Nearly a century ago, in 1914, Charlie Chaplin invented his tramp character. Not long before that date, in 1908, the celebrated Italian writer Luigi Pirandello had published an essay entitled L’umorismo (“humour”), referring to a quality that is something rather more than comedy: by way of laughter the contradictions of real life and the truth behind the mask are revealed. Ours is an age of humour, but it is also an age that has seen a renewed awareness of musical theatre, a time when the genre is being re-interpreted in the light of an increasingly complex and sophisticated exploration of the reasons behind it.

The history of opera is inseparably linked with the biographies of singers. Audiences have always been fascinated by the musical highlights and the goings-on behind the scenes alike. The battle for prestige and fame was particularly passionate during the Baroque age.

Les Sauvages by Béatrice Martin carries you beyond the seriousness of this world towards the celestial delights of an ‘oriental’ dream drawn in Indian ink. For her first solo disc, Béatrice Martin has chosen one of the most prestigious harpsichords made by the famous Ruckers of Antwerp, an instrument until then never used in a recording, and an encounter of truly heartfelt emotion.

Conspirare performs a passion by Craig Hella Johnson, a musical response to the tragic death of a young man who has become an American icon and a symbol for hope and empowerment. Johnson has set a rich variety of texts by Lesléa Newman, Hafiz, Hildegard von Bingen, Michael Dennis Browne, and others. Many Conspirare singers are featured as soloists, and the vocal group is joined by a small ensemble of strings, piano (Craig Hella Johnson), guitar, clarinet, and percussion.

Following the stunning success of their best-selling debut, Suzi Digby’s crack vocal ensemble ORA presents their new album: ‘Refuge from the Flames’. Dedicated to the legacy of Girolamo Savonarola, 15th century Dominican and religious reformer, this new CD further showcases ORA's commitment to bringing together Renaissance choral masterpieces and commissioned reflections from contemporary composers. ORA bring a wealth of experience that gilds these pieces, both new and old, into the lustrous works of art they truly are.

„Cappella Amsterdam has performed something extraordinary!“ – Leidsch Dagblad wrote after the performance of Arvo Pärt's Kanon Pokajanen in 2015. The minimal side of his music places Pärt in a kind of meditative scope of composers who arouse deep emotions via slow movements and soft intensity.

Of all Monteverdi’s works, the Missa in illo tempore marks the most important link between the composer and the Franco-Flemish polyphonic tradition. It is here presented alongside motets by Giaches de Wert, maestro di cappella at the Mantuan court at the time when the young Monteverdi was engaged there as a violinist.

After the fine recording made by Lingua Franca Ensemble of German music for oboe ensemble (RIC304: Lustige Feldmusik), Benoît Laurent now presents a fascinating survey of the baroque oboe repertoire. The French oboe enjoyed considerable success in church music, opera and chamber music from the moment of its arrival in Germany, for the instrument’s charms seduced every composer of the period.

Let us once more immerse ourselves in the musical life of Eisenach as it was at the end of the 1670s. One Sunday afternoon, after having played for the services in their respective churches, the cousins Johann Ambrosius Bach and Johann Christoph Bach were sitting in a Bierstube, each with a mug of beer and a meerschaum pipe. A moment of relaxation, with word games, laughter and a discussion about Johann Christoph’s coming marriage.

Bavarian soprano Christiane Karg made her Wigmore Hall debut in 2012 with a beautiful song recital which also became her first release on Wigmore Hall Live [WHLIVE0062]; four years on we are excited to present her second release. A regular guest at the world’s leading opera houses, singing roles from Musetta (La bohème) to Amor (Orfeo ed Euridice), she is also revered for her enchanting performances on the concert platform alongside conductors such as Nikolaus Harnoncourt and Yannick Nézet-Séguin. Christiane is joined by Malcolm Martineau celebrated as one of his generations greatest accompanists.

What was said brings new colours to Tord Gustavsen’s musical palette. His latest trio project builds upon the subtle understanding of his long musical association with drummer Jarle Vespestad, introduces the entrancing Afghan-German vocalist Simin Tander, and explores the tradition of Norwegian church music in a most untraditional way: “For the repertoire of the new project, Simin and I have been working with an Afghan poet, translating and shaping a selection of hymns that I grew up with in Norway into Pashto,” Gustavsen explains. “This process has been challenging and really fruitful.

It is inevitable, reflecting on the title of the album and on the nouns in the tracklist, to go back to the good seasons that jazz has lived in its most recent and casual moments, to moments that have helped to refine the essence of new qualities solos that have given life to a Modern Mainstream, always updated with the best genesis of Rock and "border music".

The Independents' sophomore album 1973's "Chuck, Helen, Eric, Maurice" featured a personnel change - original member Marvin Yancy replaced by Eric Thomas. While Yancy dropped out of active performing, he continued his working relationship with the group, but this time around in the role of songwriter and producer. Co-produced by Jackson and Yancy, the album seemingly sought to find a balance between past successes and some new directions.