As a more consistently light-hearted version, with delightful La Scala sets and colourful costumes, the 1994 TDK Don Pasquale will also be hard to beat. Visually it is a joy, and with three outstanding principals the performance sparkles from start to finish. By not seeming too old, Ferruccio Furlanetto’s portrayal of Don Pasquale is the more convincing, but he has no chance against Nuccia Focille’s minx of a Norina and one certainly feels sorry for him at his discomfiture. Gregory Kunde is an appropriately ardent Ernesto; his voice isn’t creamy but the sings passionately and has good comic timing, and Lucio Gallo enters into the spirit of the story as a wily Dottore Malatesta.

To the heavy metal and hard rock masses, Richie Kotzen is probably best known as the six-string-shredding "hired gun" for such pop-metal outfits as Poison and Mr. Big. But before landing gigs with those two already-established outfits, Kotzen was a solo artist – issuing releases via the Shrapnel label, and landing quite a bit of coverage in guitar magazines at the time. On his 2005 solo outing Acoustic Cuts, Kotzen decided to switch gears, as he traded his trusty electric instrument for an acoustic. It's understandable to assume that the results on Acoustic Cuts will reflect when past pop metallists attempted to show their sensitive side via acoustic-based power ballads.

Like most compilations from his old group the Stranglers, Hugh Cornwell's first solo collection subscribes to the "leave them wanting more" theory, as it whets the appetite instead of fully satisfying. If this was the be-all, end-all when it comes to Hugh's first six solo albums, then cuts like "Picked Up by the Wind" and "Black Hair Black Eyes Black Suit" would be included, but brevity is the thing here, and this tight, no-filler track list packs quite the punch, and that's hard to argue against. New song "Live It and Breathe It" lives up to the other numbers here – as opposed to when the Stranglers would screw up comps with throwaways like a cover of "96 Tears" – and the black humor of the old days is back with the cover art that features Hugh's well-done plus well-revered solo albums, along with a sledgehammer that says "F*ck it all!"

Les Illuminations was premiered by Sophie Wyss in 1939, but, as with much of Britten's work, has been colonised since by tenors. Here, it is a joy to hear Felicity Lott singing a soprano version. Her voice is in the full bloom of youth, and she sings with a thrilling freshness and verve, entirely in keeping with the mood of excitement. There are many delicious moments – how wittily she confides "Des drôles trés solides" in Parade, and explodes with an ecstatic "J'ai seul la clef de cette parade sauvage !" echoing the sole phrase in the opening fanfare, but with a completely different tone. When the same phrase appears again, in Interlude, she sings it in yet another way, echoing the instrumental colouring around it.

Kilroy Was Here is the eleventh studio album by the rock band Styx, released on February 22, 1983. The album is named after a famous World War II graffito, 'Kilroy was here'. It was the final album of original material to be released by the "classic" lineup of Dennis DeYoung, Tommy Shaw, James "J.Y." Young, John Panozzo, and Chuck Panozzo. The album is certified platinum. As of 2018, it is the last studio album by the band to be certified platinum.

Classic Varids album - Vigilante - now available on CD ! Following their third album - Quo Varids - the band returned in 1986 with the stripped down, balls to the wall, Vigilante. Before this album Alan Selway left the group and was replaced by Terry Horbury, who after playing with Dirty Tricks, Ozzy Osbourne and McKitty in the 70's, had short stints with Winner and Strategy before joining Vardis. "Vigilante" was a vicious indictment of industry use and abuse of original artists. This album highlights the fantastic guitar work of Steve Zodiac, who in 1982 was placed in the top 15 Rock guitarists by Sounds Magazine.

Nö Sleep at All is the third live album by the band Motörhead, released 15 October 1988, on the GWR label, their only live album and last release with the label as legal matters continued between the parties…

Besides having a flourishing career as a composer, Steffen Schleiermacher has made a name for himself as a pianist and conductor, focusing on new music. This MDG release features three very early works by Philip Glass from 1968 and 1969, Music in Similar Motion, How Now, and Music in Fifths. The works are stylistically closely related and come from a point in the composer's career when he was exploring the use of repetitive structures varied through additive and subtractive processes. Their tonality, limited pitch material, and constant rhythmic patterns gave rise to the popular misconception that Glass' music is about nothing but repetition. Attentive listening (or any real listening at all) reveals that there is a great deal more going on, and that in spite of the simplicity of the material, Glass' radical techniques could produce music of considerable subtlety and seriousness of intent, as well as having a surface that, for certain audiences, was compelling and immensely appealing.

The departure of Ronnie James Dio gave Ritchie Blackmore a chance to reinvent Rainbow, which he does to a certain extent on Down to Earth. Adding former Deep Purple colleague Roger Glover as bassist and Graham Bonnet as vocalist, Blackmore tones down some of the excess of the Dio years, particularly in terms of fantastical lyrics, and turns to straight-ahead hard rock, only occasionally adorned by prominent synthesizers. In general, their material is fairly solid, and "Since You Been Gone" easily ranks among the band's best songs, but overall the record is a little generic and sounds very much of its time – namely, the late '70s, when album rock still ruled the arenas.

Twenty-eight years after the band's inception, Deep Purple venture into the most adventurous album of their storied career. With guitar virtuoso Steve Morse, of ex-Dixie Dregs and Kansas fame, replacing the legendary Ritchie Blackmore (his second departure from the band), fans get the breadth of Morse's influences…

More of a singles collection than a proper album, The World We Knew illustrates how heavily Frank Sinatra courted the pop charts in the late '60s. Much of this has a rock-oriented pop production, complete with fuzz guitars, reverb, folky acoustic guitars, wailing harmonicas, drum kits, organs, and brass and string charts that punctuate the songs rather than provide the driving force. Many of the songs recall the music Nancy Sinatra was making at the time, a comparison brought into sharp relief by the father-daughter duet "Somethin' Stupid," yet the songs Sinatra tackles with a variety of arrangers - including Nancy's hitmaker Lee Hazlewood, Billy Strange, Ernie Freeman, Don Costa, and Gordon Jenkins - are more ambitious than most middle-of-the-road, adult-oriented soft rock of the late '60s…