| 1. Moon River (Bryan Pezzone) |
| 2. Love Theme from "The Unseen" (Michael J. Lewis) |
| 3. Moonlight Sonata (Bryan Pezzone) |
| 4. Kazakh Moon (Michael J. Lewis) |
| 5. Clair de Lune (Moonlight) (Brian Pezzone) |
| 6. Theme from "The Lion, the Witch and the Wardrobe" (Michael J. Lewis) |
| 7. Blue Moon (Bryan Pezzone) |
| 8. Tra Bo Dau (Michael J. Lewis) |
| 9. Amazing Grace (Michael J. Lewis) |
| 10. Ar Hyd Y Nos (All Through the Night) (Michael J. Lewis) |
Editorial Reviews
About the Artist
Michael J. Lewis, composer and producer, was born in Aberystwyth, Ceredigion, Wales. He was a choirboy at six and church organist at ten. Later, he studied composition at the Guildhall School of Music in London. His numeros film credits include "Julius Caesar," "The Medusa Touch," "The Naked Face," "Theatre of Blood," "Hound of the Baskervilles" and "Sphinx." He won the Ivor Novello Award for his first film score, "The Madwoman of Chaillot." His first Broadway show, "Cyrano," earned a Grammy Nomination. He has also won an Emmy Award and an ACE nomination.
covering mainly from the classcal
to the to the romantic periods, a most
memorable selection here is Leo Nucci
in a lagendary performance of Rossini's
"Largo al Factotum" from "Il Barbiere di Seviglia"
also Andrea Bocelli in his performance of Leoncavallo's
memorable "Matinatta" here in an orchestrated version.
Indeed some of opera's most loved arias are in this recording
various conductors, orchestras, and soloists. All in their
very best. Indeed a five-star recording...
As always, the versatile Yo-Yo Ma is quite soulful and technically brilliant in his musical exploration of the "Silk Road". The music, to me, captures the feeling of Asia. The liner notes are very educational in providing a context to the project.
I find Asian music to be very different from our "Western" traditions, but given time and an even chance, I think that you will find this CD to be very nice and enjoyable.
I was looking forward to this, but the music is plodding in many parts,
like a dreary symphony. There are fine moments, but I was looking for something a bit more accesible, rhymic, and lyrical. This is a mixed bag that seems to miss more often than hit.
To anyone who has heard of the Silk Road in Ancient China, the title of this CD immediately brings up images of exotic peoples and their cultures in your mind. I think Yo-Yo Ma's efforts in creating such a culturally diversified recording are definitely welcomed in this era of globalization.
But after listening through this CD I felt that something was missing from the selections. One of the most important areas on the Silk Road is the Uyghur region in northwestern China. Their music is quite unique. Inclusion of their music in this CD would be really interesting. Also in this CD not all of the selections are chosen from those regions directly related to the Silk Road. So I guess the title is just a metaphor of "when strangers meet", but is not directly about the cultures along the Silk Road.
Now I will review each of the selections.
1. Mongolian Traditional Long Song
I am somewhat familiar with their culture and land. So to me this song is very beautiful and enchanting. One of the most important factors in conducting any cross-cultural communications is context! You really cannot take it out of context. The Mongolian Long Song might sound monotonous and drawling to a person who is more used to the Western tradition of chant, choral, or opera music. Yet if you know the traditional nomadic lifestyle of the Mongolian people on the vast rolling greens of the Mongolian grassland embellished with winding creeks and rivers, you would probably hear such long-singing voices reverberating between the green of the grass and the blue of the sky. The Mongolian people have some of the most beautiful songs that I know of.
2. Legend of Herlen
There are probably two broad categories of non-western ethnic musics. One is the authentic folksong tradition of the people, the other is westernized works composed by westernized local musicians. I guess Legend of Herlen might fall into the second category. It has some interesting tunes in it. But the overall listening experience is too dramatic. I guess the dynamics used in this piece might even go beyond the ppp and fff. In the Mongolian traditional music, dynamics are sometimes used quite dramatically, with sharp difference between two adjacent notes or phrases. So this piece here is probably not very surprising. Nonetheless I find it a little too dramatic, sometimes even disturbing. Again I am not familiar with the background of this piece, so that might explain the unusual drama.
3. Blue Little Flower
I am not sure what fusion should really sound like. But in this piece it does seem to me that a lot of musical traditions are intertwined in it: western music, Chinese folksong from Shaanxi, and probably Iranian or Indian drums. Somehow the only part of this song that I liked is the beginning line. It's very beautiful and delicate, reminding me of the theme music from the Couching Tiger, Hidden Dragon. But it is westernized, not authentic Chinese folksong. If this is still not a problem, then the drum used in this piece does cause a lot of funny effects. The drum sounds so distinctive and it represents some of the central or western Asia cultures. The images such drum beats conjure up are very incompatible with this northwestern Chinese folksong. So in this piece there are at least three threads: western, Chinese, and Iranian/Indian (I am not sure which one). But they do not converge. There is also the funny part of the singing included in this piece. It is out of place and unnecessary. The singing itself is just too frivolous to me.
4. Mido Mountain
I like this piece, especially the part played by the Sheng. Again there are some elements that sound a little bit too foreign to me, especially the percussion part. They use the same percussion/drum in this piece as in the previous one. But the overall effect of the arrangement does sound authentic and pleasant to me.
5. Moon Over Guan Mountains
If you know that Zhao Jiping is famous for his scores for films, you will probably understand this piece better. But of course understanding does not mean you will like it. This piece falls into the second category that I described above. For a lot of non-Western countries, the influence of western music is definitely immense. Many local composers are trained in both the western tradition and the local tradition. But there is probably a general feeling among composers in these countries that western music is richer in theory and methods. Many of these composers will use themes from folk songs to compose westernized music. I will give this piece a B+. It does include some themes from northwestern China, which sound really unique. As I said in this CD there is no selection from the Uyghur region in China, this piece might make up for that, since some of the themes seem to me to be from that region. But this piece is still too dramatic too, like a film score.
6. Five Finnish Folksongs No. 3
I love this one! The theme melody is so beautiful, and maybe a little bit nostalgic, and maybe a little bit romantic also? But this piece is straightly western music. There is nothing ethnic about it.
7. Five Finnish Folksongs No.5
This one is ok, but not very impressive. The overall structure of this piece sounds like very loose. There is not memorable melody either. But it does not have the maddening drama like in the two pieces I have just talked about. This is good.
8. Avaz-e Dashti
I am not familiar with Persian music. But there are indeed some very Persian melodies in this piece. The instruments used in this piece are all traditional Persian instruments. Maybe this is why it sounds so authentic to me. I like the haunting, floating tunes in this piece. They sound very ethereal to me.
9. Habil-Sayagy
Again this piece falls into the second category like the Legend of Herlen and Moon Over Guan Mountains. Such music is probably interesting to the performers, since they can let loose their inner floodgate of emotions and resort to pure artistic connections. But the problem for such music is that they are just too dramatic, and it's really hard to understand them without fairly good knowledge of the context and their unique cultural backgrounds. I am sure all these three pieces might sound profound, meaningful, and artistic once we know the cultural backgrounds better. But for the general listener, they are too abstract and too emotionally charged. Another problem for such western-traditional combination pure art form of music is that tradition might be distorted and represented in the wrong way.
10. Blue as the Turquoise Night of Neyshabur
I like this one better that the previous one, especially the middle part beginning at around 5 min 30 sec into the music. The melody is quite unique, and memorable. The bassline is very interesting too. It conjures up the image of merchants traveling on camel back through the desert. The pulse of the bass sounds like the steps of camels walking. One the instruments used, I am not sure which one, santur or kemancheh, is quite successful in bringing out the authenticity of the music style.
11. Chi passa per'sta strada
This one has the same problem as the Blue Little Flower: it does not sound like anything! It is not Italian, nor is it Iranian, nor Chinese, nor anything else. What is it? Who knows. The ethnicity of world music is tied to their unique musical instruments closely. I remember there was one year the Chinese traditional orchestra had a New Year's Concert at Vienna, and when they played the Radetzky March at the end of the concert, I was quite unimpressed.
12. Desert Capriccio
Tan Dun is similar to the composers I mentioned above like Zhao Jiping. Tan's music is unique and interesting to both western and Chinese audience, because of the same thing: they are both unfamiliar with Tan's music. To the Chinese audience, his music sounds western, but to the Western audience, his music sounds exotic. Nonetheless I still like some of this music, like the Couching Tiger and Hidden Dragon. Some of the melodies are really great. Again this piece makes up for the lack of Uyghur music in this album, since the "desert" in this piece is in the Uyghur region. But the music is not Uyghur at all.
There you have it. That's all for my detailed review of this CD. I would give it a B+ for its efforts and some of the really good tunes. As I am not an expert, I might be wrong in many of the points that I make in this review. So feel free to comment on my review.
The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly quite awful: really tasteless, clumsy, and overused big time and I'm amazed at how this ever got released. Without these ersatz testifyin' noises this CD would be stunning.
So, if you have the ability and inclination to edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).
I think this is the most artistically successful recording of Pop/Jazz by a classical singer. I enjoyed it even better than the Anna Sophie Von Otter'/ Elvis Costello CD.
The perspective I am coming from is that of a classical singer who started out as a pop singer/songwriter. I perform and teach cross-genre but love a world class instrument such as Flemming's
I wanted to get the perspective of a friend who used to sing jingles and is also a trained singer but is usually critical of any attempts that opera singers make at crossing -over.
My friend is very familiar with Flemming's voice, but did not recognise it in this context when I played the CD for her. Her reaction was very complimentary, although she did comment that the diction was a bit strange.
She then played it for her brother a well known jazz singer and arranger who had a somewhat negative reaction.He found the singing to be overly dark and round. He prefers a cleaner more 'spoken' approach to this style of singing. I understand this perspective and therefore personally prefer Ella to Sarah as well, but let's not get too picky. Obviously, Rene Flemming is of the Sarah Vaghan School of jazz singing, which is not too shabby.
I will continue to enjoy this CD and will wait for another opera diva to top this one. But, somehow I think the next really good CD of Pop/ jazz from an opera star will also come from Rene.
To those who have been unreasonably mean and negative towards her, I can only say you are not fit to polish her shoes!
I hope Renee keeps recording whatever catches her fancy because I'll certainly always listen.
I welcome Renee's elan demonstrated with her recent recordings, Love sublime with Brad Mehldau, and Haunted Heart with Fred Hersch and Bill Frissell. Bravery, fun, and talent combined by artists and for people who are listening. Hearing long time favorites Mehldau, Hersch, and Frissell is all the more sublime.
For a romantic mood, "Perhaps Love" (simply fabulous) is much better choice.
Fleming also has a good sense of the characters she is portraying, for instance, on the "La traviata" aria, "È stano...Ah, fors'è lui...Sempre libera", one gets a strong sense of Violetta's conflict between the attractions of true love versus the free life of a courtesan. She also gets some sturdy help from tenor Joseph Calleja as Alfredo in this piece. But even in this number, the effect of her daunting runs and trills can be a bit overwhelming. She does keep this in check with the slower-paced tracks like "Casta diva" from Bellini's "Norma", which uses a choir in the background to great effect, and Rachmaninov's lovely "Vocalise". The well-worn "Summertime" from Gershwin's "Porgy and Bess" is nicely covered here, and it certainly invites comparisons to even Leontyne Price's definitive version. Fleming ends the disc with a rousing version of Rodgers & Hammerstein's "You'll Never Walk Alone" from "Carousel" that grows a bit too bombastic for listening comfort. Regardless, this disc provides a nice sampling of what this truly great singer has done over the past decade. A treat for her fans and highly recommended for anyone who wants an ideal introduction to her range of talent.
.....looks do not a singer make. While others here may include friends, or cohorts.....or even those in love.....again, that does not this man other than an average vocalist make---at best.
Sorry to say, but all I hear is a voice that too often leans to "mono-tony;" one with a tendancy to stretch for (or avoid) upper level tones, and one that often treads closely to falling off-key.
ON THE OTHER HAND, his pianism IS what his vocalizings are not: spot-on and vivacious (easily worth 4-Stars). While not a jazz afficionado, these two things I can plainly see.....er, hear. Perhaps my fifty-some years of keyboard, vocal and orchestral listening have helped me out here (but, then, what could an average joe like me know).
Best to you, John Proulx.
****
It is great to have this material to play in any motor vehicle. Most newer vehicles do not have cassette any more. My new Kia Amanti has both a cassette and a CD making all my old favorites possible to play.
Rhieu's arrangements (with Jo Huijts) have hints of "beautiful music" (think Ray Coniff) but only hints, and the result is very tasteful. For example, the piano obligato under the strings on "O mio babbino caro" makes you wish that Puccini had thought of that.
This is a wonderful album to listen to while relaxing and would make a great gift for someone who appreciates classical music but doesn't have specific preferences.
Michael J. Lewis, composer and producer, was born in Aberystwyth, Ceredigion, Wales. He was a choirboy at six and church organist at ten. Later, he studied composition at the Guildhall School of Music in London. His numeros film credits include "Julius Caesar," "The Medusa Touch," "The Naked Face," "Theatre of Blood," "Hound of the Baskervilles" and "Sphinx." He won the Ivor Novello Award for his first film score, "The Madwoman of Chaillot." His first Broadway show, "Cyrano," earned a Grammy Nomination. He has also won an Emmy Award and an ACE nomination.
Bryan Pezzone is the consummate crossover pianist of his generation. He has excelled in classical, contemporary, jazz and experimental genres and is known for both his versatility and virtuosity. He has performed with many major symphony orchestras and is known in the Los Angeles area as one of the primary freelance pianists for film and television soundtracks.
Product Description
This CD is about creating a romantic atmosphere for the listener. To millions, for nearly three centuries, the piano has been the most romantic of instruments. Its wide range of notes and its great variety of textures can stir up so many emotions and transport you to distant places to view splendours such as an exotic Asian "Kazakh Moon" or a sensual French "Clair De Lune" or simply lose yourself in a "Blue Moon" - the theme song for nocturnal lovers. The music of Wales is feature in two pieces, "Tra Bo Dau" (Two Fond Hearts) and the well-known "Ar Hyd Y Nos" (All Through the Night.)
Piano Moon,Various Artists
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The #1 Opera Album
Giacomo Puccini , Giuseppe Verdi , Léo Delibes , Georges Bizet , Umberto Giordano , Wolfgang Amadeus Mozart , Richard Wagner , Gioachino Rossini , Alfredo Catalani , Jacques Offenbach , Ruggiero Leoncavallo , Charles Gounod , Gaetano Donizetti , Pietro Mascagni , Antonin Dvorak , Richard Bonynge , Herbert von Karajan , Alberto Erede , Lamberto Gardelli , Giuseppe Patane , John Mauceri , Zubin Mehta , Charles Dutoit , Gyorgy Fischer , Riccardo Chailly , Istvan Kertesz , Leone Magiera , Evelino Pido , Gianandrea Gavazzeni , Renée Fleming , Cecilia Bartoli , Luciano Pavarotti , Jussi Bjorling , and Renata Tebaldi Manufacturer: Decca ProductGroup: Music Binding: Audio CD  General
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ASIN: B000059RXO Release Date: 2001-02-27 |
Tracks:
- Carmen: Act 1: Prld - LPO/Sir Georg Solti
- La Traviata: Brindisi: Libiamo, Ne'lieti Calici - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
- La Boheme: Che Gelida Manina - Luciano Pavarotti
- Lakme: Flower Duet: Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
- Fedora: Amor Ti Vieta - Jussi Bjorling
- Carmen: Habanera: L'amour Est Un Oiseau Rebelle - Tatiana Troyanos/John Alldis Chor/John Alldis
- Nabucco: Chor Of The Hebrew Slaves: Va Pensiero - Chicago Sym Chor/Margaret Hills
- Le Nozze Di Figaro: Dove Sono - Kiri Te Kanawa
- Rigoletto: La Donna E Mobile - Luciano Pavarotti
- Lohengrin: Bridal Chor: Treulich Gefuhrt Ziehet Dahin - Konzertvereinigung Wiener Staatsopernchor/Walter Hagen-Groll
- Gianni Schicchi: O Mio Babbino Caro - Renata Tebaldi
- Il Barbiere Di Siviglia: Largo Al Factotum - Leo Nucci
- La Wally: Ebben?... Ne Andro Lontana - Angela Gheorghiu
- Madama Butterfly: Humming Chor - Wiener Staatsopernchor/Norbert Balatsch
- Carmen: Flower Song: La Fleur Que Tu M'avais Jetee - Placido Domingo
- Les Contes D'Hoffmann: Barcarolle: Belle Nuit, O Nuit D'Amour - Joan Sutherland/Huguette Tourangeau/Chor De La Radio Suisse Romande, Pro Arte De Lausanne Et Du...
- Tosca: E Lucevan Le Stelle - Placido Domingo
- Madama Butterfly: Un Bel Di - Mirella Freni
- Les Pecheurs De Perles: C'est Toi... Au Fond Du Temple Saint - Gregory Cross/Gino Quilico
Tracks:
- Die Walkure: The Ride Of The Valkyries - Wiener Phil/Solti
- Le Nozze Di Figaro: Voi Che Sapete - Cecilia Bartoli
- Pagliacci: Recitar!... Vesti La Giubba - Luciano Pavarotti
- La Boheme: O Soave Fanciulla - Mirella Freni/Luciano Pavarotti/Roland Panerai
- Il Trovatore: Anvil Chor: Vedi! Le Fosche - Chicago Sym Chor/Margaret Hillis
- Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
- Don Giovanni: La Ci Darem La Mano - Lucia Popp/Tom Krause
- Mattinata - Andrea Bocelli
- Faust: Soldiers' Chor - Ambrosian Opr Chor/John McCarthy
- L'elisir D'amore: Una Furtiva Lagrima - Roberto Alagna
- Turandot: Signore, Ascolta! - Montserrat Caballe
- Don Giovanni: Champagne Aria: Finch'han Dal Vino - Bryn Terfel
- Cosi Fan Tutte: Trio: Soave Sia Il Vento - Renee Fleming/Anne Sofie Von Otter/Michele Pertusi
- Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
- Tosca: Vissi D'arte - Kiri Te Kanawa
- Carmen: Toreador Song - Jose Van Dam/Tatiana Troyanos/Norma Burrowes/Jane Berbie/Thomas Allen/Pierre Thau/John Alldis...
- Madama Butterfly: Love Duet: Vogliatemi Bene - Mirella Freni/Luciano Pavarotti
- Cavalleria Rusticana: Intermezzo - Nat PO/Gianandrea Gavazzeni
- Rusalka: O Silver Moon - Renee Fleming
- La Boheme: Si. Mi Chiamano Mimi - Angela Gheorghiu
- Turandot: Nessun Dorma - Luciano Pavarotti/John Alldis Chor/John Alldis
Amazon.com
The labels that are now gathered under the Universal Classics umbrella have a pretty impressive scorecard in the area of classical compilations. We've seen The Greatest Opera Show on Earth, The Yellow Guide: Classical Music, Best of the Millennium, and now there's The No. 1 Opera Album. But that's no surprise, since Universal has some of the finest interpreters in its catalogue to draw from. This two-CD set (at the price of one), for example, brings together the likes of Cecilia Bartoli, Renée Fleming, Luciano Pavarotti, Kiri Te Kanawa, Sir Georg Solti, Herbert von Karajan, and many more. Yet the other key to a successful compilation is canny anthologizing, and here again, you have a nice selection to give you a smattering of opera's heavyweights from the Italian, German, and French repertory (there's even a step outside the standard framework with an aria from Dvorák's lovely Rusalka). Ranging from 1959 to 1997, the choices from back catalogue will doubtless be the entry ticket for many into this grandest of the arts. --Sarah ChinCustomer Reviews:
The beautiful gift of opera..........2007-07-17
Pretty darn good.......2007-07-04
The Opera #1 Opera Album.......2007-06-07
Excellent assortment.......2007-05-12
Great Selections.......2007-03-31
covering mainly from the classcal
to the to the romantic periods, a most
memorable selection here is Leo Nucci
in a lagendary performance of Rossini's
"Largo al Factotum" from "Il Barbiere di Seviglia"
also Andrea Bocelli in his performance of Leoncavallo's
memorable "Matinatta" here in an orchestrated version.
Indeed some of opera's most loved arias are in this recording
various conductors, orchestras, and soloists. All in their
very best. Indeed a five-star recording...
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ASIN: B0001HAGPG Release Date: 2004-03-23 |
Tracks:
- Love Theme - Romeo and Juliet
- Lara's Theme / Somewhere My Love - Dr. Zhivago
- My Heart Will Go On - Titanic
- The Second Waltz - Eyes Wide Shut
- Heigh-Ho - Snow White
- Moonriver - Breakfast at Tiffany's
- Sirtaki / Zorba's Dance - Zorba the Greek
- Main Title - The Godfather
- Bolero - "10"
- John Dunbar's Theme - Dances with Wolves
- The Windmills of Your Mind - The Thomas Crown Affair
- Edelweiss - The Sound of Music
- True Love - High Society
- Stranger in Paradise - Kismet
- Romance - The Gadfly
- Main Title - Once Upon a Time in the West
Customer Reviews:
At The Movies by Andre Rieu.......2007-05-20
very beautiful.......2007-01-09
Refreshing Music.......2006-11-03
from texas--AND FROM A MUSIC LOVER.......2006-08-30
Andre Rieu - Music for the masses.......2006-08-10
Average customer rating: 
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Silk Road Journeys: When Strangers Meet
Yo-Yo Ma , and Silk Road Ensemble Manufacturer: Sony ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B0000641CG Release Date: 2002-04-16 |
Tracks:
- Mongolian Traditional longsong
- Legend of Herlen (Byambasuren Sharav)
- "Blue Little Flower" (Chinese Traditional)
- "Mido Mountain" (Chinese Traditional)
- Moon over Guan Mountain (Zhao Jiping)
- "Miero vuotti uutta kuuta" from Five Finnish Folk Songs (Michio Mamiya)
- "Joiku" from Five Finnish Folk Songs (Michio Mamiya)
- Avaz-e Dashti (Persian Traditional)
- Habil-Sayagy (In Habil's Style) for cello and prepared piano (Franghiz Ali-Zadeh)
- Blue as the Turquoise Night of Neyshabur (Kayhan Kalhor)
- Chi passa per'sta strada (Filippo Azzaiolo)
- Desert Capriccio (Music from the film Crouching Tiger, Hidden Dragon/Tan Dun) (Bonus Track)
Amazon.com
This disc introduces Yo-Yo Ma's latest and most ambitious adventure, the Silk Road Project. It explores the cultures that flourished along the Silk Road, the ancient trade route that for centuries connected Europe and the East. Founded by Ma in 1998, the project aims to create connections, mutual trust, and cultural interchange between people from different parts of the world through their only shared language: music.This recording includes music from Mongolia, China, Persia, Japan, Iran, Azerbaijan, and an improvisation on an Italian Renaissance street song, performed by musicians from all those countries, as well as America, on both Eastern and Western instruments. Ma, who participates in every piece either as soloist or part of the ensemble, plays cello and a Mongolian "horse-head fiddle." There is also a Mongolian soprano, who sings a traditional song native to her region. For the uninitiated Western listener, the music requires some getting used to. Much of it is based on rhythmic ostinatos. The melodies use Oriental scales; the intonation is untempered; the music seems all color, texture, and atmosphere, without what might be called themes; and repetition takes the place of development. Contrast is achieved through sudden change, buildup by adding instruments. However, the music is often beautiful, delicate, dreamy, or peaceful; every listener will find his or her own favorite pieces. The playing is splendid, with much inventive improvisation. Inevitably, Ma's tone and personality stand out, but he never dominates in fact or spirit. The booklet offers essays by Ma and the project's musicologist, Theodore Levin, photographs of the players, and drawings of the Eastern instruments. --Edith Eisler
Customer Reviews:
The Versatile Yo-Yo Ma .......2007-07-24
As always, the versatile Yo-Yo Ma is quite soulful and technically brilliant in his musical exploration of the "Silk Road". The music, to me, captures the feeling of Asia. The liner notes are very educational in providing a context to the project.
I find Asian music to be very different from our "Western" traditions, but given time and an even chance, I think that you will find this CD to be very nice and enjoyable.
Not for the average listener.......2007-03-20
I was looking forward to this, but the music is plodding in many parts,
like a dreary symphony. There are fine moments, but I was looking for something a bit more accesible, rhymic, and lyrical. This is a mixed bag that seems to miss more often than hit.
A thoroughly enjoyable trip through Central Asia and a few other places........2007-03-15
Silk Road Journey.......2007-02-19
A Detailed Review From A Non-expert Music Lover.......2007-01-12
To anyone who has heard of the Silk Road in Ancient China, the title of this CD immediately brings up images of exotic peoples and their cultures in your mind. I think Yo-Yo Ma's efforts in creating such a culturally diversified recording are definitely welcomed in this era of globalization.
But after listening through this CD I felt that something was missing from the selections. One of the most important areas on the Silk Road is the Uyghur region in northwestern China. Their music is quite unique. Inclusion of their music in this CD would be really interesting. Also in this CD not all of the selections are chosen from those regions directly related to the Silk Road. So I guess the title is just a metaphor of "when strangers meet", but is not directly about the cultures along the Silk Road.
Now I will review each of the selections.
1. Mongolian Traditional Long Song
I am somewhat familiar with their culture and land. So to me this song is very beautiful and enchanting. One of the most important factors in conducting any cross-cultural communications is context! You really cannot take it out of context. The Mongolian Long Song might sound monotonous and drawling to a person who is more used to the Western tradition of chant, choral, or opera music. Yet if you know the traditional nomadic lifestyle of the Mongolian people on the vast rolling greens of the Mongolian grassland embellished with winding creeks and rivers, you would probably hear such long-singing voices reverberating between the green of the grass and the blue of the sky. The Mongolian people have some of the most beautiful songs that I know of.
2. Legend of Herlen
There are probably two broad categories of non-western ethnic musics. One is the authentic folksong tradition of the people, the other is westernized works composed by westernized local musicians. I guess Legend of Herlen might fall into the second category. It has some interesting tunes in it. But the overall listening experience is too dramatic. I guess the dynamics used in this piece might even go beyond the ppp and fff. In the Mongolian traditional music, dynamics are sometimes used quite dramatically, with sharp difference between two adjacent notes or phrases. So this piece here is probably not very surprising. Nonetheless I find it a little too dramatic, sometimes even disturbing. Again I am not familiar with the background of this piece, so that might explain the unusual drama.
3. Blue Little Flower
I am not sure what fusion should really sound like. But in this piece it does seem to me that a lot of musical traditions are intertwined in it: western music, Chinese folksong from Shaanxi, and probably Iranian or Indian drums. Somehow the only part of this song that I liked is the beginning line. It's very beautiful and delicate, reminding me of the theme music from the Couching Tiger, Hidden Dragon. But it is westernized, not authentic Chinese folksong. If this is still not a problem, then the drum used in this piece does cause a lot of funny effects. The drum sounds so distinctive and it represents some of the central or western Asia cultures. The images such drum beats conjure up are very incompatible with this northwestern Chinese folksong. So in this piece there are at least three threads: western, Chinese, and Iranian/Indian (I am not sure which one). But they do not converge. There is also the funny part of the singing included in this piece. It is out of place and unnecessary. The singing itself is just too frivolous to me.
4. Mido Mountain
I like this piece, especially the part played by the Sheng. Again there are some elements that sound a little bit too foreign to me, especially the percussion part. They use the same percussion/drum in this piece as in the previous one. But the overall effect of the arrangement does sound authentic and pleasant to me.
5. Moon Over Guan Mountains
If you know that Zhao Jiping is famous for his scores for films, you will probably understand this piece better. But of course understanding does not mean you will like it. This piece falls into the second category that I described above. For a lot of non-Western countries, the influence of western music is definitely immense. Many local composers are trained in both the western tradition and the local tradition. But there is probably a general feeling among composers in these countries that western music is richer in theory and methods. Many of these composers will use themes from folk songs to compose westernized music. I will give this piece a B+. It does include some themes from northwestern China, which sound really unique. As I said in this CD there is no selection from the Uyghur region in China, this piece might make up for that, since some of the themes seem to me to be from that region. But this piece is still too dramatic too, like a film score.
6. Five Finnish Folksongs No. 3
I love this one! The theme melody is so beautiful, and maybe a little bit nostalgic, and maybe a little bit romantic also? But this piece is straightly western music. There is nothing ethnic about it.
7. Five Finnish Folksongs No.5
This one is ok, but not very impressive. The overall structure of this piece sounds like very loose. There is not memorable melody either. But it does not have the maddening drama like in the two pieces I have just talked about. This is good.
8. Avaz-e Dashti
I am not familiar with Persian music. But there are indeed some very Persian melodies in this piece. The instruments used in this piece are all traditional Persian instruments. Maybe this is why it sounds so authentic to me. I like the haunting, floating tunes in this piece. They sound very ethereal to me.
9. Habil-Sayagy
Again this piece falls into the second category like the Legend of Herlen and Moon Over Guan Mountains. Such music is probably interesting to the performers, since they can let loose their inner floodgate of emotions and resort to pure artistic connections. But the problem for such music is that they are just too dramatic, and it's really hard to understand them without fairly good knowledge of the context and their unique cultural backgrounds. I am sure all these three pieces might sound profound, meaningful, and artistic once we know the cultural backgrounds better. But for the general listener, they are too abstract and too emotionally charged. Another problem for such western-traditional combination pure art form of music is that tradition might be distorted and represented in the wrong way.
10. Blue as the Turquoise Night of Neyshabur
I like this one better that the previous one, especially the middle part beginning at around 5 min 30 sec into the music. The melody is quite unique, and memorable. The bassline is very interesting too. It conjures up the image of merchants traveling on camel back through the desert. The pulse of the bass sounds like the steps of camels walking. One the instruments used, I am not sure which one, santur or kemancheh, is quite successful in bringing out the authenticity of the music style.
11. Chi passa per'sta strada
This one has the same problem as the Blue Little Flower: it does not sound like anything! It is not Italian, nor is it Iranian, nor Chinese, nor anything else. What is it? Who knows. The ethnicity of world music is tied to their unique musical instruments closely. I remember there was one year the Chinese traditional orchestra had a New Year's Concert at Vienna, and when they played the Radetzky March at the end of the concert, I was quite unimpressed.
12. Desert Capriccio
Tan Dun is similar to the composers I mentioned above like Zhao Jiping. Tan's music is unique and interesting to both western and Chinese audience, because of the same thing: they are both unfamiliar with Tan's music. To the Chinese audience, his music sounds western, but to the Western audience, his music sounds exotic. Nonetheless I still like some of this music, like the Couching Tiger and Hidden Dragon. Some of the melodies are really great. Again this piece makes up for the lack of Uyghur music in this album, since the "desert" in this piece is in the Uyghur region. But the music is not Uyghur at all.
There you have it. That's all for my detailed review of this CD. I would give it a B+ for its efforts and some of the really good tunes. As I am not an expert, I might be wrong in many of the points that I make in this review. So feel free to comment on my review.
Average customer rating:
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Haunted Heart
Paul McCartney , Gustav Mahler , Joni Mitchell , Emile Paladilhe , Arthur Schwartz , James ("Jimmy") Van Heusen , Various Composers , Heitor Villa-Lobos , Jimmy Webb , Richard A. Whiting , Stevie Wonder , Guy Wood , Bill Frisell , Fred Hersch , and Renée Fleming Manufacturer: Decca ProductGroup: Music Binding: Audio CD Foster, Stephen
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ASIN: B0007Z9QUS Release Date: 2005-05-10 |
Tracks:
- Haunted Heart
- River
- When Did You Leave Heaven?
- You've Changed
- Answer Me
- My Cherie Amour
- In My Life
- The Moon Is A Harsh Mistress
- Wozzeck/The Midnight Sun
- Liebst du um Schit
- My One And Only Love/This Is Always
- Can do Amor
- Psych
- Hard Times Come Again No More
Amazon.com
While countless fans flock to see soprano Renee Fleming's performances of the Countess in The Marriage of Figaro because she's got the voice and the dramatic ability to handle such meaty roles, the versatile singer throws her fans a curveball on Haunted Heart, singing popular standards and ballads as well as a few altered classical pieces. In her liner notes, Fleming calls this album a "look back at the road not taken" -- she played a weekly gig in a jazz club while in school. Nonetheless, her feel for the material here is undeniable. Interestingly, she drops her voice a full octave from her usual tessitura, and the change reveals a robust gospel-oriented approach filled with dramatic breaths and moans. The lyrical Fred Hersch (piano) and the idiosyncratic Bill Frisell (guitar) provide support, and both are adventurous jazz players who create subtle and uniquely haunting backdrops. It adds up to an interesting cross-section of ideas well carried off by the generous talents of all involved. --Tad Hendrickson
\
Interview with Renee Fleming
Renee Fleming speaks about recent projects, including her memoir The Inner Voice and her recent Handel CD, in our interview.
Customer Reviews:
Sublime and ridiculous.......2007-06-13
The ridiculous: Fleming ended the majority of most phrases in most of the songs with a guttural of some sort which for me becomes irritating to the point of distraction. These punctuations are mostly quite awful: really tasteless, clumsy, and overused big time and I'm amazed at how this ever got released. Without these ersatz testifyin' noises this CD would be stunning.
So, if you have the ability and inclination to edit out this garbage from your perception as you listen I think you'll be glad you experienced these artists at work together. (Unfortunately I'm not up to it).
Eeeeeeeeeeewwwwwww.......2007-06-06
Better than I thought it would be.......2007-04-10
I think this is the most artistically successful recording of Pop/Jazz by a classical singer. I enjoyed it even better than the Anna Sophie Von Otter'/ Elvis Costello CD.
The perspective I am coming from is that of a classical singer who started out as a pop singer/songwriter. I perform and teach cross-genre but love a world class instrument such as Flemming's
I wanted to get the perspective of a friend who used to sing jingles and is also a trained singer but is usually critical of any attempts that opera singers make at crossing -over.
My friend is very familiar with Flemming's voice, but did not recognise it in this context when I played the CD for her. Her reaction was very complimentary, although she did comment that the diction was a bit strange.
She then played it for her brother a well known jazz singer and arranger who had a somewhat negative reaction.He found the singing to be overly dark and round. He prefers a cleaner more 'spoken' approach to this style of singing. I understand this perspective and therefore personally prefer Ella to Sarah as well, but let's not get too picky. Obviously, Rene Flemming is of the Sarah Vaghan School of jazz singing, which is not too shabby.
I will continue to enjoy this CD and will wait for another opera diva to top this one. But, somehow I think the next really good CD of Pop/ jazz from an opera star will also come from Rene.
To those who have been unreasonably mean and negative towards her, I can only say you are not fit to polish her shoes!
Brava Renee.......2007-04-09
I hope Renee keeps recording whatever catches her fancy because I'll certainly always listen.
Art is always new. .......2007-03-10
I welcome Renee's elan demonstrated with her recent recordings, Love sublime with Brad Mehldau, and Haunted Heart with Fred Hersch and Bill Frissell. Bravery, fun, and talent combined by artists and for people who are listening. Hearing long time favorites Mehldau, Hersch, and Frissell is all the more sublime.
Average customer rating:
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Placido Domingo: A Love Until The End Of Time
Ken Hirsch , Jule Styne , John & Paul McCartney Lennon , Consuelo Velazquez , John Denver , Andrew Lloyd Webber , Richard Rodgers , Henry Mancini , Johnny Mercer , Armando Manzanero , and Maureen McGovern Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Bernstein
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ASIN: B0000026H6 Release Date: 1990-10-25 |
Tracks:
- Maria
- Siboney
- A Love Until The End Of Time
- Noche Azul
- La Comparsa
- Save Your Nights For Me
- Time After Time
- Malaguena
- Yesterday
- Besame Mucho
- My Life For A Song
- Annie's Song
- Siempre en me Corazon
- Love Came For Me (Love Theme From Splash)
- I Don't Talk To Strangers
- Blue Moon - Moon River
- Autumn Leaves
- Adoro
Customer Reviews:
love songs easy to listen too.......2007-05-07
This is an oldie but a goodie!.......2006-11-09
Great for boring candlelight dinner or quick ride in an elevator........2006-10-31
For a romantic mood, "Perhaps Love" (simply fabulous) is much better choice.
Beautiful music.......2006-02-23
A Valentine's Day Gift for all time.......2005-02-02
Average customer rating:
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Renee Fleming: By Request
Vincenzo Bellini , Alfredo Catalani , Antonin Dvorak , George Gershwin , Erich Wolfgang Korngold , Jules Massenet , Wolfgang Amadeus Mozart , Giacomo Puccini , Sergey Rachmaninov , Richard Rodgers , Richard Strauss , Giuseppe Verdi , Heitor Villa-Lobos , Georg Solti , James Levine , Jeffrey Tate , Patrick Summers , Sir Charles Mackerras , Lee Ritenour , Chamber Orchestra of Europe , and Renee Fleming Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B0000C3ICO Release Date: 2003-09-16 |
Tracks:
- O Mio Babbino Caro
- Ebben? ... Ne Andro Lontana
- Porgi, Amor
- Come Scoglio
- Casta Diva
- E Strano...Ah Fors E Lui...Sempre Libera
- Un Bel Di Vedremo
- Je Marche Sur Tous Les Chemins...Gavotte
- Mesicku Na Nebi Hlubokem (O Silver Moon)
- Vocalise
- Cacilie
- Marietta's Lied
- Summertime
- Bachianas Brasileiras No.5: Aria (Cantilena)
- You'll Never Walk Alone
Amazon.com
This is a compilation--plus three previously unreleased selections--of some of the glorious Renée Fleming's finest work, 15 selections covering 13 composers. The rose-in-full-bloom quality of the voice is staggeringly beautiful: Her rendition of Rusalka's "Song to the Moon" is justly famous and is, alone, worth the price of this CD. Other highlights are Marietta's Lied from Korngold's Die tote stadt, an odd arrangement of the aria from Villa-Lobos's Bachianas Brasilerias No. 5, Manon's Gavotte, and a knock-down-gorgeous reading of Gershwin's "Summertime." The three new recordings are of Violetta's big first-act scene from La traviata, which features one of the most perfect trills heard since Joan Sutherland, a thrilling Cäcilie (R. Strauss), and a version of "You'll Never Walk Alone" which is so over the-top that it might make you look away in embarrassment. On the basis of this CD, one would have to acknowledge that Fleming is more interested in--and more successful at--pure singing than she is at character delineation (Butterfly sounds oddly like Wally who sounds too much like Norma), but it's not hard to tell why she's a superstar. Her voice and technique are one in a million. --Robert LevineAlbum Details
"by Request" is a Collection of Fleming's Greatest and Most Popular Recordings Including Works by Mozart, Bellini, Pucchini, Verdi and Dvorak. Featuring Recordings from Renee Fleming's Outstanding Decca Discography Together with Two Glorious Tracks Strauss "Cacilie" and Verdi's "la Traviata" a Role Fleming Performed to Critical Aclaim Earlier in 2003.Customer Reviews:
Not all the arias were her best.......2005-01-15
DIDN'T QUITE FULFIL MY REQUEST.......2004-11-22
Fair Enough .......2004-10-01
Fleming's High Points Well Covered in Compilation CD.......2004-09-06
Fleming also has a good sense of the characters she is portraying, for instance, on the "La traviata" aria, "È stano...Ah, fors'è lui...Sempre libera", one gets a strong sense of Violetta's conflict between the attractions of true love versus the free life of a courtesan. She also gets some sturdy help from tenor Joseph Calleja as Alfredo in this piece. But even in this number, the effect of her daunting runs and trills can be a bit overwhelming. She does keep this in check with the slower-paced tracks like "Casta diva" from Bellini's "Norma", which uses a choir in the background to great effect, and Rachmaninov's lovely "Vocalise". The well-worn "Summertime" from Gershwin's "Porgy and Bess" is nicely covered here, and it certainly invites comparisons to even Leontyne Price's definitive version. Fleming ends the disc with a rousing version of Rodgers & Hammerstein's "You'll Never Walk Alone" from "Carousel" that grows a bit too bombastic for listening comfort. Regardless, this disc provides a nice sampling of what this truly great singer has done over the past decade. A treat for her fans and highly recommended for anyone who wants an ideal introduction to her range of talent.
Beautiful indeed!.......2004-07-19
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The 3 Tenors in Concert 1994
Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD All Works by Bernstein
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ASIN: B000002IZE Release Date: 1994-08-30 |
Tracks:
- Le Cid: O Souverain, O Juge, O Pere
- Maravilla: Amor, Vida De Mi Vida
- Werther: Pourquoi Me Reveiller
- Spring Is Here: With a Song In My Heart
- Granada
- Non Ti Scordar Di Me
- 'A Tribute to Hollywood': My Way
- Tribute To Hollywood: Moon River
- Tribute To Hollywood: Because
- 'A Tribute to Hollywood': Singin' In the Rain
- Tu, Ca Nun Chiagne
- Pagliacci: Vesti la Giubba
- Turondat: Nessun Dorma!
- 'Around the World': America
- 'Around the World': All I Ask Of You
- 'Around the World': Funiculi, Funicula
- 'Around the World': Sous Les Ponts De Paris
- 'Around the World': Brazil
- 'Around the World': Be My Love
- 'Around the World': Marechiare
- 'Around the World': Lippen Schweigen
- 'Around the World': Santa Lucia Luntana
- 'Around the World': Those Were the Days
- 'Around the World': Te Quiero Dijiste
- 'Around the World': Torna A Surriento
- Encores: La Donna E Mobile
- Encores: Libiamo Ne' Lieti Calici
Amazon.com
It's not opera; it's not a pop concert; it's not Broadway. It's all of these and none of them. Once you accept the fact that this sequel to the original blockbuster concert recording is less about music and more about entertainment and the power of musical personalities, you can appreciate what you're hearing as an event--phenomenal and bizarre, momentous and frivolous. This is an occasion to celebrate the voices and egos of three huge superstars, and to have fun listening as Luciano Pavarotti, Placido Domingo, and Jose Carreras interact, bouncing lines off each other and playing to the overwhelmingly enthusiastic audience. Much of the fun and flavor of the concert is dependent on seeing the action, though, and without the visuals you notice flaws in the singing much more. Domingo comes off as the more solid performer, and his voice is in far better shape than the other two. But if you crave big, high, and loud--and you don't take your opera too seriously--you'll love this disc. --David VernierCustomer Reviews:
Un gran concierto.......2005-07-19
Give em a 3.5.......2004-01-25
This event, like the first one in Rome, has a magnificent setting but, like Rome, the show was marketed mainly to the American audience. They still include the dreadful "Maria" with the hilarious pronunciation and even added "With a Song In My Heart" (or, as Carreras is wont to sing, "Weeth a Soeeng een My Haht"). Though some may deride the choice of encores, they were almost perfect. The Three Tenors, despite their prior celebrity, are creations of our culture of entertainment in ways that Caruso could only dream about.
Synopsis: Carreras stands out, Domingo substitutes volume for quality and Pavarotti soars when he doesn't have to.
The Most Enjoyable Evening IN !!!!!!!!!!!.......2003-05-01
Hmmmm...........2002-04-21
Last Encore of songs missing off C.D........2002-02-06
Many thanks for your time,
With kind regards,
Pam Sargeant.
Average customer rating:
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Moon and Sand
John Proulx Manufacturer: Max Jazz Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000G1R3B2 Release Date: 2006-08-01 |
Tracks:
- I've Never Been In Love Before
- Moon And Sand
- Alice In Wonderland
- My Love For You
- Do Nothin' Till You Hear From Me
- What A Difference A Day Makes
- Stuck In A Dream With Me
- There Is No Greater Love
- I Should Care
- So In Love
- East Of The Sun
- You'd Be So Nice To Come Home To
- I Can't Make You Love Me
Album Description
Moon And Sand captivates the listener with the opener: I've Never Been In Love Before by Frank Loesser. Proulx displays his wares on voice and piano with a fresh arrangement that sets the pace for what follows. The title track, Moon And Sand, showcases Proulx's warm voice. The pace slows with a lovely rendition of the song Alice In Wonderland by Sammy Fain and Bob Hilliard. The first of two originals, My Love For You, is a lush ballad with a beautiful melody. Featured on the piano is Tamir Hendelmen, who also co-produced the release with Proulx. The Duke Ellington/Bob Russell composition, Do Nothin' Till You Hear From Me, follows with a nice intro by Proulx on vocals and Berghofer on bass. The pace quickens with an Afro-Cuban-infused arrangement of the standard What A Difference A Day Makes by Stanley Adams and Maria Grever. The second original, Stuck In A Dream With Me, features inventive lyrics by K. Lawrence Dunham, who also contributed lyrics to My ! Love For You. Proulx's impressive voice stands out on this enchanting ballad. The line-up continues with high energy on There Is No Greater Love by Marty Symes and Isham Jones. The group shows energy on this track, which culminates with a fine solo by LaBarbera. I Should Care by Cahn, Stordahl and Weston follows and features swinging solos by Proulx and Berghofer. Cole Porter's So In Love is a tender arrangement showcasing great harmony by the group. Proulx's scatting opens the Brooks Bowman composition East of The Sun. The brilliant unison interplay of the group is exhibited on the Cole Porter classic You'd Be So Nice To Come Home To. The session comes to a close with a lovely rendition of I Can't Make You Love Me by Mike Reid and Allen Shamblin.Customer Reviews:
Cute as a button..........but............2007-06-15
.....looks do not a singer make. While others here may include friends, or cohorts.....or even those in love.....again, that does not this man other than an average vocalist make---at best.
Sorry to say, but all I hear is a voice that too often leans to "mono-tony;" one with a tendancy to stretch for (or avoid) upper level tones, and one that often treads closely to falling off-key.
ON THE OTHER HAND, his pianism IS what his vocalizings are not: spot-on and vivacious (easily worth 4-Stars). While not a jazz afficionado, these two things I can plainly see.....er, hear. Perhaps my fifty-some years of keyboard, vocal and orchestral listening have helped me out here (but, then, what could an average joe like me know).
Best to you, John Proulx.
****
easy listening in the best sense.......2007-06-05
Nice initial work for the MAXX-JAZZ label.......2007-04-16
Moon and Sand.......2006-11-06
a voice better than chet baker and a competent jazz pianist.......2006-09-01
Average customer rating:
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Bella Ragazza
Carlo Buti Manufacturer: Asv Living Era ProductGroup: Music Binding: Audio CD Italy
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ASIN: B00006L82Q Release Date: 2002-11-26 |
Customer Reviews:
Brow Italiano.......2007-01-10
It is great to have this material to play in any motor vehicle. Most newer vehicles do not have cassette any more. My new Kia Amanti has both a cassette and a CD making all my old favorites possible to play.
Who else, but Buti.......2003-01-18
Average customer rating:
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Romantic Moments
Nino Rota , Franz Lehár , Wolfgang Amadeus Mozart , Fryderyk Chopin , Giacomo Puccini , Irish Traditional , Richard Heuberger , Josef Strauss , Antonin Dvorak , Johann Paul Aegidius Martini , Franz Schubert , Enrico Toselli , Friedrich von Flotow , André Rieu , J. Huijts , Teun Ramaekers , and Arthur Cordewener Manufacturer: Philips ProductGroup: Music Binding: Audio CD Waltzes
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ASIN: B00000I076 Release Date: 1999-02-02 |
Tracks:
- Love Theme From Romeo & Juliet
- Song To The Moon
- Komm Mit Mir Ins Chambre Separee
- Etude From Op.10 No. 3 In E Major
- O Mio Babbino Caro (O My Darling Boy)
- Londonderry Air (Danny Boy)
- Violin Concerto No.3 In G Major, K.216: Adagio
- Spharenklange (Music Of The Spheres)
- Giuditta: Meine Lippen, Sie Kussen So Heiss
- Plaisis D'amour
- Wiener Lied (Viennese Song)
- Adagio From Clarinet Concerto In A Major, K.622
- Serenata
- Die Letzte Rose (The Last Rose)
- The 'New World' Symphony: Far From Home, Largo
- Romeo & Juliet: Love Theme
Amazon.com
Set the table, open the wine, light some candles. Slip on this disc. Let the gentle sounds of André Rieu's slippery fiddle and fur-tipped orchestra lull you with classical music's most memorable soothers, from "O Mio Babbino Caro" and "Plasir D'Amour" to the largo from Dvorák's New World Symphony and Nino Rota's "A Time for Us," which opens and closes the collection. Lightweight stuff, yes, but ingenuously arranged and performed, and the ribbon of reverb that surrounds the orchestra will please erstwhile Mantovani fans. --Jed DistlerCustomer Reviews:
Romantic Moments.... Andre Rieu.......2007-02-24
Andre Rieu - Romantic Moments.......2006-08-31
Decent playing, lousy arrangements.......2005-11-11
Forget the hype, this is great music.......2005-08-04
Rhieu's arrangements (with Jo Huijts) have hints of "beautiful music" (think Ray Coniff) but only hints, and the result is very tasteful. For example, the piano obligato under the strings on "O mio babbino caro" makes you wish that Puccini had thought of that.
This is a wonderful album to listen to while relaxing and would make a great gift for someone who appreciates classical music but doesn't have specific preferences.
Music That Will Touch Your Heart.......2004-12-05
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