The Queen

Fly, bold rebellion was one of Purcell’s early Welcome Songs, composed for Charles II in 1683. The manuscript gives no indication of the date of the first performance, but it seems evident from the anonymous author of the words that it was written shortly after the discovery of the Rye House Plot, which took place in June 1683. The Ode thus would seem likely to have been performed to celebrate Charles’s return from Windsor to Whitehall at the end of June, or perhaps later in the year on his return to London from Winchester (25 September) or Newmarket (20 October). After the splendid two-part Symphony, the Ode contains the already established selection of choruses, trios and solos, interspersed with Purcell’s deliciously scored string ritornelli.

The Queen's sixth studio album "News of the World" was released in 1977, which has gone four times platinum in the United States, and twice in the UK. The album contained many songs tailor-made for live performance, including two of rock's most recognisable anthems, "We Will Rock You" and the rock ballad "We Are the Champions", both of which became enduring international sports anthems, and the latter reached number four in the United States.

Sharan Rani - The Legendary Queen of Sarod (2008) {2CD Set Living Media India A 08003 A/B}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 792 Mb | MP3 @320 -> 292 Mb
Full Artwork @ 600 dpi (jpg) -> 68 Mb | 5% repair rar
© 2008 Living Media India / Music Today | A 08003 A/B
Indian Music / Sarod / Indian Raga / World Music

Legendary sarod maestro, Sharan Rani is the first & foremost woman instrumentalist & one of the senior most & greatest musicians of our times. Sarod has become synonymous with her name & she is popularly known as Sarod Rani i.e. the 'Queen of Sarod'. This double-CD classical album features some of her finest live performances showcasing her genius with the instrument. Also includes a booklet of rare photographs from the artiste's archives.

The recorder played a huge part in 18th-century European music, so it’s strange that this beautiful instrument doesn’t command the attention it deserves today. Enter Dutch player Lucie Horsch with a Baroque feast of thrilling arrangements and wonderful, original works for recorder. Dive into the magical, virtuosic worlds of Castello, Naudot, and Sammartini—whose Concerto in F Majoris a sparkling discovery—and relive famous pieces that shine anew. The voice flute used for “Erbarme dich” from Bach’s St. Matthew Passion has a breathtaking vocal quality, while Horsch joins fellow recorder player Charlotte Barbour-Condini for a joyful, energizing performance of Handel’s “The Arrival of the Queen of Sheba.” Utterly inspiring.

Covent Garden’s 2003 production of The Magic Flute , designed by John F. Macfarlane, directed by David McVicar, and conducted by Sir Colin Davis, is magnificent from a strictly musical standpoint. More than that, it’s vastly entertaining. The comedic elements of the story integrate far more comfortably than is often the case with Schikaneder’s high-minded (if vague) theme of a quest for enlightenment, particularly in the second act. Visually, the production is a feast, yet it doesn’t distract from the music.