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The “Earth Requiem” is a gigantic work performed and recorded in Beijing in May 2011 in remembrance of the devastating Sichuan earthquake in 2008.

This is the first Chinese Requiem ever composed

This massive work by renowned Chinese composer Guan Xia is scored for 100 instrumentalists, a choir of 150 singers, an organ and 4 vocal soloists.

The well-established China National Symphony Orchestra invited the legendary French conductor Michel Plasson, who has long had a close association with EMI Classics, to work on the project. This partnership between West and East gives the recording a universal breadth as well as an overarching theme: the Earth. The emotional strength of the work is empowered by its gargantuan scale.

A concert and press conference will be held in May 2013 in Beijing's National Centre for the Performing Arts to mark the 5th anniversary of the Sichuan Earthquake.

Following Ariodante – released in 2011, starring Joyce DiDonato, and hailed by BBC Music Magazine as “the Ariodante to have” – Virgin Classics presents the latest recording in its series of Handel operas conducted by Alan Curtis, whom the Financial Times, reviewing Ariodante, praised for his “inspiring musical direction”.

If Ariodante is an acknowledged operatic masterpiece, the delightful Giove in Argo (Jupiter in Argos), written just four years later in 1739, is surprisingly little known. This is the first recording of the edition published in 2012 by the authoritative Hallische Händel-Ausgabe..

No copy of the composer’s complete score exists today, but the libretto printed for the London’s King’s Theatre (the original libretto was written for Dresden by the Venetian poet Antonio Maria Lucchini) suggested that two arias were missing. They were rediscovered in 2001 at Cambridge’s Fitzwilliam Museum by Professor John Roberts of the University of California, Berkeley, turning out to be the work of Handel’s younger contemporary, the Neapolitan-born Francesco Araia. The likelihood is that they were ‘suitcase arias’ – showpieces that travelled with Giove’s prima donna, Costanza Posterla. Appropriately brilliant, they are by no means inferior to the succession of spectacular arias that Handel himself wrote for the score, which also contains more choruses, eight in all, than any other opera by Handel.

Using the London libretto as his guide, John Roberts produced a performing edition of the entire score, which incorporates the two Araia arias and new recitative for Acts II and III. His version has been conducted, to great acclaim, by Alan Curtis at the Handel festivals in Göttingen and Halle (the composer’s birthplace), and in Hanover, Vienna and La Coruña.

As ever, Curtis, conducting Il Complesso Barocco – from which, as the Financial Times said, he “draws playing of infinite flexibility and unforced style” – is surrounded by singers of acknowledged prowess in the Baroque repertoire. Giove (disguised as a shepherd) is sung by the young tenor Anicio Zorzi Giustiniani, while Iside and Calisto, the objects of his desire, are portrayed by familiar members of Curtis’ operatic company: mezzo soprano Ann Hallenberg (who appears in Curtis’ Virgin Classics recordings of both Handel’s and Gluck’s versions of Ezio) and the soprano Karina Gauvin (Ginevra in Ariodante). Bass Vito Priante – singing Erasto, the shepherd who turns out to be the King of Egypt – also appeared in Gluck’s Ezio, which in 2012 was named Operatic Recording of the Year (17th/18th Century) in Germany’s prestigious Echo Klassik Awards.

A glittering selection of operatic highlights and arias, featuring great composers and artists who are all celebrating significant anniversaries in 2013.

He was a dandy – but also highly religious. He lived in the era of atonality, but his unmistakably personal music is firmly rooted in the French tradition. And since it first saw the light of day, it has been popular with music-lovers and critics alike. Francis Poulenc composes original, sensuous-sounding and sometimes cheeky, whimsical works in all musical genres. His sacred works contain great depth of personal expression, and Richard Hickox's 1980 recording of the Stabat Mater and the Gloria enjoys reference status to this day.