance given at the Barbican in May of 2016.

Vincenzo Bellini was among the most important Italian opera composers of the early 19th century, and the quintessential representative of its bel canto tradition. Despite his enduring renown, his official operatic debut Bianca e Gernando was known only in its revised version of Bianca e Fernando until this rediscovery and revival at Bad Wildbad in July 2016. Set in the ducal palace of Agrigento and with its tale of secretive plots and triumph over tyranny, this original version of the opera presents both unknown music and significant differences from the revised version, giving its dramatic shape a distinctive new character.

Vincenzo Bellini was among the most important Italian opera composers of the early 19th century, and the quintessential representative of its bel canto tradition. Despite his enduring renown, his official operatic debut Bianca e Gernando was known only in its revised version of Bianca e Fernando until this rediscovery and revival at Bad Wildbad in July 2016. Set in the ducal palace of Agrigento and with its tale of secretive plots and triumph over tyranny, this original version of the opera presents both unknown music and significant differences from the revised version, giving its dramatic shape a distinctive new character.

This live double album documents the first modern performance of Donizetti's sparkling opera buffa Olivo e Pasquale, recorded at the Donizetti Festival of Bergamo in October 2016. Baritone Bruno Taddia and bass-baritone Filippo Morace star in the story of two rich merchant brothers from Lisbon who habitually weigh everything against its bargaining power. Soloists are joined by the Coro del Teatro Donizetti di Bergamo, accompanied by the Orchestra dell'Accademia Teatro alla Scala led by Federico Maria Sardelli for this unique production.

Bianca e Falliero was commissioned by La Scala, Milan, for its prestigious Carnival season of 1819-20, enjoying a run of no fewer than 39 performances. Rossini responded with a score the virtuosity and expressivity of which outdid even his Neapolitan works. Prevailing tastes at La Scala meant that ensembles predominated over arias but behind the conventional dictates Rossini lavished the utmost care on his work, fashioning an opera full of dramatic coloratura and powerful theatrical craft and notable for its rich and often surprising use of harmony.

The genesis of Rossinis first full-scale opera Demetrio e Polibio is shrouded in speculation, but its initial intention as a family opera for the tenor Domenico Mombelli, with roles for his daughters and a libretto by his wife seems clear. Its narrative of political turmoil, romance, kidnap, and the ultimate blessings of true love and unity is a prelude to subjects to which Rossini would frequently turn in future triumphs. The composers facility for melody and his genius for combining voices into the loveliest of duets is already much in evidence in this confident but rarely heard debut.

R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground.

R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground.