An Exclusive Look At First Inversion

Twelfth Night at Carnegie Recital Hall
Twelfth Night at Carnegie Recital Hall
  • Recording Sessions December 2026/January 2027
  • Release in Support of New Initiative With Early Music Seattle
  • Album to launch in celebration of Early Music Seattle’s 50th Anniversary Season — 2027–28. Most likely Summer/Fall 2027
  • Recordings to take place in-house with James Cardell-Oliver in York, England
  • Potential Performances in England before European performances
  • Album: The Red Album
  • Twelfth Night’s focus is bringing the theatre of Baroque Performance back to today’s audiences in engaging performances which showcase the incredible talent of the ensemble and collaborative audiences
  • 7 Musicians and Soprano Xenia Puskarz-Thomas

About Twelfth Night

Co-artistic directors David Belkovski and Rachell Ellen Wong met during their time as students in the Historical Performance division of The Juilliard School. Innumerable performances together confirmed a special chemistry and shared vision, inspiring them to dream up an ensemble for the 21st century. Through Twelfth Night, they are eager to position historical performance as an integral part of all performance.

Rachell Ellen Wong

Recipient of a prestigious 2020 Avery Fisher Career Grant – the only early music specialist in the respected program’s history – and Grand Prize winner of the inaugural Lillian and Maurice Barbash J.S. Bach Competition, violinist Rachell Ellen Wong is a rising star on both the historical performance and modern violin stages. Her reputation as one of the top historical performers of her generation has resulted in appearances with renowned ensembles such as the Academy of Ancient Music, Jupiter Ensemble (led by lutenist Thomas Dunford), Bach Collegium Japan, Les Arts Florissants, and others. Equally accomplished on the modern violin, Rachell made her first public appearance with Philharmonia Northwest at age 11 and has since performed as a soloist with orchestras such as Orquesta Sinfónica Nacional de Panamá and the Seattle Symphony. Rachell made her conducting debut with the Seattle Symphony in 2020 when she directed Vivaldi’s Four Seasons from the violin.

David Belkovski
David Belkovski

Born in Skopje, Macedonia, David Belkovski’s journey as a musician has taken him from early ventures into Balkan folk music to the vibrant beginnings of a career, performing regularly on harpsichord, fortepiano, and modern piano. First prize winner of several international and national competitions, including the 2019 Sfzp International Fortepiano Competition, David has been recognized for his artistry on both historical and modern keyboards.

David made his Lincoln Center debut in 2019 as fortepiano concerto soloist with the American Classical Orchestra/Tom Crawford as well as with Juilliard415/Monica Huggett. David will be joining Musica Angelica as concerto soloist in early 2022.

David is fast building a reputation as a director from behind historical keyboards, engaged in 2021 as Assistant Conductor to Gary Wedow for Handel’s Teseo, a Juilliard production. More recently, he has served as Assistant Conductor for a production of Luigi Rossi’s Orfeo and a production of Handel’s Radamisto by the Philharmonia Baroque Orchestra, working with music directors Avi Stein and Richard Egarr, respectively. In June of 2021, David directed a performance of his commissioned work Chaconne, written for Juilliard’s renowned period ensemble. 

David’s recent collaborations include performances with tenor Nicholas Phan, soprano Mireille Asselin, and countertenor Reggie Mobley. In addition to ensemble playing, David has performed solo works on harpsichord across Italy and at the Marquês de Pombal Palace in Oeiras, Portugal.

John Jeter
The Fort Smith Symphony
  • Label debut of the GRAMMY® nominated conductor John Jeter
  • Divine Art Records first-ever professional US Orchestra
  • Featuring world premiere recordings of Composer-in-Residence Patrick Conlon
    • Patrick and his wife Christina Giacona are multiple GRAMMY® nominated producers and engineers with their Onyx Lane Studio.
    • Alongside recordings of the Oklahoma City Philharmonic and more on Naxos, they have been part of John Jeter’s GRAMMY®-nominated recordings and the Fort Smith Symphony’s groundbreaking Naxos American Classics recordings.
    • In this project, they step out onto the stage as the composer and performers, as well as engineering. Christina is currently serving in a new “Producer-in-Residence” role with the Symphony.

The Fort Smith Symphony’s five internationally released compact discs/downloads on the Naxos Label have been listed as bestsellers on numerous websites. The first three recordings are part of Naxos’ popular “American Classics Series” and feature the music of William Grant Still, (1895-1978), who was raised in Little Rock, Arkansas. With Still’s many successful compositions, he earned the nickname, “Dean of African-American composers.” The recordings have received dozens of terrific reviews and have been and continue to be broadcasted on hundreds of classical music stations around the world. Reviews have compared the Symphony’s performances to major orchestras and frequently mention the orchestra’s wonderful artistic qualities. A third recording on Naxos was made in April 2011, and completed the first-ever recorded cycle of all five William Grant Still symphonies. The compact discs/downloads include other orchestral works besides Still’s symphonies. Six of the works recorded are world premiere recordings. The Symphony recorded with Naxos again in May 2018 with symphonies by Florence Price. The Price Symphony recording was released in January of 2019 and has received numerous outstanding reviews and significant national and international press. The recording has been featured in The New York Times, The New Yorker, Wall Street Journal and NPR to name just a few. It was briefly the number one selling classical release on Amazon and was listed on a number of “top 10 favorites” lists throughout the US. In 2022, the Symphony recorded and released the works of Louis W. Ballard (1931-2007), considered the first American Indigenous concert composer, from Oklahoma. This album is the first commercially distributed recording of Ballard’s works, completed in collaboration with The Fleisher Collection and the Ballard Family. Fort Smith Symphony recordings on Naxos are available on all major music streaming services and online music retailers.

GRAMMY®-NOMINATED JOHN JETER IS PRESENTLY IN HIS 28TH SEASON AS THE MUSIC DIRECTOR & CONDUCTOR OF THE FORT SMITH SYMPHONY.

In addition to his work in Fort Smith, Arkansas, Mr. Jeter (pronounced “Jet-ter”) is a recording artist for Naxos Records with nine albums recorded to date.  He has been awarded Artist of the Year for the State of Arkansas and the Helen M. Thompson Award by the League of American Orchestras for outstanding music director.

John Jeter
John Jeter

Under Mr. Jeter’s leadership, the Fort Smith Symphony has transformed from a modest community orchestra to a regional ensemble with an international reputation.  Mr. Jeter’s recordings are streamed and broadcast annually on most all streaming platforms and numerous radio stations worldwide.  His recording of Florence Price’s Symphony No. 1 and 4 with the Fort Smith Symphony on Naxos was a major catalyst in the international re-discovery of Florence Price’s music to the general public.  He is currently the only conductor to have recorded every known work of Florence Price that includes orchestra (symphonies, tone poems, dance suites, concertos and major choral works).  His Price recordings include many world premier recordings.  He and his orchestra gave the world premier performance of Price’s Symphony No. 4 in 2018.

Mr. Jeter and the Fort Smith Symphony were the first (and currently only artists) to record the complete symphony cycle of William Grant Still.  The same forces released world premier recordings of the music of Louis Ballard, the first Native American concert composer.  This release was the first commercial recording ever produced of orchestral music dedicated to a historic Indigenous American concert composer.  Mr. Jeter’s recordings have received consistent critical acclaim from Gramophone Magazine to the New York Times.

Gweneth Ann Rand performing Harawi
  • Soprano Gweneth Ann Rand and pianist Simon Lepper to release the recording of their critically-acclaimed and internationally-recognized performance of Messiaen’s song cycle Harawi
  • Admired as the greatest dramatic soprano to perform these works, with appearances at BBC Proms, Cheltenham Festival, Opera North, Oxford International Song Festival, Wigmore Hall, and more.
  • To be presented as THE reference recording of the work
  • Recorded in-house with engineer James Cardell-Oliver and producer Camden Reeves (Divine Art collaborator and Métier composer)

Gweneth Ann Rand trained at the University of Exeter, Goldsmith’s College and the Guildhall School of Music and Drama, London. During her training she received the Maggie Teyte, Ian Fleming and Sybil Tutton Awards. She was a Vilar Young Artist at the Royal Ballet & Opera and in 2001 represented England at BBC Cardiff Singer of the World. She is currently an Associate Artist at Wigmore Hall.

In the current season she performs Kitty Hart in Annilese Miskimmon’s new production of Dead Man Walking (English National Opera); Sophie’s Duenna Der Rosenkavalier (Garsington Opera); and recitals at Wigmore Hall, and with Quatuor Danel at the University of Manchester.

Among her recent highlights are acclaimed performances of 4.48 Psychosis (Royal Ballet & Opera, Prototype Festival, Opéra national du Rhin, Philharmonie de Paris); Woman 3 The Blue Woman (Royal Ballet & Opera/Britten Pears Arts); Mrs GroseTurn of the Screw, Mother Bailey It’s a Wonderful Life, Serena in Porgy and Bess (English National Opera); Tiger Lily Peter Pan, the dark side (Teatro Comunale di Bolzano); Judith Bluebeard’s Castle (Theatre of Sound); and Messiaen’s Song Cycles in a concert residency at the Aldeburgh Festival.

Her operatic roles include Aida (English National Opera, Opera Holland Park, Theater Bremen, Oper Kiel, Finnish National Opera, Macedonian Opera, Opera Poznań, Oldenburgisches Staatstheater); Senta Der fliegende Holländer (London Lyric Opera/Barbican); Leonora La forza del destino (Oper Köln); Leonora Il trovatore (Welsh National Opera); Amelia Un ballo in maschera and Margherita/Helena Mefistofele (Theater Erfurt); Tosca (Teatro Nacional de São Carlos); GutruneGötterdämmerung (BBC Proms); the title roles in La Gioconda and La Wally, Santuzza Cavalleria Rusticana (Opera Holland Park); Bess Porgy and Bess (Basel Chamber Orchestra, Macedonian Philharmonic); and Ariadne Ariadne auf Naxos(Orchestre de Picardie).

In concert she has performed Schoenberg Gurrelieder (Orquesta Sinfónica de Mineria, Melbourne Symphony Orchestra); Tippett A Child of Our Time (NDR Hannover, City of Birmingham Symphony Orchestra, Göteborgs Symfoniker); Mahler Das klagende Lied (BBC Proms); the European premiere of Elliott Carter Of Rewaking , Vaughan Williams Third Symphony (CBSO); Verdi Requiem (Truro Cathedral, King’s College Chapel, York Minster); Brahms Ein deutsches Requiem, Strauss Vier letzte Lieder(Canterbury Cathedral); Poulenc Gloria (Three Choirs Festival); Zemlinsky Der König Kandaules (Gran Canaria); Dvořák Stabat Mater (Madrid); and Britten War Requiem (Warsaw).

Gweneth Ann is widely known for her acclaimed interpretations of Messiaen’s song cycles Harawi (BBC Proms, Cheltenham Festival, Opera North, Oxford International Song Festival, Wigmore Hall) and Poèmes pour Mi (BBC Scottish Symphony Orchestra, Gürzenich Orchester Köln, Tonhalle Orchester Zürich). Her recordings include Mélodies Passagères, The Songs of Samuel Barber (Quartz Music); Janáček The Eternal Gospel with the BBC Scottish Symphony Orchestra (Hyperion); Messiaen Poèmes pour Mi (Sanctuary Classics); and John Metcalf’s Under Milk Wood (Ty Cerrd).

Simon Lepper

Simon Lepper read music at King’s College, Cambridge before studying piano accompaniment with Michael Dussek at the Royal Academy of Music and later with Ruben Lifschitz at the Fondation Royaumont. He is currently Assistant Head of Keyboard (Collaborative Piano) at the Royal College of Music, London where he is also a vocal repertoire coach. . Since 2003 he has been an official accompanist for the BBC Cardiff Singer of the World Competition. He has given masterclasses at the Mozarteum, Fondation Royaumont, Samling Institute for Young Artists, LIFE Victoria Festival, Barcelona and La Chappelle, Belgium.

Performance highlights have included an invitation from the Wigmore Hall, London to present a three concert project on the songs of Joseph Marx; recital tours with Stéphane Degout which have included the Ravinia and Edinburgh Festivals and the opera houses of Bordeaux, Dijon, La Monnaie, Lausanne and Lyon; recitals at Carnegie Hall, New York with Karen Cargill and Sally Matthews and at the Frick Collection with Christopher Purves; performances of the Schubert song cycles with Gerald Finley and Mark Padmore including at the Schubertiade, Hohenhems, recitals with Christiane Karg at Frankfurt Opera, Schwarzenberg Schubertiade and the Rheingau Fesitval.

His discography includes a recital disc with Dame Felicity Palmer,  2 volumes of Debussy Songs and a Strauss disc with Gillian Keith, a disc of French Song and Mahler songs with Karen Cargill, the complete songs of Jonathan Dove with Kitty Whately and a CD of contemporary violin works with Carolin Widmann which received a Diapason d’or.  He recorded a disc devoted to the songs of  Samuel Coleridge-Taylor with Elizabeth Llewellyn, a CD of Schubert songs with tenor Ilker Arcayürek, a disc of Ballads with Stéphane Degout as well as recital disc “Poèmes d’un jour” which was a Gramophone magazine editor’s choice. With the soprano, Robyn Allegra-Parton he released a disc of fin-de-siécle Viennese songs entitled “Woman in Gold”  and with bass-baritone Christopher Purves a CD called “My soul, what fear you?”.

Mimi Doulton

2027 brings the debut of rising soprano Mimi Doulton in a project devoted to 20th and 21st century music.

To be recorded as an in-house project with James Cardell-Oliver as engineer and as a Divine Art production.

Recognised as “a name to watch” (The Times of London, 2023), British-Pakistani soprano Mimi Doulton has a growing reputation as an interpreter of 20th and 21st century repertoire. Engagements in the 25/26 season include Gioia / Tristezza in WYLD and cover Consort 1 / Lady in Waiting 1 in Brett Dean’s Of One Blood at the Bayerische Staatsoper, a return to the Royal Ballet and Opera as DHL Driver in Last Days, and appearances with London Sinfonietta at Cervantino Festival Mexico, with ICTUS at Musikfestival Bern, with the oesterreischisches ensemble fuer neue musik, and at Musica Viva with soloists of the Bayerische Rundfunk Symphony Orchestra.

24/25 saw her acclaimed debut in the Austrian premiere of GF Haas’ opera Liebesgesang at the Tiroler Landestheater, praised by critics as „breathtaking“ (Tiroler Tageszeitung) and „captivating“ (Online Merkur). Other engagements included covering the role of Muchacha in Beat Furrer’s Das grosse Feuer at Opernhaus Zürich, and creating the role of Thea in Fruehlings Erwachen at Staatsoper Hamburg / Kampnagel. Concerts included her Canadian debut jumping in with Nouvel Ensemble Modern for Vivier’s Trois airs pour un opera imaginaire, a performance of the same work with the oesterreischisches ensemble fuer neue musik, and her Swiss debut singing Jörg Widmann’s Versuch über die Fuge conducted by the composer.

In 2023/24 she made debuts with the Los Angeles Philharmonic under Thomas Adès in the US premiere of Last Days, and at Staatsoper Stuttgart in Kurt Weill’s Aufstieg und Fall der Stadt Mahagonny. She appeared in concert with Birmingham Contemporary Music Group under Vimbayi Kaziboni, with the Mozartists under Ian Page, at Snape Maltings, and with Decoder Ensemble at Time of Music in Viitasaari. Engagements in 2022/23 included her Royal Ballet and Opera Linbury Theatre debut in the world premiere of Oliver Leith’s Last Days, as well as appearances as Gretel at Theater Pforzheim, as Miss Wordsworth in Albert Herring, and as Max in Knussen’s Wo die wilde Kerlen Wohnen with the Bamberger Sypmhoniker.

  • The Nigel Clarke compositional collaboration with the Musee des Beaux Arts, Brussels continues Nigel Clarke’s “BRUEG[H]EL Symphony for solo piccolo/flute and orchestra” and more.
  • Featuring Jennifer J. Gunn (Principal Piccolo of the Chicago Symphony)
  • ORF Vienna Symphony
  • Conductor Neil Thomson
  • To be recorded September 2026
  • Rising pianist Joseph Havlat returns to Métier following his debut with the Marsyas Trio and Lotte Betts Dean
  • Unique album featuring composers Cassandra Miller and Michael Finnissy, with works by each, and their co-composed work, “Sinner, don’t let this harvest pass”
  • From Michael Finnissy on the work: “’Sinner …’ was Cassandra’s initiative: a piece based on a mtutually agreed common source – the eponymous Afro-American spiritual-song, as sung by the great Marian Anderson. I think that we were both mindful of capturing something of the ‘inflections’ and ‘mood’ of her performance – and not just the ’tune’, or a ‘concert-arrangement’ of the tune. We agreed to write alternating sections, independently of each other. Cassandra went first, and I subsequently followed her tonal scheme: centred on E for the first, and E-flat for the second sections, but without imitating each other – more like a slow-motion conversation about a particular topic.”
  • To be released in July/August 2026
  • Premiere recordings of the solo violin and viola works of composer David Hackbridge Johnson
  • Released after the latest run of his opera, Blaze of Glory!, with the Welsh National Opera.
  • Part of Peter Sheppard-Skærved’s artistic collaborations series, this release is unique in that the works are generally inspired directly by Peter’s own artistic sketches (seen on the cover) and performances.
  • The start of a new chamber music series with composer David Hackbridge-Johnson, including a lineup of major performers to present his Piano Quintets (featuring Roderick Chadwick on piano).
Live performance video – not from the later recording sessions. A great teaser for the work!
  • The launch of a new “Made in ___” series showcasing un-and-under-recorded chamber music, with a focus on premiere recordings by women composers often overlooked in discussions of national musical roots.
  • First album out August 2026 — Made in Germany.
    • Repertoire:
      • Ruth Schonthal (1924-2006) – Theme and Variations for Flute Solo (composed 2003, world premiere)
      • Rudolf Tillmetz – Nocturne Op 31 for Flute, Horn and Piano
      • Richard Strauss – Don Quixote (arr. Vargas)  
  • Recording ensemble for Olmos Ensemble:
    • Jeff Garza, horn (Principal, Oregon Symphony)
    • Mark Teplitsky, flute (Assistant Principal Flute of the Naples Philharmonic)
    • Ilya Schterenberg, clarinet (Principal ProMusica Chamber Orchestra/Winnipeg Symphony Orchestra)
    • Eric Gratz, violin (was the youngest concertmaster in America when appointed in San Antonio in 2022)
    • Julian Schwartz, cello (touring soloist)
    • Elizabeth Dorman, piano (currently on faculty at San Francisco Conservatory of Music)
    • Colin Brooks, viola (founding member of the Ulysses Quartet)

Over the course of three decades Olmos Ensemble has established itself as one of the premier chamber music organizations in Texas and has gained national recognition for its world class performances, broadcasts and on-line concert archive. Founded as a chamber music showcase for San Antonio Symphony principal players in 1994, Olmos Ensemble’s core group now includes leading musicians from across the United States, including several with San Antonio roots.  Olmos Ensemble’s programming has won plaudits for its innovative programming, showcasing neglected works by female composers, forgotten Baroque gems and challenging contemporary pieces alongside insightful interpretations of standard chamber repertoire from the 18th, 19th and 20th centuries.

  • Conspirare follows their GRAMMY®-nominated Divine Art debut with “Sunstone: Piedra de Sol” by composer Joby Talbot
  • Commissioned by Conspirare and Premiered by the ensemble in January 2026
  • Featuring the setting of the epic poem by Octavia de Paz for choir and marimba
  • A star-studded lineup of singers:
    • Sopranos Emily Yocum-Black, Chelsea Helm (Seraphic Fire), Savannah Porter (Voces 8), and more
    • Tenors Haitham Haidar, and Dann Coakwell, to name only two
    • Basses Jonathan Woody, Enrico Lagasca, and the great basso profundo Glenn Miller!

Piedra de Sol composer note:

Piedra de sol is a poem like no other. I vividly remember the profound emotional impact of reading this epic masterpiece for the first time. The hugeness of the poet’s vision, the cosmic immensity of the imagery, its febrile surrealistic intensity, its random journeying through space, time and colour from reality to fantasy and back again, its moments of heartfelt intimacy that never fail to surprise, its joyful disregard of conventional narrative structure – all combined to leave me feeling astonished and deeply moved when, 584 lines after lift-off, the opening stanza repeated itself and I realised that the whole poem is one enormous, never-ending circle.

Even when simply spoken, the words flow and seem almost to sing. There is a lucid, coiling lyricism to the text which invites music in. Although every single line of the poem has a relentless eleven-syllable structure, the stress patterns within the lines change constantly so that the poem has a shifting, restless, questing energy that moves it constantly forward. It was its sense of endless fluidity and ceaseless momentum that inspired me to turn Piedra de sol into a long-form choral piece.

I’d previously used an extract of the poem for the climax of my ballet score Like Water for Chocolate, based on Laura Esquivel’s novel Como agua para chocolate, that opened at the Royal Opera House in London in June 2022. This song – scored for mezzo soprano, guitar, and orchestra – was my first attempt at setting a substantial piece of Spanish text to music and was a revelation. The experience confirmed me in my resolve to create a larger choral piece around the text, so I was thrilled when Conspirare came to me with this opportunity. I selected the sections that I felt would work best for massed voices (about two-thirds of the poem’s total) and constructed a seventy-minute-long musical structure that mirrored the poem’s narrative journey from ecstatic vision through profound despair to eventual enlightenment.

To do justice to the poem’s unparalleled scale, I wanted to explore as wide a range of vocal textures as I could conceive. There are extended passages of complex rhythmic interplay, exposed solo passages for a single voice, and episodes where slabs of sound colour reflect the poem’s terrifying images. Underpinning much of the music is the role of the marimba which anchors the harmonies and rhythm and contributes to the otherworldly exoticism of the musical palette.

Piedra de sol invites listeners and performers alike on a journey of infinite dimensions – a voyage whose course bends, advances, recedes, comes full circle and arrives forever.

  • Chiahu Lee & Yulia Vershinina-Mukhopadhyay made their debut EP, (re)Inventing Bach on the Diversions label.
  • In their new, full length release exploring their re-inventions of the Bach Cantatas for piano four hands, as only they can, First Inversion is pleased to feature them in our new lineup of the Athene label showcasing the opportunity for genre-bending and paradox-breaking enabled by re-exploring the world of early music.
  • Coming September 2026

For a taste of what to expect in this release, look back on their first:

  • Label debut of the Estonian National Male Choir under director Mikk Üleoja
  • Requiem for Fallen Soldiers: Choral Music of Eduard Tubin
  • Estonia’s premiere male choir performing the works of Estonian composer Eduard Tubin
  • To be released before the 2026 Eduard Tubin Festival in Tartu, Tallinn, and Alatskivi.
  • Hear them during Audioclassique!
  • LIVE recording of San Francisco’s LIEDER ALIVE! presentation of Esther Rayo and Peter Grünberg’s concert, “Sacred Joy: Music for the Holidays”.
  • Esther Rayo’s debut album, Estrellita, put the world on notice. With international critical acclaim for both Esther and pianist Peter Grünberg, Divine Art is thrilled for their return this October.
  • Featuring a mix of traditional carols alongside traditional holiday songs from the Andalusian, Puerto Rican, Catalonian, Mexican, and Spanish repertoire, to showpiece favorites, including Peter Grünberg’s own, new, “Miniature Overture” to Tchaikovsky’s Nutcracker.

Since the label acquisitions in 2025, a major project has been identifying which Divine Art and Métier artists and composers we should begin focusing on for not only retention, but growth. As we move through the end of previously signed projects, it is our hope you will begin to notice a new “class” of Divine Art and Métier artists and composers returning, in which we have worked closely in a way to develop project repertoire, alongside career and artistic development through our Rosebrook Classical and Rosebrook Media partner companies.

We have also leaned upon our 17-years of experience and relationships with artists through Rosebrook Media and Rosebrook Classical to add an increased focus on rising artists with marketing and sales potential and established, world-class artists and composers, all while continuing the previous commitment from the Divine Art Recordings Group to make truly interesting, story-driven recordings which invite the listener to listen to the full album, rather than just hit singles.

This commitment is also part of our plans to deepen our internal team and relationships in order to bring forward recordings from every point in the process, most notably the recordings themselves. With our Engineering & Production Director James Cardell-Oliver, we brought forward two acclaimed recordings, Kapustin & Discovering Wilfred Heaton, and have more in the lineup for 2026, with even more coming in 2027. For the media, we would love to invite you to an upcoming session!

First Inversion continues to develop the new brands and images of each of the labels. Including brand new websites!

  • The first GRAMMY® Award Nomination for Divine Art Records for the album advent: liturgies for a broken world – choral music of Mark Buller in the Best Choral Performance category.
  • Athene’s release of Haitham Haidar’s stunning debut release, Zaytoun is nominated for a JUNO Award for Classical Album of the Year (Solo Artist)! The Canadian premiere awards ceremony take place March 26-29. The album was also selected as a BBC Music Magazine Vocal Choice
  • Métier Records’ landmark 4-disc recording of Michael Finnissy: Piano Works by Ian Pace is selected as The New York Times Best Classical Albums of 2025.
  • Athene’s release of Gilbert Rowland’s Johann Jakob Froberger: Suites for Harpsichord, Vol. 4 selected as a Gramophone 2025 Critic’s Choice and Best Classical Album of 2025
  • Métier Records’ Hugues Dufourt: L’Origine Du Monde is awarded the 2025 “Coup de cœur” from the Académie Charles Cros Contemporary MusicCommittee (les Coups de coeur 2025 musique contemporaine de l’Académie Charles-Cros).
  • the debut of two fully in-house albums on Divine Art Records in Discovering Wilfred Heaton and Ophelia Gordon’s debut release, Kapustin: Between the Lines.
  • Divine Art Records first: Top 15 Chart Debut for Kapustin: Between the Lines in the Official UK Charts.
  • Divine Art Records release of Robin Stevens: A Questing Soul selected as 2025 American Record Guide Critic’s Choice.
  • Métier Records has two albums selected in Canada’s Textura Magazine’s Best of 2025: 
    • Michael Finnissy: Piano Works
    • The Devil’s Dream: Chamber Music By Seán Doherty
  • Métier Records’ album Leaps & Bounds: The Music of Lance Hulme selected by Poland’s W Kulturalny Sposób as a Best Classical Album of 2025.
  • Supersonic Award from Pizzicato (Luxembourg) for Tom Hicks’ Revelatory Chopin: Complete Nocturnes.
  • Complete acquisition of the Ekkozone Records label

Individual Client Spotlight

Lowell Liebermann, composer
Haitham Haidar, tenor
Jonathan Leshnoff
Jonathan Leshnoff, composer
  • Reference Recordings Celebrates Its 50th Anniversary
    • Major orchestral releases from: Grand Teton Music Festival Orchestra, Boulder Philharmonic, Oregon Symphony, Pittsburgh Symphony, and two releases with the Kansas City Symphony (one with Yo-Yo Ma & Joyce DiDonato!).
  • SOMM Recordings continues partnership with Lani Spahr for major Elgar Series and BEECHAM restorations, alongside the continued releases of top artists performing throughout the UK and beyond. New orchestral recordings coming featuring the music of Nimrod Borenstein, and more.
    • September highlight of Brahms Clarinet and Horn Trios, and Intermezzi with principals from the Orchestra of the Age of Enlightenment and pianist John Thwaites.
  • Musical Concepts launches new digital labels, Musical Concepts Opus and Graffiti Classics
  • Toccata Classics continues its Steve Elcock and David Hackbridge Johnson orchestral series, and completes its Robin Stevens orchestral series this fall. P.S. Don’t miss the launch of new Toccata “Complete” box sets.
  • Music & Arts launches Complete Prokofiev Piano Sonatas with pianist Carlo Grante
  • Blue Griffin Recordings
    • An audiophile label focused on incredible sonics from GRAMMY®-nominated producer and engineer Sergei Kvitko.
      • For an example of his work not on his own label, give a listen to his recordings on Reference Recordings and Divine Art Records new album of the Complete Liszt Années de Pelerinage!
  • Cappella Records
    • Be on the lookout soon for the final recordings of Cappella Romana with founding artistic director Dr. Alexander Lingas, who retired at the end of this season. The recordings are a follow up to the Billboard® Chart-topping (#2 album of 2020) Lost Voices of Hagia Sophia, and will be called, “In the Footsteps of St. Demetrios”.

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