Camilo Blanes Cortés (born 16 September 1946), better known by his stage name Camilo Sesto, is one of the most famous singers from Spain. He is also a songwriter, a music producer and composer of romantic pop and rock ballads in the Latino genre. Sesto sang in two pop bands during the 1960s and won a contest in a Madrid TV show. He played a part in the Spanish filming of Shakespeare's Hamlet. Later, he teamed up with singer and producer Juan Pardo, but success would come on its own accord, with his own music works. Camilo Sesto has sold over 175 million albums worldwide, excluding sales of all artists who helped and produced.

Camilo Blanes Cortés (born 16 September 1946), better known by his stage name Camilo Sesto, is one of the most famous singers from Spain. He is also a songwriter, a music producer and composer of romantic pop and rock ballads in the Latino genre. Sesto sang in two pop bands during the 1960s and won a contest in a Madrid TV show. He played a part in the Spanish filming of Shakespeare's Hamlet. Later, he teamed up with singer and producer Juan Pardo, but success would come on its own accord, with his own music works. Camilo Sesto has sold over 175 million albums worldwide, excluding sales of all artists who helped and produced.

"…This dramatic and involving 'Parsifal' raises Marek Janowski's epic Wagnerian journey to a new level of excellence that one hopes will be maintained in the performances and recordings yet to come - an exciting prospect for all Wagnerites!" ~sa-cd.net

The first disc dedicated to the works of Alfred Schnittke on BIS was released in 1987, and has since been followed by 23 other titles, including a large part of his chamber music as well as the symphonies and other orchestral works. That first disc featured Concerto grosso No.1 in the original version for two violins and strings – the work which to some extent became Schnittke’s breakthrough in the West in the late 1970s. On the present disc that same work is heard again, but now in a world première recording of Schnittke’s own version with solo parts for flute and oboe. Soloists are Sharon Bezaly and, on the oboe, Christopher Cowie , making his first appearance on BIS.

The Tapiola Sinfonietta here performs Kalevi Ahos three chamber symphonies: three works that stretch the expressive capabilities of a string orchestra, and are thus highly demanding for the players. The solo alto saxophone part in Chamber Symphony No.3 was written for the soloist John-Edward Kelly who appears here. Aho describes the piece as a hybrid of chamber symphony and saxophone concerto. The Tapiola Sinfonietta has earned high praise from reviewers around the world for its recordings ranging from Arvo Pärt to Saint-Saëns and von Weber. The conductors Jean-Jacques Kantorow and Stefan Asbury are both close collaborators with the orchestra.

Hyperion’s Record of the Month is the third double-volume release in Marc-André Hamelin’s much-praised series of Haydn’s keyboard sonatas. Haydn wrote around sixty keyboard sonatas and this selection of eleven focuses on those from the 1770s, including the great C minor sonata from the composer’s ‘Sturm und Drang’ period, with its dynamic contrasts and virtuoso demands. These are bookended by three from Haydn’s earliest output from the 1750s, most likely penned for his young female pupils to play, and the D major sonata written during the second of the mature composer’s triumphant London visits in 1794.

“His technically secure playing displays a real feeling for the pieces’ ever-changing colours and for the logic leading one phrase into another, his tiny rhythmic adjustments never disrupting the flow.” BBC Music Magazine

Allan Pettersson composed his Ninth Symphony in 1970, two years after the Seventh had been given a triumphant première conducted by Antal Dorati. This had brought him greater recognition than ever before, but at the same time his health was deteriorating even further, and shortly after completing the Ninth Pettersson was hospitalized for a period of nine months. It is striking that he at such a time should have chosen to compose what is the longest of all his works – in the score Pettersson himself estimated the duration to ‘65–70 minutes’, and the first recording of the work actually lasted for more than 80 minutes.