Giacomo Puccini’s “Turandot”. Set design by Roberto Oswald
A GLOBAL PROJECT TO PRESERVE THE
CLASSICAL MUSICIANS OF OUR TIMES, FOR THE TIMES TO COME
Giacomo Puccini’s “Turandot”. Set design by Roberto Oswald
Photo Máximo Parpagnoli/Teatro Colón/2019
The record label Prima Classic (USA) and the Primavera Foundation Armenia have joined efforts to ensure the global and easily accessible presentation of Armenian music and music performed by Armenian artists.
The project aims to provide Armenian musicians with an additional and consistent opportunity to record and release digitally on all major global streaming platforms. We wish to empower emerging and well-established Armenian artists by offering financial and non-financial resources to record, post-produce, release, and market their recordings globally.
This initiative provides musicians with access to:
About Prima Classic:
Prima Classic is an independent record label focused on opera, lyrical singing, and instrumental music, fueled by a passion to produce and nurture beautiful music performed by outstanding artists.
Born in the USA and based also in Europe the label takes the utmost care in all the phases of our projects: repertoire selection, performance level, sound quality, artwork design, and worldwide distribution.
About Primavera Foundation Armenia:
We build cultural bridges between Armenians and other nations by celebrating Armenian cultural heritage internationally, supporting young Armenian musicians, and developing educational activities through:
In 2025 Alexander Boldachev will record two unique albums that will project his extraordinary musical gift to millions of people worldwide
Vol. 1:
Music from Star Wars, Lord of the Rings, Heroes of the might & Magic Medley, and 8-bit Video Game Medley (Pac-Man, Mario, DuckTales, Sonic, Zelda, Final Fantasy, Tetris)
These “New Classics” have been fully arranged for orchestra and harp by Alexander.
Vol. 2:
Works by Handel, Debussy, Prokofiev, Saint Saëns, Albéniz, Verdi, Orff, and Boldachev.
ALEXANDER BOLDACHEV IS A SWISS-RUSSIAN HARPIST
Internationally acclaimed award-winning harpist, working in the genres of classical music and crossover pops, improviser, arranger, and composer for film and theatre. Invited Professor in Royal Academy of Music, Herp Albert School of Music in UCLA and Milano Conservatory. Endorser of Italian brand “Salvi Harps”, founder of the Zurich Harp Festival and World Harp Day. Active humanitarian and project producer.
Vox Vault is a group of professionals working in prominent places in the classical music industry. Our board is made of international agents and managers, record industry veterans, orchestra members and staff, conductors, professional singers, and librarians. We all work with Vox Vault out of our passion to help advance our beloved art form. Because we all have our jobs, we don’t get paid by Vox Vault —Vox Vault has no employees and all the funds that we collect are used to finance recordings.
Through our board’s collaborative discussions, we select and connect with projects that are in need of partial or full financing for their recordings. We discuss the project with them and we help them materialize it.
We handle the whole production process from beginning to end, including the hiring of recording studios, orchestras, conductors, sound engineers, musicologists, producers, and graphic designers. We also help them get their music distributed worldwide digitally and on CD.
To have full transparency and the highest security standards with our transactions, we’ve partnered with Fractured Atlas, a renowned arts service organization in New York. Fractured Atlas is Vox Vault’s Fiscal Sponsor and the safe keeper of the funds that we receive until they get assigned and released to a specific recording project. Because we are not a record label, we do not “sign” artists, instead, the artists remain free to record future projects with whomever they choose.
Do you remember the first time you heard an opera singer or a symphonic work? What a discovery it sure was for so many of us back then! Would you like to help create those memories? For every project partly or fully funded by Vox Vault, we will donate up to 1000 CDs to institutions that work with children. We are building relationships with schools worldwide, which will receive free CDs to distribute among their young students, and although they may not have a CD player at home, the physical CD — a real object — will prompt them to look up and stream the music and associate it with the gift.
In this way, a simple gift can expose classical music to children who may otherwise never have heard of it, and through the power of giving, thousands of children will discover this amazing art form, they will learn the names and see the faces of our artists, and maybe some of them will engage with the art form, and embrace it, love it, and carry it within themselves throughout their lives, just as we do.
Are you a school administrator interested in participating in our program? Contact us at info@voxvault.org
Orquesta y Coro del Teatro Real, Madrid, under the baton of John Fiore.
New critical edition by Roger Parker for Casa Ricordi, includes a musicological essay and the full libretto in Italian and English.
—Opera News, USA – Critic’s Choice Recording
—Opéra Magazine, France – 5 Stars Recording
—BBC Music Magazine, United Kingdom – 4 Stars Recording
—Oper! Magazine, Germany – Recording of the Month
—Rivista Musica, Italy
—Le Monde, France
—Opera News, USA. “Critic’s Choice” Distinction
Hundreds of children from this music school in Honduras received CDs of opera, many of them discovering the musical genre by this small gift.
* Contributions for the charitable purposes of “Vox Vault” must be made payable to “Fractured Atlas” only, and are tax-deductible
to the extent permitted by law of the United States of America. You will receive a receipt from “Fractured Atlas”, a 501(c)3 organization, upon your donation.
It is the current business model used by companies like Spotify, Apple Music, Amazon Music, and others, offering unlimited access to music for a fixed monthly fee, but without giving any ownership of the music to the subscriber. However convenient this is, it hugely benefits a certain type of popular music, oftentimes songs written by a small group of producers, tailored to a specific audience, to be listened to “on repeat”. These songs get millions or billions of streams and they are what is fueling the current growth of the record business.
Conversely, this model gives little or no revenue to less popular music, because it pays fractions of cents per “listen”, far from even covering the costs of producing a recording.
To make things even worse, streaming services “pool” their subscribers’ money among all the artists on their platform, regardless of who the subscriber listened to at any given time.
What this means is that even if you only listened to a single opera singer during the whole month, almost all of your monthly subscription fee will go to other artists—of other music genres—who got the most streams on that month. Wonderful exceptions to this are Idagio and Primephonic, that distribute their users’ monthly fees strictly among the artists that each user listened to.