Greatest Hits is a 2001 compilation album by The Cure. The band's relationship with longtime label Fiction Records came to a close, and The Cure were obliged to release one final album for the label. Robert Smith agreed to release a greatest hits album under the condition that he could choose the tracks himself. The band also recorded a special studio album released as a bonus disc to some versions of the album. The disc, titled Acoustic Hits, is the eighteen songs from the North American release re-recorded using acoustic guitars.

The Cure Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few are as enduring and popular as the Cure. Led through numerous incarnations by guitarist/vocalist Robert Smith, the band initially became well-known for its slow, gloomy dirges and Smith's exaggeratedly gothic look, a public image that often hid the diversity of the Cure's music. At the outset, they played jagged, edgy pop songs before slowly evolving into a more textured outfit.

"While avoiding the more gimmicky extremes [in The Four Seasons], there is no lack of character as soloist or conductor from Renaud Capuçon…These galant style pieces [by Chevalier de Saint-Georges] are just as virtuosic as the Italian’s, but emphasising elegant joie-de-vivre more than drama.

Dvořák: Symphony No. 9, Op. 95 "From the New World" captures the iconic blend of European classical traditions and American inspirations in a stunning performance by the Royal Concertgebouw Orchestra under the baton of Nikolaus Harnoncourt.

Beethoven: Violin Concerto & Romances is a masterful recording that highlights the lyrical and virtuosic beauty of Beethoven's works for violin.

It has long been a Philharmonic tradition at the New Year to present a program consisting of the lively and at the same time nostalgic music from the vast repertoire of the family of Johann Strauß and its contemporaries.

Digitally remastered edition of this 1978 classic album from the acclaimed percussionist Bill Summers.

Norma Jean's last album for RCA is up to her usual standards. Highlights include " The Lord Knows I'm Drinking" and the title song.

Trumpeter Jun Iida's warm, inviting tone, astute composition choices and his sublime sense of melody lead the way on his debut recording.

Iida Antola's debut album "The truth about love", with Kirill Kozlovski on piano.

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

La bohème is an opera in four acts, composed by Giacomo Puccini between 1893 and 1895 to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème (1851) by Henri Murger. The story is set in Paris around 1830 and shows the Bohemian lifestyle (known in French as "la bohème") of a poor seamstress and her artist friends.

The Cure’s new album, Songs of a Lost World, is set for a live release called Songs of a Live World Troxy London MMXXIV.
Released at the start of November, Songs of a Lost World is the band’s first album in 16 years, and their first number one album in the UK since 1992’s Wish. On the day of release, The Cure performed the album in full at London’s Troxy venue, and it’s this live performance which makes up Songs of a Live World. Whilst the performance on the night also saw The Cure play a number of hits and fan favourites, Songs of a Live World is limited to the tracks from the new album.

Step into the world of rising indie pop vocalist NIA NADURATA with her debut EP Still Living With My Parents - a musical journey through the highs and lows of emerging adulthood.

Surrounded by violinists Sarah Nemtanu, Deborah Nemtanu and Yibin Li, Christophe Giovaninetti, eminent chamber musician, presents his compositions to us for the first time. Six solo, duo, trio and quartet pieces make up this album. They were composed over the last ten years and draw their inspiration in part from the minimalist and repetitive American school of music. Four of them have the particularity of being constructed from motifs borrowed from works by Vivaldi, Bach, Paganini and Bruckner. “My inspiration lies mainly in a general idea capable of freeing itself from time, a more or less suspended atmosphere, a floating state of being” (C.Giovaninetti).