Opera’s greatest stories are still being written, here and now.

New York-based early music ensemble Concordian Dawn presents Veni Redemptor Gentium, a joyful and introspective musical celebration of the Christmas season centred around songs spanning the thirteenth through the fifteenth centuries.

Dennis van Aarssen (born 2 June 1994) is a Dutch singer who won the 9th season of the Voice of Holland.

The material seeks to recreate the music of the Spanish court of the eighteenth century, specifically the "Mass of the Deceased for Luis I", a piece by José de Torres.

With great sensibility and attention to history, composer Thomas Agerfeldt Olesen unites tradition with innovation.

"Healing Songs" is a 2025 jazz album by French double bassist Henri Texier featuring a lineup that includes Hermon Mehari on trumpet, Emmanuel Borghi on piano, Gautier Garrigue on drums, and Manu Katche on percussion. The album was released by the Label Bleu label and features nine tracks.

Christmas comes in new and unexpected guises – like last leaf’s fall, in Rowan Williams’s poem Advent Calendar.

Kevin Sun is a saxophonist and composer living in New York City. His music has been called “…intense, harmonically virtuosic and compositionally complex" by DownBeat Magazine, and he has eight releases to date as a leader—most recently Lofi at Lowlands 一, in May 2025.

Oh Rock! contains 12 of the 21 tracks that Hampton & His Orchestra recorded for the MGM label in 1951.

Jazz is music of community, a continually developing social reflection on language and how it connects us creatively.

Håkan Hardenberger and Roland Pöntinen have enjoyed a fruitful artistic relationship for over forty years. They have played, toured and recorded together and have devoted much time and energy to repertoire ideas. ‘For us to create a new programme is an exciting, stimulating and fun process’, says Pöntinen. ‘A process that often mirrors our mutual interest in jazz, film and other art forms. The idea of juxtaposing works of contrasting characters, or composed centuries apart, can often shed new light on the music itself.’ We are treated here to recently composed works, arrangements, favourites of both musicians and standards from the Great American Songbook.

This album brings together Johannes Brahms’ two masterful sonatas for cello and piano, works often regarded as “veiled symphonies” for their symphonic breadth within the chamber music form. Written over two decades apart, these sonatas showcase Brahms’ profound love for the cello—an instrument he studied in his youth—and his deep engagement with musical traditions stretching from Bach to Beethoven. The E minor Sonata, Op. 38, conceived as an homage to Bach, unfolds with striking intensity, combining Romantic expressiveness with contrapuntal rigor. Its expansive first movement, dance-inspired minuet, and fugal finale embody Brahms’ ability to blend historical influences with fresh emotional resonance.

The Accademia Bizantina is an ensemble specialized in the performance of 17th and 18th century musical repertoire on period instruments, although it also includes the repertoire of Monteverdi and some late Renaissance composers.

Furry Worried Ape (TER130) is the second album by Badge Epoch — Maximilian “Twig” Turnbull’s solitary variant of the Badge Époque Ensemble — and the first in his discography made almost entirely alone. Following 2021’s Scroll, a 2xLP sprawl which WIRE praised as “an attempt to fit a whole world onto two slabs of vinyl,” this one is all scalpel and no sprawl: six tracks, under half an hour, produced and mixed with forensic patience by Turnbull at Clyde’s Temple, his garage home-studio.

Listening to Schubert’s music is an invitation to enter an enchanting imaginary world, whose fragrance is so powerful that both listener and performer cannot help but surrender to the dream they feel blossoming within them, spellbound to the point of momentarily losing all sense of reality. Paradoxically, Schubert thus demands great mastery from the performer and a very precise knowledge of the smallest details of the score.