Bach: Sonatas for Viola da Gamba

Atsushi Sakaï · Christophe Rousset

Johann Sebastian Bach

The three Sonatas BWV 1027–1029, paired this time with members of Rousset's long associates at Les Talens Lyriques — Sakaï's viola da gamba in dialogue with the harpsichord rather than a concertante reading.

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Cavalli: La Calisto

Ensemble Correspondances · Sébastien Daucé

Francesco Cavalli

Daucé and Correspondances turn from the French sacred repertoire that defined their early catalogue to Cavalli's Venetian opera of 1651 — Faustini's mythological pastoral with its mortal heroine pulled between Jupiter and Diana.

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Bach: Johannes-Passion

Pygmalion · Raphaël Pichon · Julian Prégardien

Johann Sebastian Bach

Pichon's first studio recording of the John Passion after a decade performing it on tour — Prégardien as Evangelist, Montague Rendall as Christus, and a full operatic-scale solo line-up around the Pygmalion choir and orchestra.

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Reines

Véronique Gens · Ensemble Les Surprises · Louis-Noël Bestion de Camboulas

Jean-Baptiste Lully · Marc-Antoine Charpentier · André Campra

A recital programme around the queens of the French baroque stage — Armide, Médée, Phèdre, Iphigénie — drawn from Lully, Charpentier, Campra and Rameau. Bestion's third Alpha disc with Les Surprises after the 2024 Charpentier and the Versailles Te Deum.

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Mozart: Sonatas for Fortepiano & Violin, Vol. 4

Isabelle Faust · Alexander Melnikov

Wolfgang Amadeus Mozart

Fourth instalment of the Faust–Melnikov complete cycle on period instruments. Faust's Stradivari paired with Melnikov's Anton Walter fortepiano — the same combination that opened the series with Vol. 1 in 2019.

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M'a dit Amour

Julie Roset · Susan Manoff

Roset's first dedicated French art-song recital — the baroque soprano best known for Vivaldi and Handel opera turns to Hahn, Fauré, and the Belle Époque mélodie tradition with pianist Susan Manoff.

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Vivaldi: Masques

Paul-Antoine Bénos-Djian · Café Zimmermann

Antonio Vivaldi

A countertenor recital drawn from Vivaldi's operas — arias originally written for the female contralto and male alto castrato roles that populate the Venetian stage works. Café Zimmermann provides the orchestral fabric.

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