Some of Janacek's most characteristic invention is to be found in the many choruses he wrote for local choirs who were moved by both a love of singing together and a demonstration of their national identity. There is a good selection here. Even the earliest, a touching little lament for a duck, has a quirkiness which saves it from sentimentality; the latest, the Nursery Rhymes, are marvellous little inventions from the dazzling evening of Janacek's life. One must resist any temptation to say that they take Stravinsky on at his own game: Janacek is his own man. In between comes a varied diet here. Schoolmaster Halfar (or Cantor Halfar) is set with a dazzling range of little musical ironies as the story unfolds of the teacher who ruined his life by insisting on speaking Czech. The Elegy on the death of his daughter Olga goes some way toward dignifying a conventional text with some heartfelt music, but the pressure of grief has not drawn the greatest of his music from him: perhaps more time was needed, and indeed the piano pieces he entitled Along an Overgrown Path re-enter ancient griefs more expressively.

Along with The Matadors, Flamengo were one of the earliest Czech groups that started out in the mid-60's as beat bands and recorded a bunch of singles on legal state apparatchik label. Their then-leader Frantisek Francl was a well regarded fuzzed-up guitarist and wrote most of their track (even if they did a cover of John Mayall's No Reply), but with time, the group changed line-up and with the arrival of the now-legendary vocalist Vladimir Misik and woodwind player Jan Kubik, the group's sound was dramatically affected and started sounding like a brass rock band, with a slightly more jazz twist than the better know US groups. They might be compared best with Colosseum and sometimes Traffic. Their sole album was set to be released in 72 on the state label Supraphon, but apparently was quickly banned by the regime.

This first-ever, specially remastered collection compiles highlights chosen by Renée of her “most magical experiences”, captured live on stage in this pinnacle of opera houses. Produced by GRAMMY-winning David Frost, the collection features duets with Cecilia Bartoli, Susan Graham, Dmitri Hvorostovsky, Samuel Ramey, Bryn Terfel & more. Since her 1991 debut when she stepped in for Felicity Lott, Renée has performed on the MET stage over 250 times and describes the MET as “my musical home, the theater where I feel welcome amongst friends – backstage, onstage, and in the audience.” Renée will return to the MET on 22 November for the world premiere work by Kevin Puts, The Hours, with Joyce DiDonato & Kelli O’Hara.

The series of Janacek's operas conducted by Sir Charles Mackerras for Decca has become one of the most exciting gramophone projects of the day, with each issue a major event. The new digital recording of the last opera he composed, From the House of the Dead, is no exception: indeed, for reasons that lie beyond the excellence of performance and recording, and also lie apart from the fact that here is the first version to appear for nearly eight years, this is an historic occasion, a significant contribution to musical knowledge.

Glyndebourne has wisely preserved the best of Melly Still's literal,cluttered and ugly 2009 staging; its world-class soundtrack;.Dvorak's operatic masterpiece is in Belohlavek's bones, and he gets a thrilling and luminous account of the ravishing score from the LPO on virtually flawless form. It is the most central European of london's symphonic bands, and certainly equals, if not surpasses, the idiomatic Czech Philharmonic on rival sets conducted by Vaclav Neumann (supraphon) and Charles Mackerras (Decca). Ana Maria Martinez's Rusalka-more warm -blooded than Gabriela Benackova , less self-indulgent then Renee Fleming-gives one of the most ecstatic acounts of the famous Song to the Moon on disc.

The Grosses Festpielhaus in Salzburg has been the scene of countless memorable musical events - operas, concerts and recitals - for 50 years. Here is a unique chance to celebrate the glories of this distinguished era. In an exceptional collaboration with the Salzburg Festival, we have prepared a 25-CD box set - 5 complete operas, 10 concerts and 2 recitals - featuring many of the world's greatest artists, in recordings with classical status and others that are appearing on CD for the first time.

The Czech Philharmonic, conducted by Sir Charles Mackerras, recorded at the Rudolfinum hall in Prague Leoš Janáček’s opera Katya Kabanova, starring the world-renowned soprano Gabriela Beňačková in the title role. Released on two CDs in the autumn of 1997, it subsequently won a number of prestigious prizes, including the Cannes Classical Award and the Preis der Deutschen Schallplattenkritik. It also received a nomination for the Grammy Awards.

Zelenka was the most important Bohemian composer before Gluck. He wrote no operas and few instrumental works, but a great body of sacred music for the Catholic court at Dresden plus a few choice secular works. His music is characterized by passus duriusculus – chromatic descent. Another distinguishing characteristic is slow triplets – not infrequently used by Zelenka, though rarely heard in the works of better known late baroque composers.