Janet Hightower

Music icon, multiple Grammy Award-winner and multi-platinum selling artist Janet Jackson returns with her new album Unbreakable. It is her first new music in seven years and leads with her new single "No Sleeep" on Rhythm Nation / BMG, the new label formed under her recent, barrier-breaking deal with BMG. Producers Jimmy Jam and Terry Lewis (Prince, Mariah Carey, Michael Jackson), commenting on the album said, "It's wonderful to be creating again with Janet. From songwriting, producing, arranging, singing, dancing, acting, she deftly does it all and truly personifies the word artist. Unbreakable is a gift to all of her fans who have steadfastly stood by her. It is a subject for conversation, a plea for compassion, and a call for action from someone who's come a long way, but has got a long way to go, and has much to say about it. In other words, if you want to know what's on her mind you only have to listen."

A majority of well-known composers have written at least a few chamber compositions in their entire lifetime. The most famous would have to be Mozart, Beethoven, Brahms, and probably Prokofiev. Some, including Respighi and Vaughan Williams, are overlooked or even rejected in today's society. Whether it's because of lack of originality or excessive complexities, these sorts of compositions are always left in the dark. Take Rachmaninov's Cello Sonata, for instance. This 35-minute work doesn't receive the complete recognition it deserves. It's overshadowed by the composer's piano concertos and symphonies, all of which are respectfully first-rate works in their own right.

"In the typically genial 2 CD collection of Schubert duets, trios and quartets are resurrected golden age stereo analogue recordings made in 1973. These come to 25 works, all piano accompanied. The artists are the elite of the day. The only name unfamiliar to me was the tenor Horst R Laubenthal. No corners are cut with the notes which have been freshly penned by Malcolm Macdonald. On the other hand there are no texts or translations.

For decades there has been only one recording of Admeto available: a quite splendid performance from 1977 (Virgin Records 5613692) directed by Alan Curtis with Il complesso barocco. One of the first baroque operas to be recorded with original instruments, it reflects the best of the historical performance movement. It is thus with considerable anticipation and curiosity that one approaches this new release of Handel’s Admeto, sung in English (to a fine translation by Geoffrey Dunn), directed by Sir Anthony Lewis, and recorded just nine years earlier in 1968. The cast for this recording is no less remarkable. Dame Janet Baker plays the self-sacrificing Alcestis; Admetus is sung elegantly and expressively by Maureen Lehane; Sheila Armstong is a brilliant and stylish Antigona, and the mezzo soprano Margaret Lensky provides a touching portrayal of the lovesick Thrasymedes.