Lambert M. Surhone

The set presents a compilation of concert highlights captured the world over personally selected by Taylor, May and Lambert from over 200 shows they have performed with several featured here becoming available for the very first time. These cover concerts from Rock in Rio, Lisbon, to the UK’s Isle of Wight Festival, Summer Sonic, Japan, selected UK and North America tour dates, and - from one of their very last performances before lockdown – the Fire Fight Australia benefit show. All formats include the band’s entire 22-minute Fire Fight Australia appearance in which they performed Queen’s original history-making 1985 Live Aid set in full: Bohemian Rhapsody, Radio Ga Ga, Hammer To Fall, Crazy Little Thing Called Love, We Will Rock You and We are The Champions. While even Freddie Mercury’s iconic Ay-Ohs feature.

This is a fine recital of 23 Schubert Lieder, including some popular favorites like Gretchen am Spinnrade, Ganymed, Du bist die Ruh', An Silvia, etc., alongside some less well-known works. Arleen Auger was a celebrated interpreter of this repertoire and sings beautifully. She is accompanied by Lambert Orkis on a fortepiano, so this is one of the few available Schubert song recitals with period accompaniment.

Mention French music of the late 17th century, and the adjectives that come to mind are the same ones associated with the Louis XIV: splendid, imposing, ritualistic. The music of the era was exemplified by Lully's tightly controlled dramatic compositions and by massive church compositions. Both types were composed by Michel Lambert (1610-1696), but there was another side to music of the Sun King's era, and Lambert specialized in that. The air de cour, or court air, was intimate, romantic, subtle: everything that the Lully opera was not. And Lully himself composed music for quieter occasions, as well.

Constant Lambert like his colleague Peter Warlocktends to be remembered more for his personal charisma and tragically early death than for his music. Yet the twenty or so extended scores which he did compose (The Rio Grande and Summer's Last Will and Testament being perhaps the most well known) are every bit as worthy as those of his more famous contemporaries. The bulk of Lambert's output was directed at the ballet, and he was the first Englishman ever to be commissioned by Diaghilev and the Ballets Russes quite an achievement for a twenty-year-old. As a result of this, Nijinska commissioned Pomona, a ballet rich in the atmosphere of neoclassicism and the French dance music of the 1920s.

Adam Lambert shakes off the shackles of the past by returning to his roots on The Original High. No longer with RCA, the label who signed him in the wake of American Idol, Lambert seizes this freedom by reuniting with producers Max Martin and Shellback, the team who gave him his big 2009 hit "Whataya Want from Me," but this is by no means a throwback. Martin and Shellback remain fixtures at the top of the pop charts – they were instrumental collaborators on Taylor Swift's 1989, the biggest album of 2014 – and they're a comfortable, stylish fit for the clever Lambert, a singer as comfortable with a glam-disco past as he is an EDM present.