Written in 1740, Deidamia was the last of Handel’s Italian operas; thereafter he relinquished the form and turned his creative energies to English oratorio. The libretto is based on the myth of Achilles’ boyhood: disguised as a girl on the island of Scyros to escape his fate at Troy, Achilles is unmasked by Ulysses and joins the war, abandoning his lover Deidamia. Despite its heroic subject Deidamia is written with a light, almost comic touch, Deidamia herself providing a central seriousness as she moves from the ecstasies of young love to a tragic maturity, forced to release the boy she loves to his inevitable death. Simone Kermes is Deidamia and Anna Bonitatibus her cynical adversary Ulysses; Alan Curtis’ new recording reveals the many beauties of a very human and appealing work that marks a wistful end to the golden age of Baroque opera.

After the great success of its GENUIN debut album, which was highly acclaimed by the press, the Duo Brüggen-Plank is now following suit: The violinist Marie Radauer-Plank and the pianist Henrike Brüggen play works by the Romanian national composer George Enescu, opening up exciting and unknown worlds for us. Enescu covered a long distance from his first salon pieces to his later works. Genuinely unique, he was both modern and influenced by the ancient, exotic rhythms and harmonies of his homeland. The two musicians approach Enescu's colorful soundscapes with verve and musical splendor, refinement, and expansiveness. A folkloristic discovery—and much more!

Dvorák's Love Songs were drawn from his early composition Cypresses, a set of 18 songs set to the poetry of Gustav Pfleger-Moravsky. The texts are pretty much typical of 19th century love poems, while Dvorák's music is surprisingly commonplace for a composer of such rich melodic gifts. The first few measures of New Miniatures instantly identify them as being written by Martinu, with their spiky harmonies and syncopated rhythms. Indeed, it's these rarely heard songs that take up the majority of this disc, a fortunate thing for us and for this strangely underperformed major 20th-century composer.

Enigma mastermind Michael Crétu took a self-described "omnicultural" approach to his seventh release under the moniker, and while that progressive, pioneering notion looks good on paper, any sharp stylistic changes to the project's signature sound on Seven Lives Many Faces are subtle, to say the least. Once again, Crétu seamlessly blends ethnic fusion, new age, and neo-classical electronica into the perfect background music for a European tourism campaign commercial, peppering each track with his seemingly endless arsenal of samples, both new and old.

Sade’s longest absence yet did not prevent their return from being an event. It at least seemed eventful whenever “Soldier of Love,” released to radio a couple months prior to the album of the same title, was heard over the airwaves. Even with its brilliantly placed lyrical allusions to hip-hop past and present and its mature sound, the single stuck out on stations aimed at teens and twentysomethings, as well as points on the dial that court an older audience. It was the most musical and organic, while also the most dramatic yet least bombastic, song in rotation. Crisp snare rolls, cold guitar stabs, and at least a dozen other elements were deployed with tremendous economy, suspensefully ricocheting off one another as Sade Adu rewrote “Love Is a Battlefield” with scarred, assured defiance.

CD edition of a previously download only compilation from Demon Music Group, with completely revised track listing. This collection features 12 of Belinda Carlisle’s greatest hits at a fantastic budget price. Featuring classic hits such as ‘Heaven Is a Place on Earth’, ‘Circle In The Sand’, ‘Leave A Light On’, ‘Live Your Life Be Free’ and many more.

D.S. Al Coda is the third album by the progressive rock and jazz fusion group National Health. It is a tribute to former member Alan Gowen, who died of leukaemia in May 1981, and consists solely of compositions written by him. Most of these had not been recorded in the studio before, although "TNTFX" and "Arriving Twice" both appeared earlier on albums by Gowen's other band Gilgamesh.

Paul McCartney retreated from the spotlight of the Beatles by recording his first solo album at his home studio, performing nearly all of the instruments himself. Appropriately, McCartney has an endearingly ragged, homemade quality that makes even its filler – and there is quite a bit of filler – rather ingratiating. Only a handful of songs rank as full-fledged McCartney classics, but those songs – the light folk-pop of "That Would Be Something," the sweet, gentle "Every Night," the ramshackle Beatles leftover "Teddy Boy," and the staggering "Maybe I'm Amazed" (not coincidentally the only rocker on the album) – are full of all the easy melodic charm that is McCartney's trademark.

Louisiana guitar slinger Sonny Landreth returns to the studio with his quartet two years after 2017's Grammy-nominated Recorded Live in Lafayette. Blacktop Run is more than just a new studio outing, however. Landreth reunites with producer R.S. Field for the first time since 2005's Grant Street. Field produced Landreth's three breakout sets for Zoo as well as several later albums. He is a studio empath and extends artists full faith and credit. Landreth possesses a distinct sound to be sure, direct, resonant, and simple, but he's restless when it comes to experimenting with styles. He juxtaposes, combines, and balances them with alarming regularity and reckless abandon. But he always anchors them into easily relatable grooves. He and the band recorded live to tape at Dockside Studios.

Of all the various best-ofs and compilations that have come out over time that cover the Go-Go's career, this one is the clearest winner, by a long shot. Though by default it doesn't tell the full story, appearing as it did in 1994, in terms of containing both the famous hits and a slew of rarities and unreleased tracks, Return to the Valley of the Go-Go's is equally valuable for both neophytes and hardcore fans. The first 11 tracks alone make for an entertaining peek into the band's earliest days, with a slew of live cuts from both early rehearsals and gigs, including a number of songs taped at the legendary SF punk venue the Mabuhay Gardens. Everything's rough, energetic, and merry fun – while it's no surprise why some compositions remained unheard in later years, it's still worth hearing how the group pureed everything from straight-up punk to spaghetti Western guitar and girl group right from the start. A real treat is a romp through "Johnny, Are You Queer?" which would later get a more famous (and much more sedate!) take by Josie Cotton. Plenty of rare B-sides from the group's commercially dominant days surface here and there, and as for the big hits, they're available a-plenty: "We Got the Beat," "Vacation," "Our Lips Are Sealed," "Head Over Heels," "Turn to You," and more. Choice album cuts include "Skidmarks on My Heart" and "This Town".