The charismatic, cosmopolitan cellist Giovanni Sollima joins the instrumentalists of Il Pomo d’Oro for Al-Bunduqiyya – The Lost Concerto.

For this recording of Wagner’s Wesendonck-Lieder, Joyce DiDonato is joined by the original instrument ensemble Il Pomo d’Oro and Maxim Emelyanychev. "Bring that innocent, childlike sense of wonder to your craft, and do whatever you need to find that truth again. It will continually teach you how to be present, how to be alive, and how to let go. Therein lies not only your artistic freedom, but your personal freedom as well!"

Maxim Emelyanychev and Il Pomo d’Oro continue their uncommon Mozart symphony cycle. The idea is the following: put together great symphonies of the late Mozart and youth pieces. Maxim Emelyanychev, who has already gathered the first and the last symphonies – the beginning and the end –, has chosen to record the symphony no. 29 and the legendary no. 40 in the present volume. The ensemble makes us follow Mozart, from Salzburg to Vienna, in the yearning for liberty his life was. Perfectly suited to this repertoire, Maxim Emelyanychev uses the exceptional and period-instrumented sonority of Il Pomo d’Oro to deliver a dramatic and powerful Symphony no. 40, while rendering all the lyricism and contrasts of the no. 29. The Oboe concerto, interpreted by the soloist Ivan Podyomov, first oboe at the Royal Concertbouw Orchestra, adds a concertante supplement to this programme.

New collaboration between Jakub Józef Orliński and Il Pomo d'Oro​ Jakub’s sixth project features music by early baroque composers, including Monteverdi, Caccini, Frescobaldi, Kapsberger, Saracini, Netti, and Jarzębski​ Musicologist Yannis François researched the program and uncovered some extraordinary repertoire, now recorded for the first time (10 world premiere recordings)​ “With that album and this very specifically selected program I want to focus on the general meaning of word "beyond". Mostly to show people that this music is beyond its times. It is still relevant, it is still alive, vibrant, touching, engaging and entertaining.” – Jakub Józef Orliński

Il Pomo d'Oro and Zefira Valova focus here on the little-known violin concertos of the second half of the eighteenth century. Bringing together the works of Franz Benda and Johann Gottlieb Graun (in a world premiere recording), pillars of the orchestra at the court of Frederick II of Prussia, as well as those of the Venetian virtuoso Maddalena Lombardini Sirmen and the iconoclastic Joseph Bologne de Saint-Georges (also in a world premiere recording), this album offers a bright panorama of the evolution of the genre, culminating in Mozart's achievements in the last quarter of the century, of which Il Pomo d'Oro and Zefira Valova offer us a glimpse with the famous Rondo in C K. 373.

With Contra-Tenor, Michael Spyres challenges perceptions of the tenor in the Baroque era, often seen as the age of the castrato. In the company of Il Pomo d’Oro and conductor Francesco Corti, he explores the period from the late 17th century to the 1770s, tracing the course of opera in both the French and Italian styles. The 15 arias range from Lully to early Mozart by way of Handel, Vivaldi, Rameau, Gluck and composers such as Hasse, Galuppi and Latilla (represented by world premiere recordings), and Mazzoni and Sarro (represented by first studio recordings). Spyres’ exceptional credentials for this virtuoso repertoire have been summed up by Gramophone magazine: a “superb artist whose voice [is] perfectly equalised over more than two-and-a-half octaves,” notable for “exceptional artistry, formidable technique and seemingly limitless understanding of style.”

Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development. Francesco Corti and il pomo d’oro present concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations.