[Q]: Given the below context: Rumours has been acclaimed by music critics since its release. Robert Christgau, reviewing in The Village Voice, gave the album an "A" and described it as "more consistent and more eccentric" than its predecessor. He added that it "jumps right out of the speakers at you". Rolling Stone magazine's John Swenson believed the interplay among the three vocalists was one of the album's most pleasing elements; he stated, "Despite the interminable delay in finishing the record, Rumours proves that the success of Fleetwood Mac was no fluke." In a review for The New York Times, John Rockwell said the album is "a delightful disk, and one hopes the public thinks so, too", while Dave Marsh of the St. Petersburg Times claimed the songs are "as grandly glossy as anything right now". Robert Hilburn was less receptive and called Rumours a "frustratingly uneven" record in his review for the Los Angeles Times, while Juan Rodriguez of The Gazette suggested that, while the music is "crisper and clearer", Fleetwood Mac's ideas are "slightly more muddled". The album finished fourth in The Village Voice's 1977 Pazz & Jop critics' poll, which aggregated the votes of hundreds of prominent reviewers.In a retrospective review, AllMusic editor Stephen Thomas Erlewine gave Rumours five stars and noted that, regardless of the voyeuristic element, the record was "an unparalleled blockbuster" because of the music's quality; he concluded, "Each tune, each phrase regains its raw, immediate emotional powerwhich is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time." According to Slant Magazine's Barry Walsh, Fleetwood Mac drew on romantic dysfunction and personal turmoil to create a timeless, five-star record, while Andy Gill of The Independent claimed it "represents, along with The Eagles Greatest Hits, the high-water mark of America's Seventies rock-culture expansion, the quintessence of a counter-cultural mindset lured into coke-fuelled... Guess a valid title for it!
****
[A]: Rumours (album)

[Q]: Given the below context: Following the conquest of Constantinople, Mehmed II immediately set out to revitalize the city, by then sometimes called Istanbul. He urged the return of those who had fled the city during the siege, and resettled Muslims, Jews, and Christians from other parts of Anatolia. He demanded that five thousand households needed to be transferred to Constantinople by September. From all over the Islamic empire, prisoners of war and deported people were sent to the city: these people were called "Surgun" in Turkish (Greek: ). Many people escaped again from the city, and there were several outbreaks of plague, so that in 1459 Mehmet allowed the deported Greeks to come back to the city. He also invited people from all over Europe to his capital, creating a cosmopolitan society that persisted through much of the Ottoman period. Plague continued to be essentially endemic in Constantinople for the rest of the century, as it had been from 1520, with a few years of respite between 1529 and 1533, 1549 and 1552, and from 1567 to 1570; epidemics originating in the West and in the Hejaz and southern Russia. Population growth in Anatolia allowed Constantinople to replace its losses and maintain its population of around 500,000 inhabitants down to 1800. Mehmed II also repaired the city's damaged infrastructure, including the whole water system, began to build the Grand Bazaar, and constructed Topkap Palace, the sultan's official residence. With the transfer of the capital from Edirne (formerly Adrianople) to Constantinople, the new state was declared as the successor and continuation of the Roman Empire. Guess a valid title for it!
****
[A]: Istanbul

[Q]: Given the below context: Handel joined the Hamburg opera house when it was experiencing a period of considerable artistic success. This blossoming followed the arrival of Reinhard Keiser, who had become musical director at the Gansemarkt in about 1697, and in 1703 succeeded Johann Kusser as the theatre's manager. Born in 1674, Keiser had studied under Johann Schelle and probably Johann Kuhnau at the Thomasschule zu Leipzig. In 1694 he was employed as a court composer at Brunswick, where in three years he composed seven operas, at least one of which (Mahumeth) was performed in Hamburg. According to Handel's biographer Donald Burrows, Keiser was a good judge of popular taste, with a flair for writing Italian-style arias. Between 1697 and 1703, prior to Handel's arrival, about a dozen more Keiser operas had been staged at the Gansemarkt. Despite his on-stage successes, Keiser was an unreliable general manager, with expensive private tastes and little financial acumen, often at odds with his creditors.It is possible that Keiser, who had connections in the Halle area, had heard of Handel and was directly instrumental in securing the latter's post in the Gansemarkt orchestra; certainly he was a considerable influence on the younger man in the three years that Handel spent in Hamburg. Another important Gansemarkt colleague was the house composer and singer Johann Mattheson, who noted Handel's rapid progress in the orchestra from back-desk violinist to harpsichord soloist, a role in which, said Mattheson, "he showed himself a mana thing which no one had before suspected, save I alone". Mattheson was less complimentary on Handel's early efforts at composition: "He composed very long, long arias, and really interminable cantatas", before, it seems, "the lofty schooling of opera ... trimmed him into other fashions". Guess a valid title for it!
****
[A]:
Handel's lost Hamburg operas