A.. Rose

Elena (18), is on her first day at work in a bar in a small Apennine town of Bobbio. It's summer and the bar is very busy.

Ghost of a Rose is the fourth studio album by the group Blackmore's Night, released June 30, 2003. It features covers of Joan Baez's "Diamonds and Rust", and Jethro Tull's "Rainbow Blues".

"Fading Like a Flower (Every Time You Leave)" is a power ballad by Swedish pop duo Roxette from their third studio album, Joyride (1991).

As Nicholas McGegan sets off on his final season as Music Director, Pulitzer Prize-winning composer Caroline Shaw returns with her most ambitious project yet for the Orchestra & Chorale—a cosmic reflection inspired by Carl Sagan’s Golden Record, and by humankind’s fascination with recording ourselves for posterity. The otherworldly voices of contralto Avery Amereau and bass-baritone Dashon Burton, interwoven with curated selections played on record player, all contribute to this monumental work featuring the profound words of Walt Whitman and Alfred Lord Tennyson. Paired with Handel’s expansive Eternal Source of Light Divine featuring countertenor Reginald Mobley, this performance will leave you contemplating what it means to create music, and who will listen tomorrow.

"Fading Like a Flower (Every Time You Leave)" is a power ballad by Swedish pop duo Roxette from their third studio album, Joyride (1991).

It appears that Ritchie Blackmore, legendary Brit guitar god, axe king of the glorious Deep Purple and Rainbow, is persisting in his attempt to reinvent himself as some kind of Medieval folkie. The fifth outing by Blackmore's Night is another tepid yet overwrought bag of originals, and a wretched cover of Joan Baez's classic "Diamonds and Rust." The issue here is not whether Mr. Blackmore and vocalist Candice Night have the chops. They clearly do. That they insist on using the recording studio to virtually sterilize all that made the music they hold so dear so vital and dangerous is the real problem. These songs, with their glossed-over edges and Ms. Night's completely rounded vocals, leave all of the dark passions they seek to reveal embedded in the songs themselves, like lovers in a cage, stranded. One listen to the early Steeleye Span recordings, or the Watersons "Frost and Fire,"" reveals in spades just how threadbare and empty of life this record is.