Another galvanising dip into the historical archives from Decca
Improvised quartets succeed despite vicissitudes of chance
A 1960 crossover project that works a Christmassy treat
Tedeschi makes it a double with a second shot of neat Gershwin.
A super-sized feel-good fest from Bryn and his American friends.
Oops, Max Raabe did it again in a German nostalgia fan’s dream.
McCartney takes on the American songbook.
The rogue elements: Nigel Kennedy as composer veers off course.
Calamitous crossover: Garrett’s musical experiment goes wrong.
Forza Vittorio: Grigolo gets stuck into Italian favourites.
While other singers of this stature (50 gold records, no less) churn out the old hits and count the megabucks, Streisand is still releasing new material that stands strong on its own merits, such as this stunning disc.
High-powered performances and clever arrangements from cello rockers.
Amos goes classical: Night of Hunters is mostly successful.
Popera fans rejoice: the Ten Tenors give a powerhouse performance.
Hayley’s big coup: Westenra teams up with Morricone.
The Dutch chanteuse serves up 1920s Chicago with contemporary studio sheen.
A welcome opportunity to enjoy Hobson as a purely popular entertainer.
Desplat conveys through music the restrained angst and regal grandeur of the film's hero.
Classical meets jazz here, as operatic mezzo-soprano Anne Sofie von Otter mixes it with jazz pianist and composer Brad Mehldau in a two-disc tribute to love in all its forms, from elation to deflation and regret.
Lost without words: the singing's great, the instrumentals are not.