Tamar [Enhanced]

1. Get None

2. Your Room

3. No Disrespect

4. Money Can't Buy You Love

5. Tonight

6. If You Don't Wanna Love Me

7. Once Again

8. You Don't Know

9. Can't Nobody

10. I'm over You

11. Words

12. Way It Should Be

13. Miss Your Kiss

14. Get Mine

Tracks:

Get None
Your Room
No Disrespect
Money Can't Buy You Love
Tonight
If You Don't Wanna Love Me
Once Again
You Don't Know
Can't Nobody
I'm Over You
Words
The Way It Should Be
Miss Your Kiss
Get Mine

Customer Reviews:

Tamar.......2005-11-29

What's sad about r&b singers like Tamar is that in the era of 1997 - 2000, there were a lot of debut cds put out by new songbirds but rarely were they given a 2nd chance to prove that they could sustain a career in the music biz. It's a shame because Tamar has a voice as beautiful as big sis, Toni and strong material on a debut disc that just didn't get a lot of support. I can't recall hearing one of her singles on the radio stations in my area which isn't surprising given the garbage that's played constantly on radio and the promising artists who are ignored by same.

Tamar's vocal ability shines on the ballads but I also like the 1st track, GET NONE a lot. It's a fun song with catchy lyrics and music production. Other standout tracks to me are: YOUR ROOM, MONEY CAN'T BUY LOVE, I'M OVER YOU, ONCE AGAIN, WORDS, TONIGHT & THE WAY IT SHOULD BE.

I, like a lot of other reviewers hope that Tamar gets another chance to record a solo album because it's a shame that a vocalist of her caliber is shut out while lesser talents produce multiple mediocre albums. If you're curious as I was about how "Toni Braxton's lil sis" would sound on her own, give this disc a try.

**Hot as it looks**.......2005-04-05

Tamars album is and was one of the most slept on albums in the past ten years, Tim&Bob have never done such good work. The funny part is Get None, is my leaste fav song and dreamworks choice for first singel...whatever.My personal favorites are the ballads, Im sorry Toni fans but Toni has nothing on her lil' sister..Once Again shines both lyrically and vocally, I dont understand how this album did not achieve more commercial success. My other favorites on the album include Money cant Buy...love the high note thing. You Dont know, Cant Nobody, Im Over you...all get constant play in my radio even to this day...I wish shed get another chance to share some of her hot vocals with us.....the music industry is garbage

The Braxtons Best KEPT SECRET................2005-01-23

I say this because Tamar Solo Alumb is F.A.B.O.L.O.U.S! Can I get a AMEIN? With all the trash that is played today, I do not see how she was slept on. I can honestly say U can listen to this alumb from top to bottom.U know that is so, so, so, rare know-a-days, yes she my sound a little like her sister; but home-girl truelly got her own Style.Therefore, unlike other so called singer just getting by on there looks and not there talent TAMAR BRAXTON can really SINNNNNNNG* You GO GIRL!! Let'em know real singers, do real things* (And don't half to be half necked 2 do it) Smile*

Tamar rocks.......2005-01-07

Tamar is a great female artist. tough she doesnt have the talent Toni has, Tamar is amazing and unique in her own way.
make sure you buy this album TODAY!

Seriously overlooked R&B gem!!.......2004-05-21

There aren't too many CDs out these days that you just wish received more airplay and praise. This is definitely one of those CDs!! Tamar has definitely grown from her stint with her sisters in the group The Braxtons, and has proven that she is a standout in her own right.

Much before the duet with R&B group Silk ("Don't Go" on Silk's Love Sessions) and her powerful delivery of "Try Me" on the Kingdon Come soundtrack, she put out this wonderful collection of songs. I must say that she has strong voice that can be a force to be reckoned with if promoted more.

The faster songs on this album don't do it too much for me, but there are some decent ones. "Your Room" is a decent song that showcases some of her vocals, as well as the Missy Elliott produced "No Disrespect", that should have definitely been a club banger with its catchy lyrics and irresistable beat.

Tamar's voice is prominently featured more on the slower numbers, which come in many styles. Many people may remember her most for her song "If You Don't Wanna Love Me", which is probably the best song on the album. Her delivery here is nothing short of spectacular. On "Money Can't Buy You Love", she shows you that she's not kidding around when she effortlessly goes into one of those coloratura notes (the "Mariah Carey" notes) while singing some serious lines with excellent harmony. "Once Again" is a brilliant song with nice lyrics. "I'm Over You" has to be the second-best song on this album. While the title is self-explanatory, Tamar delivers it as if she is going through it right when you listen to it! I mean, just excellent. And the final ballad, "Miss Your Kiss", will definitely have you hitting the repeat button.

Like I mentioned before, some of the faster songs just don't do it for me at all. "Get Mine" is just something that was thrown on there for effect, as is "Can't Nobody". "The Way It Should Be" is just a hot mess in 100 degree heat and is totally hard to even attempt to try to like. Mess!

Customer Reviews:

Massenet Gem.......2002-11-12

Have to chime in on this one, partly to offset some of the other reviews. Roma is a very enjoyable opera in the late Massenet style. The singing is generally outstanding and the recording is clear and very vivid. There is some stage and audience noise, but nothing too distracting. Massenet may not be breaking new ground here, but there is some colorful music along the way, and it's never boring. A must for Massenet devotees.

Well ..........2002-04-12

The audio balance (or whatever it's called) on this recording is so awful, it kills whatever good is going on. The higher voices are clear and upfront enough, the orchestra - which thankfully is interesting and expressive - is VERY loud, the bass and baritone leads sound like they are singing as loudly as they can from back stage. I think Francesco Ellero d'Artegna (bass) and Nicolas Rivenq (baritone) might have voices too small for the parts anyway, but really it's hard to tell. I might recommend this only if you like Massenet and are not acquainted with mighty soprano Iano Tamar. Her diction is not clear but she is a sensual and fearless singer and I've come to like her very much. A better vehicle for her is I think the Pacini opera "L'ultimo Giorno di Pompei", another live recording from Martina Franca that is lovely in every regard.

Not everything merits digging up!.......2000-03-13

I have a soft spot for Massenet and enjoy searching out his lesser known operas, but this, the last to be premiered in his lifetime, really sounds as if the bottom of the barrel is being well and truly scraped. In recent years the Festival Massenet have explored some of the late operas with varying success - 'Amadis' (see my review) was memorable, 'Cleopatre' less so even though it had its moments, and this may have prompted the festival at Martina Franca to explore further - this recording is of a live performance there. 'Roma', premiered in 1912, is based on a play that Massenet had seen 35 years earlier - and had been a vehicle for Sarah Bernhardt, who played the role of the blind grandmother Posthumia (this sounds as if it would be better featured in 'A Funny Thing Happened on the way to the Forum' - I can just see Zero Mostel in the part) , who stabs her grand-daughter, a sinning vestal virgin to save her from being buried alive - I'm sure this play must have been dated even then, as an opera plot it looks back to Italian versions of Ancient Rome by Donizetti, Pacini and the like c. 1840 - what Massenet is doing with it in 1912 (the year before the 'Rite of Spring' - is a wonder, and a worry! The musical invention is so thin it is almost non-existent - a prescription, rather, in how to cook up an opera and taking the line of least resistance throughout - Massenet sounds terminally exhausted and is unable to rise even to the melodramatic intervention of Posthumia in her Granddaughter's trial. Only in the love music in the third act do things charge up a little - but it's pale stuff (self-quotations mostly) compared to 'Werther' or 'Manon' - or even as yet unrecorded Massenet operas such as 'Ariane' and 'Bacchus'.

Customer Reviews:

An Important Supplement for CARLOS Collectors.......2005-12-11

If you've been waiting for an authentic, 100-proof French-language DON CARLOS with no textual mix-and-matching from Verdi's later revisions of the opera, this live recording dating from October 2004 is for you. It has every note the audience at Paris heard at the premiere on March 11, 1867, and then some, because it includes music Verdi submitted to the Paris Opera but cut in rehearsals before the first night. Its sheer comprehensiveness (at 245+ minutes, the opera stretches almost to PARSIFAL length) makes it the French-language CARLOS of choice for the time being. Of its two major-label rivals in French, Pappano/EMI omits the opening choral introduction and the ballet music and makes use of a schizophrenic edition entirely the conductor's own, corresponding to no staging seen in the composer's lifetime (Pappano freely cherry-picks from Verdi's revisions of the 1880s, and at one point jumps forward 20 years in mid-duet); the pioneering Abbado/DG, on the other hand, just gives us a French-language recording of the familiar Modena edition of the opera as staged in 1886 (that is, the restoration of the Fontainebleau act followed by Verdi's tightened four-act version [i.e., DON CARLO, no "S"], which at times is strikingly different musically from the French CARLOS with which he began), plus a disc of appendices that de Billy incorporates into the performance proper.

For CARLO/S fanatics, the Orfeo recording will be both irresistible and fascinating. I have more recordings of DON CARLO/S than I'd care to count or reveal, and still there was music here I'd never actually heard performed (though very little, in my judgment, that Verdi did not improve upon in his later revisions). Those coming new to the opera would be better served by any of several other recordings, including Giulini/EMI (probably the critical consensus choice), Solti/Decca, as well as Karajan/EMI. The first two are of the five-act Modena edition in Italian; the Karajan, also sung in Italian, is the gold-standard recording of the four-act version that some (not I) still prefer. All three of these have casts with which de Billy's cannot begin to compare, which is more a sign of the times than anything else. Of de Billy's cast, the standout is Ramon Vargas's lyrical Carlos, another worthy assumption of a role that has been lucky on disc (Bergonzi, Domingo x 2, Carreras). The work of the others might have been better appreciated in the theater than on record, if the booklet's description of their abilities as singing actors is accurate. I found Alastair Miles's monochromatic, often unsteady Phillippe most problematic, with Bo Skovhus's heavy-handed and singularly uningratiating Rodrigue a runner-up. Simon Yang's Grand Inquisiteur, while no patrician display of musicianship either, at least gives us that black, chilling sound we always want to hear in this part but rarely do (his voice sets off well, tonally, against Miles's). The two leading ladies have the right ideas -- Iano Tamar sings with conviction and seems plugged in to the queen's dilemma, even if great Elisabeths of the past offered more in the way of refinement and eloquence of execution. Nadja Michael has temperament to burn and is a well-qualified Eboli in every way except the ability to suggest in sound that "fatal beauty" that Cossotto, Bumbry, Verrett, Simionato, and others had by nature -- I wager few would find Michael's sounds seductive. Conductor de Billy at least assumes some expressive responsibility and is alert to possibilities of tempo and balance. The chorus and orchestra are fine, and this is a much better live recording in technical terms than EMI gave Pappano, with its dim, recessed orchestral sound.

There is no libretto, but there are a cued synopsis and some helpful notes on textual matters. The author makes a case that Verdi's earlier thoughts as heard on this recording (in the case of the great tenor/baritone and bass/baritone duets of Act II, for example) are in some ways preferable and more stylistically "correct" -- I remain unconvinced, but you be the judge.

Rossini - Semiramide / Tamar, Scalchi, Kunde, Pertusi, Zedda, Pesaro Rossini Opera Festival

Average customer rating:

An overall good recording...

Rossini - Semiramide / Tamar, Scalchi, Kunde, Pertusi, Zedda, Pesaro Rossini Opera Festival
Gioachino Rossini , Prague Philharmonic Choir , Alberto Zedda , Iano Tamar , Gloria Scalchi , Michele Pertusi , and Gregory Kunde
Manufacturer: Bmg Ricordi
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Customer Reviews:

An overall good recording..........2006-04-23

This recording of "Semiramide" is an excellent recording, if you are looking for well-sung Rossini duets, but the arias, for the most part, drag by at unexplainably slow tempi and could use more refreshing coloratura.

The singers follow this tendency. Iano Tamar sings well enough in the duets, but she sounds strained in her showpiece aria. Her diction leaves much to be desired. Gregory Kunde as Idreno is slightly better, his second aria is quite strong, but he completly fails to deliver "Ah dove, dove il cimento". With Gloria Scalchi's Arsace everything is better: she sing very well throughout and I liked her second aria very much, though "Ah! quel giorno" could use some new ornaments. It should be noted that her voice is very light for Arsace, so don't expect thunderous chest notes. Still, she sings with energy and conviction. Personally, I think that the best singer on this recording is Michele Pertusi as Assur, his voice is quite big, his coloratura is excellent, his Mad Scene is a real diamond of this recording. Alberto Zedda conducts the opera well, though some of the arias tempi is just to slugish!!!

Average customer rating:

WHY CAN'T WE LISTEN TO ALL THE SONGS ?
Tamar is Excellent
Set to Blow Up !
this song is tight, some elements missing, :)

Get None [CD-Single]
Tamar
Manufacturer: Dreamworks
ProductGroup: Music
Binding: Audio CD

Contemporary Blues | Blues | Styles | Music

Contemporary R&B | R&B | Styles | Music

General | R&B | Styles | Music

General | Soul | R&B | Styles | Music

CD Singles | R&B | Styles | Music

General | R&B | Indie Music | Stores | Music
ASIN: B000021XSZ
Release Date: 1999-10-05

Tracks:

Get None [Album Version] 3:49
Get None [Instrumental] 3:48
Get None [A Cappella] 3:47
Don't Cry [Non-Album Version] 5:04

Customer Reviews:

WHY CAN'T WE LISTEN TO ALL THE SONGS ?.......2000-02-22

I ASKED YOU THAT QUESTON BECAUSE I REALLY WANTED TO HEAR ALL THE SONGS THAT I CHOOSE AND THE PEOPLE THAT ARE PLAYING THE CD THEY SHOULD ALL THE SONGS IF THEY ARE GOING TO PLAY THE CD . THANKYOU

Tamar is Excellent.......1999-11-18

If you haven't heard this, you'd better hop on it. Tamar is very talented and you can trust me when I say you will be hearing a LOT MORE from her.

Hi Tamar....this is Bird. You go, girl!

Set to Blow Up !.......1999-11-17

Man this song is totally off tha hook. I heard it and i check every online store to see if they had it. JD & Amil are the bomb and man i am lost for words.........., just go get it.

this song is tight, some elements missing, :).......1999-10-07

the A Cappella verson is so off the hook..i like this cd alot but i think the album verison is missin some elements..i cant wait to hear her whole cd.The Track DONT CRY is tight also, its a little bit different from any other slow jams but its hot :)

Average customer rating:

If You Don't Wanna Love Me
Tamar
Manufacturer: Dreamworks
ProductGroup: Music
Binding: Audio CD

Contemporary Blues | Blues | Styles | Music

Contemporary R&B | R&B | Styles | Music

General | R&B | Styles | Music

General | Soul | R&B | Styles | Music

CD Singles | R&B | Styles | Music

General | R&B | Indie Music | Stores | Music
ASIN: B00004RI5Y
Release Date: 2000-03-07

Tracks:

If You Don't Wanna Love Me [Radio Edit]
If You Don't Wanna Love Me [Instrumental]
Can't Nobody

Average customer rating:

Ridiculous

Manufacturer: SKG
ProductGroup: Music
Binding: Audio CD
ASIN: B000TZTNBI

Product Description

14 tracks: 1. get none (featuring JD & Amil) 2. your room 3. respect me 4. no disrespect 5. can't nobody 6. tonight 7. once again 8. if you don't wanna love me 9. you don't know 10. i'm over you 11. words 12. the way it should be 13. miss your kiss 14. money can't buy you love

Verdi - Macbeth / Demerdijev · Tamar · Papi · La Rosa · Guidarini

Average customer rating:

The Original Macbeth-Premiere Recording

Verdi - Macbeth / Demerdijev · Tamar · Papi · La Rosa · Guidarini
Giuseppe Verdi , Marco Guidarini , Evgenij Demerdijev , Iano Tamar , Orchestra Internazionale d'Italia , Andrea Papi , and Andrea La Rosa
Manufacturer: Dynamic Italy
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B0000044KO
Release Date: 1997-06-15

Tracks:

Preludio
Cor Delle Streghe: Che Faceste, Dite Su
Ingresso Di Banco E Macbeth: Giorno Non Vidi Mai
Duetto Banco/Macbeth: Due Vaticini
Cor Delle Streghe: S'allontanarono!
Recitativo E Aria: Vieni T'affretta
Recitativo E Aria: Or Tutti Sorgete
Recitativo E Marcia: Oh Donna Mia
Aria E Duetto: Mi Si Affaccia Un Pugnal!
Finale
Scena E Aria: Trionfai!
Cor Di Sicari: Chi V'impose Unirvi A Noi
Scena E Aria: Come Dal Ciel Precipita
Banchetto E Visione: Salve, O Re!
Finale

Tracks:

Cor Delle Streghe: Tre Volte Miagola
Scena Delle Apparizioni: Che Fate Or Voi
Scena Ed Aria: Vada In Fiamme
Cor: Scozia Oppressa
Scena Ed Aria: Ah! La Paterna Mano
Malcolm E Soldati Inglesi: Dove Siam? Che Bosco E Quello?
Scena Del Sonnambulismo: Uma Macchia
Scena Ed Aria: Pieta, Rispetto, Amore
Scena Della Battaglia: Ella E Morta!
Act Four: Finale

Customer Reviews:

The Original Macbeth-Premiere Recording.......2001-03-31

Most of the opera-going public knows that the version of Verdi's Macbeth they typically hear is a revision. The changes date from 1865, when Verdi revised the opera for Paris. Over a number of decades, the original 1847 version gradually disappeared, the refinements offered by the 1865 version better suiting modern taste. All of the recordings to date have offered us this 1865 revision, with some minor differences even between these. The Dynamic recording reviewed here is the first commercial recording of the original version as performed at the Pergola in Florence in 1847.

The differences are substantial enough to persuade one to buy this recording. Some of the 1865 revisions included: 1. Substituting Lady Macbeth's familiar aria "La luce langue" for the fierce cabaletta "Trionfai! Secure alfine" 2. Replacing Macbeth's cabaletta "Vada in fiamma", which occurred after he faints in the witch's cavern, with his second duet with Lady Macbeth 3. Removing Macbeth's two-part aria-finale and replacing it with and ensemble finale. 4. Removing another chorus for the witches "Ondine e silfide", an invocation to wake the unconscious Macbeth. 5. Other melodic changes to numbers that stayed (there were substantial revisions to the duet "Fatal mia donna! Un murmure").

Objectively, the 1865 version is the preferable one, particularly because Lady Macbeth's words and music better reflect her gradual decline as her conscience gnaws away at her sanity. Nevertheless, the music unique to the 1847 version cannot be dismissed. "Trionfai!" and "Vada in fiamma" in particular, are wonderful pieces of invective, and admirably convey the ruthlessness of the royal usurpers. The excised witches' chorus "Ondine e silfide" is a typical early Verdi chorus on the surface, but its sprightliness ironically contrasts with the despair that made Macbeth swoon, and it underlines the witches' treatment of human beings as toys to play with. Here and there, too, one will hear an unfamiliar tune and have to go back to their Warren-Rysanek or Milnes-Cossotto recording and make a comparison. It's quite an interesting voyage of discovery to compare the two versions, and it's nice to know what audiences really heard at the triumphant premiere so long ago.

The performance itself is, alack, only average in quality. As Macbeth, Evgenij Demerdijiev gets a strong start, but by his final scene, he is rasping and losing volume. We are told in the introduction to the liner notes that he contracted the flu(!) but that the performance was important enough to be recorded anyway. Iano Tamar's round, plush tone was beautiful enough in the role of the innocent Ottavia in Pacini's L'Ultimo Giorno di Pompeii (Also on Dynamic-and highly recommended). Here she does not quite cut it as the malevolent Lady Macbeth. However, she certainly is not bad, and her rendition of the Sleepwalking Scene is good enough to make up for her being somewhat miscast in the role. I would kill to hear Linda Roark-Strummer sing the cabaletta "Trionfai!"! Andrea Papi and Andrea La Rosa, as Banquo and Macduff respectively, are both solid. Under the direction of Marco Guidarini, the Orchestra Internazionale d'Italia has some awkward moments with the string sections (sour notes), and one feels that the pace could be picked up here and there.

The recorded sound is quite good for a live recording, with little intrusion from audience except between numbers, and with consistent sound level. An Italian-English libretto and and essay are included in the accompanying booklet. However, one wishes Dynamic had provided us with a complete side-by-side list of the revisions (as Opera Rara has done in the past), but one can't have everything.

All reservations aside, this is definitely a recording worth owning if one already has a more standard recording of the opera. It is a learning experience and not and unenjoyable performance in its own right.

Music From the Motion Picture Suits On The Loose
Average customer rating:
Music From the Motion Picture Suits On The Loose

ProductGroup: Music
Binding: Audio CD
ASIN: B000N33QEG

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