Queen I

In 2023 the Queen Elisabeth Competition is dedicated to the voice.

Made in Heaven is the fifteenth and final studio album by the British rock band Queen, released on 6 November 1995 by Parlophone Records in the United Kingdom and by Hollywood Records in the United States. It was the band's first release after the death of lead singer Freddie Mercury in 1991. Following Mercury's death, guitarist Brian May, drummer Roger Taylor, and bass guitarist John Deacon worked with vocal and piano parts that Mercury recorded before his death, adding new instrumentation to the recordings. Both stages of recording, before and after Mercury's death, were completed at the band's studio in Montreux, Switzerland. The album debuted at number 1 in the UK where it went 5× platinum. The album has sold around 20 million copies around the world.

Queen were straining at the boundaries of hard rock and heavy metal on Sheer Heart Attack, but they broke down all the barricades on A Night at the Opera, a self-consciously ridiculous and overblown hard rock masterpiece. Using the multi-layered guitars of its predecessor as a foundation, A Night at the Opera encompasses metal ("Death on Two Legs," "Sweet Lady"), pop (the lovely, shimmering "You're My Best Friend"), campy British music hall ("Lazing on a Sunday Afternoon," "Seaside Rendezvous"), and mystical prog rock ("'39," "The Prophet's Song"), eventually bringing it all together on the pseudo-operatic "Bohemian Rhapsody."

The fruitful partnership between the Alpha label, the Queen Elisabeth Music Chapel and the Palazzetto Bru Zane continues with this set of chamber music by Anton Reicha, performed by the musicians of the Chapel, young talents of an exceptionally high standard, ready and willing to take up the challenge of this music.

Widely considered to be both The Smiths’ finest work and one of the greatest albums ever made, ‘The Queen Is Dead’ has cast a significant influence over subsequent generations since it was first released in the summer of 1986. Now Warner Bros. Records can confirm details of a newly mastered and expanded version of the album that will be released on 20th October.

"The Queen of Hearts" is the debut album from Offa Rex, an adventurous project featuring English singer/multi-instrumentalist Olivia Chaney and The Decemberists. Produced and recorded by Tucker Martine (Modest Mouse, My Morning Jacket, Neko Case) and Colin Meloy at Martine's studio in Portland, OR, the album draws largely on traditional English-Irish-Scottish repertoire to create a transatlantic musical conversation that flirts with psychedelia and folk rock while maintaining its own inimitable identity.

The Works is the eleventh studio album by the British rock band Queen, released on 27 February 1984 by EMI Records in the United Kingdom and it is the band's first studio album to be released by Capitol Records in the United States. After the synth-heavy Hot Space (1982), the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electronic music (Freddie Mercury) and New York funk scenes (John Deacon). The album has sold over 6 million copies worldwide.

Virgin/EMI (Hollywood Records in the US) will issue Queen On Air in November, an archival release that brings together six Queen radio sessions recorded for the BBC between February 1973 and October 1977.

In honor of the 25th anniversary of the iconic film "The Bodyguard", Legacy Recordings, is celebrating its legacy with the release of a brand new collection of Whitney Houston live and studio recordings entitled “I Wish You Love: More From The Bodyguard”. “I Wish You Love: More From The Bodyguard” is an essential new Whitney Houston collection bringing together a variety of live and studio recordings from "The Bodyguard".

The Choir of The Queen’s College, Oxford, Academy of Ancient Music, and an outstanding array of soloists join forces to breathe new life into the choral works of Giovanni Bononcini (1670-1747). Bononcini was Handel’s main rival in London, and with little to separate the two in terms of public status and reputation, they were dubbed the Tweedle-dum and Tweedle-dee of London’s music scene in the 1720s.