This week audiences will get to discover recordings of unknown pieces, new composers, and by one by the great bass-baritones in operatic history. Here is a look at the new recordings.

Gathering

The new album features stirring and varied songs by American composer Ben Moore, written over a period of some 30 years and ranging from modern art songs to musical theater and cabaret. The texts span some 2,600 years from the ancient poet Sappho to contemporary lyrics. Brian Zeger performs alongside Isabel Leonard, Liz Callaway, Matthew Polenzani, Janai Brugger, Michael Kelly, Alexander Gemignani, and Joseph Lattanzi.

Missa Solemnis

Riccardo Muti conducts Beethoven’s Missa Solemnis from the Salzburg Festival. Unitel releases the concert which stars the Vienna Philharmonic and the Vienna State Oper Chorus, soprano Rosa Feola, mezzo Alisa Kolosova, tenor Dmitry Korchak, and bass Ildar Abdrazakov.

Salve Regina

French-born soprano Julie Roset releases her new Handel disc, “Salve Regina” for Ricercar. The Musical America New Artist of the Month is accompanied by Leonardo García Alarcón, leading the period players of his Millenium Orchestra.

George London

Orfeo releases a series of recordings (made 1953–56) from the Bavarian Radio archives. The Canadian bass-baritone appears as villains Dapertutto (the “Diamond” aria) and Dr. Miracle (the portrait trio, with Teresa Stich-Randall and Maria von Ilosvay) from “The Tales of Hoffmann;” in the title roles of “Eugene Onegin” (the aria and the final scene, with Valerie Bak) and “Prince Igor” (the act 2 monologue); and as Amonasro in “Aida” (the Act three duet, with Astrid Varnay). The bulk of the disc is devoted to London’s magisterial Wotan in the final scene of “Die Walküre,” with Varnay’s classic Brünnhilde. The Bavarian Radio Symphony Orchestra is led variously by Rudolf Moralt, Richard Kraus, and Hermann Weigert.

Broken Gargoyles

Diamanda Galás releases the work which was composed in 2020 during the beginning of the COVID-19 pandemic. The work employs a vast array of advanced vocal and instrumental techniques and is arguably Galas’ most intellectually, sonically and viscerally formidable work to date.