Come Un Cammello In Una Grondaia is Franco Battiato's sixteenth album, released in 1991.

Giacomo Puccini’s much-loved opera Tosca contains some of his most famous lyrical arias. It is also a powerful and tragic theatre piece set in politically dangerous times featuring moments of courage and romantic tenderness. The expressive force of its narrative and the power of Puccini’s strikingly inventive score has made it one of the most frequently staged operas of all time. Daniele Gatti conducts this live performance from Maggio Musicale Fiorentino with a cast acclaimed for its impressive vocal and dramatic characterisation.

CAMERATA MEDIOLANENSE are one of these extremely rare musical gems that are hard to categorise. The Italians defy all expectations and transcend the usual conventions about formats, style, and how to generally compose and perform music. With the sixth studio album "Atalanta Fugiens" ("Atalanta Fleeing"), CAMERATA MEDIOLANENSE return to what might be dubbed their 'classic style', which means a strong set of percussion from the rhythm section with light touches of the keyboards achieving a perfect balance with the soaring melodies performed by all vocalists consisting of the wonderful sopranos Carmen, Chiara, and Desirée in the lead as well as harmonious choirs.

Sarah Fox presents a selection of Mozart’s Concert Arias, recorded with the Orquesta Sinfónica de Castilla y León under Roberto Fores Veses, with Malcolm Martineau at the piano. Spanning Mozart’s career, the programme includes Conservati fedele (K.23), Per pietà, bell’idol mio (K.78), Ch’io mi scordi di te? (K.505) and Vado, ma dove? (K.583). These works, written for specific singers and occasions, combine dramatic intensity with lyrical refinement, showcasing Mozart’s gift for expressive vocal writing and orchestral colour. This recording brings together Fox’s operatic experience and the orchestra’s distinctive sound in a focused exploration of these finely crafted concert works.

E-MOTION presents a selection of arias from eighteenth-century opera seria by composers including Duni, Gatti, Guglielmi, Hasse, Jommelli and Vinci, all set to librettos by Pietro Metastasio. Conceived as an exploration of musical affects, the programme reveals the aria as the privileged space in which operatic characters give voice to their most intense emotions.

How it was possible, without today's means of communication, for the reputation of a musician, who was also in the service of a single place of education and devotion, to spread throughout Europe is something that modern man will find difficult to comprehend. The fact is, however, that the Roman composer and bandmaster Giacomo Carissimi received visitors from all over the world around the middle of the 17th century because of his incomparable ability to express every emotion and every word in tones and harmonies.

The only surviving version of Carlo Gesualdo’s First Book of Madrigals was printed in Spring 1594 by the typographer Vincenzo Baldini. At the time, the composer was twenty-eight years old and had just left behind the murder of his wife, in 1590. In this first publication Gesualdo probably collected pieces composed earlier than 1591. The music is written by a young author, far away from the better-known experimental composer of later years, yet is clear and faultless, and often very effective.

La Compagnia del Madrigale releases another imaginative album on Glossa, turning to a late composition by Orazio Vecchi, Le veglie di Siena from 1604.

In Monteverdi’s Lament, the Erik Westberg Vocal Ensemble presents two contemporary works that reimagine poetry and music connected to the legacy of Claudio Monteverdi. Drawing on 17th-century sources, these compositions set historical and contemporary choir music in dialogue with interactive technologies and the hyperorgan—an instrument enhanced with digital control functions that allow performance beyond the traditional keyboard. The result is an exploration of the creative tension between past and present, echoing the spirit of innovation that shaped Monteverdi’s music in the early 1600s. Carl Unander-Scharin’s Lamento è più takes inspiration from Ottavio Rinuccini’s libretto for the lost opera Arianna, originally set by Monteverdi in 1607. Created in collaboration with choreographer Åsa Unander-Scharin, this 2023 work expands the expressive potential of the 17th-century text through a dynamic interplay of choreography, choir, and hyperorgan.

Gino Paoli was an Italian singer-songwriter. He wrote a number of songs widely regarded as classics in Italian popular music, including "Il cielo in una stanza", "Che cosa c'è", "Senza fine", "Quattro amici" and "Sapore di sale".

After lengthy and thorough research, backed by forty years of studying Vivaldi’s sources and curating his immense catalogue (RV), Federico Maria Sardelli has managed to trace, reconstruct and restore no fewer than 18 arias from La Costanza Trionfante, RV 706-A, a lost work that bears witness to the Red Priest’s most flourishing creative period, namely his full maturity. It is a substantial fragment which, quantitatively, represents about a half of the opera and offers a concrete and surprising idea of its great quality. At the head of the modo antiquo baroque orchestra and with a cast of great value, Federico Maria Sardelli offers the public the first performance in modern times of this substantial fragment woven with unpublished arias: a unique opportunity to enjoy a title that is today completely new and absent from the repertoire. A window onto a chapter of Vivaldi’s work rich in extraordinary beauty.

For the first time in his career, Mario Biondi, in the twentieth anniversary year of "This Is What You Are" and "Handful of Soul," releases a project entirely in Italian. A work that sees him as the undisputed protagonist not only as a performer, but also as a writer and composer, in addition to his responsibilities as arranger and producer. Twenty tracks to celebrate the anniversary of an extraordinary artistic journey.

Marie Laforêt chante en Italien is a compilation album that brings together the Italian-language versions of many of the French singer's most famous hits. While she originally released several of these tracks as EPs and singles during the 1960s, a comprehensive 24-track digital version was released in 2020.

The myth of Orlando Furioso, conceived by Ludovico Ariosto in the 16th century, is one of the most fertile for dramatic and musical imagination. Between chivalrous heroism, romantic torment and psychological turmoil, it explores the limits of passion and the fractures of the human soul, offering Baroque composers an ideal terrain for expressing the tension between reason and madness, order and chaos. This programme bears witness to this, traversing the many faces of Orlando through excerpts from operas by Vivaldi, Handel, Steffani, Fux and Porpora, where recitatives, arias and instrumental movements mirror his inner world.

A recital by Juan Diego Flórez, the Peruvian tenor, follows a pattern. With Vincenzo Scalera at the piano, the program begins with songs by bel canto composers—Bellini, Donizetti, Rossini.