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Hailed by Hans von Bülow as the “Old Testament” of music history, the Well-Tempered Clavier has been the object of a substantial amount of publications and research over the past three centuries. A detailed analysis would surpass the limits of a CD booklet and could not do justice to the work’s complexity: readers will thus excuse me for limiting myself to a few personal remarks.

Faith Evans releases her duet album with Notorious B.I.G called "The King & I."
It’s been a long time in the making, but after months of heavy promotion, Faith Evans’ anticipated duet album with Notorious B.I.G titled The King And I has finally arrived two days before what would’ve been Biggie’s 45th birthday.

In the first century of its life, the musical genre of the Oratorio knew an impressive growth, in terms of quantity (a proliferation of compositions), quality (some early works which are absolute masterpieces, and a plethora of excellent or very good Oratorios), subjects, and styles. Many of the greatest composers of the seventeenth century tried their hand in this genre, and for some it was one of the main veins of their artistic activity. In the early Baroque, the beating heart of this genre was doubtlessly to be found in Italy, with a particular focus in the city of Rome, whence it had originated thanks to the activity of the Florentine St. Philip Neri. However, the expansion of the genre also implied a geographical spread, which was the precondition for the Oratorio’s subsequent conquest of all European countries.

In Manhattan, Genevieve Gernier owns a flower shop and has a personal dating rule: a limit of five dates with a man to avoid a relationship. When Greg Gatlin buys a restaurant nearby her shop, they decide to date. However, after five dates, Genevieve is not happy with her rule and does not know how to meet Greg again.

Gli Orazii e I Curiazii was premiered at La Fenice Opera House in Venice on 26 December 1796 at the height of turmoil caused by Napoleon's successful military campaign in Italy. Antonio Sografi based his libretto on a tragedy by Corneille, which in itself is an indication of the spirit of the age. Indeed, he and Cimarosa were following a trend towards the glorification of the republican virtues of ancient Rome in the wake of the French revolution and the spread of its beliefs. Gli Orazii e I Curiazii shows that, somewhat like Rossini, Cimarosa moved with ease between the subjects of comic and of serious opera. Cimarosa's vocal writing is exemplary in its attention to the singers' breathing and to the development of the music and avoids excessively high notes, long vocalizations, vocal acrobatics and over-heavy embellishments.

Luca Guglielmi (Turin, Italy, 1977) is known for his historically informed interpretations of music from all periods, his wide repertoire, and his strong commitment to the study and application of the phenomenology of music.