Goddess Test

It is a magical, soul-inspiring authentic musical story about a woman's awakening and actualization. It is a story of You, of the genius within every woman. A woman who has awakened the unique inborn spiritual talents within herself becomes a true Creator Goddess. Such a Goddess Woman creates a harmonious, happy, meaningful life that brings love, peace, health, success, joy and satisfaction to her and those around.
Every song speaks of different talents of a Woman, her given gifts and their manifestation in life, touching just as well upon painful experiences that a Woman unfamiliar with herself goes through. In these songs, a woman's path of evolution is encoded, including even special practices that help open up the feminine nature. Angelic virtuoso vocal and tantric poetry will nourish Your soul with beauty and love…

Mick Jagger had struggled with launching his solo career for over 15 years when he unleashed Goddess in the Doorway. Although he was one of the most famous men on earth, he couldn't separate himself from the Stones no matter how hard he tried, and he tried so hard that many of his struggles appeared desperate…

Several female composers achieved some slight renown in 17th-century Italy, but none was more widely known or praised than the extraordinary Barbara Strozzi. This famously virtuoso singer wrote herself truly imaginative, compelling music–the wide-ranging, fluttering runs of the wedding song "Gite, o giorni dolenti," the passionate anguish and the unsettling chromatic turns in the melody of "Lagrime mie," the coquettish humor of "La sol fa mi re do," and on and on. For this "portrait of Barbara Strozzi," Catherine Bott gives a spectacular performance, encompassing the wide range (both vocal and emotional) and technical challenges of this music with ease and dramatic flair.

Purcell’s fourth birthday Ode for the Queen, Love’s goddess sure was blind, was the most intimate of the six, scored for just strings and a pair of recorders. The two-section Symphony is one of Purcell’s finest, especially richly scored. The noble, yet wistful, first part is dominated by a six-note falling scale and a ravishing melody (which comes only once in the violins, but three times in the viola), all wrapped in glorious harmony. The triple-time second section at first glance appears lighter in character, but (as with so much of Purcell’s music, which needs to be played to discover its true riches) in practice still has an underlying current of melancholy, heightened at the end as the opening mood returns.