Yutaka Umisedo V.1 [Import]

Yutaka Umisedo V.1 [Import]

Track Listings

1. Japanese

2. Japanese

3. Japanese

4. Japanese

5. Japanese

6. Japanese

7. Japanese

8. Japanese

9. Japanese

10. Japanese

Tracks:

Another Sun
Look on Your Face
Rain Dance
Smile for Me
Esta Que Arde la Noche
Perfect Love
Lembranca
More Than Ever
Solitaire
Dolphine

Customer Reviews:

What Happend to this Talented Musician.......2006-12-20

I was recently introduced to the artist's Brazasia album, which was very good, and decided to pick up the other two albums.

This is a different album than the first two, in that there are vocals on seven of the ten songs.

My Description - kind of a Latin feeling - mixed in with superb piano work and orchestral arrangements. His best work in my opinion. Not too different from Basia in sound.

Why this artist is not played on the Smooth Jazz radio circuit, which has been playing more vocals than in the past (yes - mostly R&B) is beyond me.

With all the garbage in music today (true Rock & Roll died in 1990) this was an unexpected delight.

Great CD.......2006-09-28

Actually this CD would be more like 4 1/2 stars and not because there's something wrong with it, just because is not as good as Yutaka's previous 2 CDs; however, to other musician's standards, this would be a superb recording, no doubt.

Yutaka manages to come up with a great CD full of the same great treats he's got to offer like great keyboard playing, koto and his vocals, which in this CD become more abundant; and a great addition to that skill is song number 5 "Esta Que Arde la Noche" where Yutaka sings in almost-perfect Spanish; we knew his English and Portuguese abbilities, but his efforts in Spanish are very pleasing.

Anyway, last thing I'd like to add is the usual list of great guests Yutaka invited for this great recording, both form the U.S. and Brazil:
- Yutaka Yokokura: Keyboards, Acoustic Piano, Koto, Vocals, Songwritter, Producer
- Abraham Laboriel: Bass Guitar
- Carlos Vega: Drums
- Ivan Lins: Vocals
- Armando Marcal: Percussions
- Nathan East: Bass Guitar
- Michael Shapiro: Drums
- Luis Conte: Percussions
- Vin D'Onofrio: Guitars
- Gracinha Leporace: Vocals
- Rique Pantoja: Keyboards, Programming
- Ricardo Silveira: Guitars
- Pauline Wilson: Vocals
- Vinnie Colaiuta: Drums
- Toninho Horta: Acoustic Guitar
etc.
etc.
etc.

Get it while it's available; you'll love it..............

Ibert: Escales; Divertissement; Symphonie marine

Average customer rating:

3.5 stars -- a nice collection let down by literal interpretation
Well worth it for overture alone
Orchestral Gems, Decent Performances

Ibert: Escales; Divertissement; Symphonie marine

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004U2KJ
Release Date: 2000-08-15

Tracks:

Bacchanale
Divertissement: Introduction
Divertissement: Cortege
Divertissement: Nocturne
Divertissement: Valse
Divertissement: Parade
Divertissement: Finale
Ouverture de fete
Symphonie marine
Escales: Rome-Palerme
Escales: Tunis-Nefta
Escales: Valencia

Customer Reviews:

3.5 stars -- a nice collection let down by literal interpretation.......2007-06-02

This is the kind of CD that's made Naxos the best-selling label worldwide -- a generous collection of music (TT: 71:20) from a lesser-known composer performed by moderately-to-little known forces in a good recording for a price that can't be beat. Considering many classical music outlets offer one free Naxos CD to people that make a big purchase, you could end up getting this CD free under the right circumstances.

Here, the Lamoureux Concert Association Orchestra under leadership of 40-something conductor Yutaka Sado perform a batch of compositions by French composer Jacques Ibert (1890-1962) including his two most well-known masterpieces. I have no disagreement with the other reviewers here that scored this production higher than I did. This is an outstanding collection, all well-played, and clearly the conductor and orchestra have their hearts in it.

By my crtieria, however, I won't listen to this CD repeatedly because the interpretations are too literal, too loud, and are unsympathetic to Ibert's French impressionist origins. I can accept Ibert that sounds like Poulenc, as this does occasionally. But I won't accept Ibert that sounds like Prokofiev! While listening to this CD, I sometimes thought I was listening to the forces play Ibert as if written by Prokofiev. It reminded me of one of those recordings where a pianist plays the Beatles arranged by Bach. It's cute a time or two but doesn't stand up very well to comparison.

This style works best in the bigger, more robust pieces including the Khachaturian-like "Bacchanale", the freefloating "Ouverture de fête", and the jazz-influenced "Symphonie marine". But for "Divertissement" and "Escales" I couldn't help but miss the mystery, subtlety, atmosphere and color that more sympathetic conductors like Ansermet, Boulez and even Stokowski bring to this music.

Here, Sado and forces -- who project chirpy fun and fantasy in "Divertissment" -- are more meat and potatoes than French pastry. The "Divertissement" suite has always reminds me of Strauss's "Bourgeouis Gentleman"; it even sounds a little German in this translation. It is certainly closer to Berlin than Cannes in temperament.

This is nonetheless a good collection of Ibert that should satisfy anyone coming to the Frenchman for the first time, or anyone coming to the less well-known pieces for the first time. The Lamoreaux orchestra plays its heart out throughout and Sado, as I've said, takes a full-throated attack. His approach reminds me of the all guns blazing style of Charles Munch, whom many alleged to be the greatest exponent of French music in the United States until his death in the late 1960s.

I didn't like Munch's way and don't like this one, either, but you might. At Naxos' price you won't be out much even if you try it and don't like it. And chances are you'll learn something about this composer you didn't already know.

Well worth it for overture alone.......2006-04-08

The overture, as a musical form, began life as the prelude to an opera or ballet. And many totally forgotten operas stay alive due to their overtures. Somewhere along the line, overtures became concert pieces of their own. Mendelssohn wrote many of them. Here we have one by Ibert which I found quite fascinating and enjoyable. It is in ABA form with a very long middle section. Nothing sad here, this is music of sheer joy. The rest of the CD has two Ibert masterpieces, one interesting dance work and a disaster, as noted by the previous reviewer. The performance of the overture and the dance work are excellent. The two masterpieces get respectable performances. As for the disaster, the performance does not really matter.

Orchestral Gems, Decent Performances.......2003-07-29

This is a serviceable-and-then-some collection of works by a master of orchestral color. Famous performing forces such as Munch/Boston and Martinon/Chicago have rendered this music with more atmosphere and brio, perhaps, but Yutaka Sado and the Lamoureux Orchestra nonetheless have something compelling to say. The orchestra's connections with Ibert are long-standing, the Lamoureux having debuted Escales in 1924 and the Symphonie marine in 1963, following the composer's death (1960). In their hands, the Valencia section of Escales and the outer sections of the Ouverture de fete have that strange mix of grandeur and vulgarity which seems to be a highlight of the finest French orchestral music, going back at least to Rameau. The Lamoureux brass are just the bunch to impart this air to the music. The Bacchanale, too, is thoroughly exciting here but with the right touch of suavity a la Roussel and Ravel so that this doesn't devolve into a French version of Khatchaturian's Saber Dance

I don't, however, advise getting the disc (as I unfortunately did) for the Divertissement, perhaps Ibert's finest achievement, one of the world's great pieces of musical humor. Compared with an ancient stereo recording of this music by Jean Martinon and the Paris Conservatory that I fondly remember, Sado's version is surely lacking. The Japanese conductor doesn't give the brass their head in the Valse and Finale, where they are wonderfully raucous in Martinon's old recording, and the Valse just plods along to boot. But then again, this is such delicious music that even in a relatively lackluster performance, as here, it is highly enjoyable. And of course the modern digital sound is a vast improvement over Martinon (still available in a French orchestral collection from Polygram, I believe).

On the other hand, probably no one could rescue Symphonie marine from the pedestrian. It started life as the musical score to a film. We can credit Ibert with being the first European composer to write music for a talkie, just as Saint-Saens before him was the first composer of stature to write for film. That's about as much as can be said about the score. As an evocation of the sea, it's a thousand leagues behind any other famous ones you can think of (The Hebrides Overture, Scheherazade, La Mer-you name it). The most interesting aspect is the typical French coloration Ibert brings to its quieter moments through the use of the solo sax, making parts of the music sound like a kind of latter-day L'Arlesienne Suite. Otherwise, the pop-musical intent of the score (there are even passages that seem to quote one of the jazzy sections of Ravel's Left-Hand Piano Concerto) isn't tastefully or skillfully brought off, and the piece is pretty much a wash.

Tracks:

If You're Not the One for Me - Bill Champlin, Brenda Russell, Tom Scott
By Design - Diane Schuur
Walk Through the Fire - Carl Anderson, Eric Marienthal
How Do You Keep the Music Playing? - Patti Austin, Shelton Becton
Key to You - David Benoit, David Pack
Baby My Heart - Carl Anderson, Brenda Russell
Somewhere Between Old and New York - Dave Grusin, Phoebe Snow
Malibu - Lee Ritenour
Brazasia - Pauline Wilson, Yutaka Yokokura

Average customer rating:

Movie music from the master
totally moving
A vexed effort, but valiant
beyond film music?
A new--and live--orchestral recording

Cinemage

Manufacturer: Sony
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Binding: Audio CD

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BTTB

ASIN: B00004KH9F
Release Date: 2000-02-08

Tracks:

Forbidden Colours
The Last Emperor
Little Buddha
Wuthering Heights
Replica
El Mar Mediterrani

Customer Reviews:

Movie music from the master.......2001-11-22

I enjoyed Sakamoto's soundtrack for WINGS OF HONNEAMISE and his composition for the Summer Olympics in Barcelona, Spain. Then after hearing an interview with Sakamoto on "World Cafe with David Dye", I decided I wanted more. CINEMAGE is a nice sampling of his various soundtracks and convinced me to get more. His music is very melodic and fits well with each movie, yet each has his distinctive sound. Nice background music for a quiet Saturday afternoon.

totally moving.......2000-11-26

I bought this album because of the song "Forbidden Colours" from the movie "Merry Christmas Mr. Lawrence". This song alone worth more than the price. It is a perfect masterpiece: the music, the lyrics and sylvian's voice.. my heart just melt whenever I listen to it, yes, everytime. It's so powerful, try it yourself and you will feel it too... (The other famous orchestral tracks are also great... but they became extras to me)

A vexed effort, but valiant.......2000-05-12

Including some of his most renowned themes, CINEMAGE is a collection of works primarily composed to accompany visual events established on film. Known for his syncretism, particularly of East meets West, Sakamoto offers a unique, unabashed glimpse into his melodic universe, remaining one of the few film composers not submerged in the musical polyglot of the Hollywood scene.

Recorded live on tour in 1997, CINEMAGE boasts an unrehearsed, but convincing performance by the Orchestra. Conducted by Sakamoto, with Yutaka Sado, the recording occasionally glistens with the imaginative elements of the music's inception intact. The graceful `Little Buddha' and `The Last Emperor' both evoke a sense of Romanticism and tragedy. `Replica' glimpses into the more playful, jazz-like harmonies of Sakamoto's compositional style, as well as the ferocious 1992 Olympiad theme `El Mar Mediterrani' which is bold, and episodic in nature. The centerpiece of the album lies in `Forbidden Colours' the heart rendering theme of Nagisa Oshima's emotional 1983 film "MERRY CHRISTMAS, MR. LAWRENCE." Along with guest musicians David Torn, DJ Spooky, and David Sylvian, Ryuichi Sakamoto proves that his music has the tenacity to reach farther than the silver screen, and onto the concert stage.

beyond film music?.......2000-03-21

Sakamoto's global fame as a composer and musician may lead to expections of unmerited praise, but don't be mistaken; "Cinemage" is certainly a work that speaks for itself. Utilizing mainly the piano and orchestra, Sakamoto relives some of his paramounts as a film composer in this recording. His technique, interpretation, and composition is beyond doubt; music lovers will enjoy Sakamoto's firm understanding and presentation of such classical elements ranging from Vivaldi to Barber. However, it is observable that the music seems to lack a certain maturity, that which that makes compositions classics instead of another piano-and-bar piece. Sakamoto's phrasing is sometimes abrupt and premature, and perhaps that is to be attributed to the fact that film music will remain film music, lacking the coherence that traditional compositions emphasize. Highlights of the recording include "Forbidden Colours", featuring the most beautiful and emotional piano and vocal parts. "El Mar Mediterrani" borders on the fringe of classical and new age; its sometimes chaotic and erratic melodies are truly inspirational and make this track a gem. All in all, Sakamoto delivers a range of material with such sophistication that reasserts his genius and fame. "Cinemage" is certainly a recording that music lovers cannot afford to miss.

A new--and live--orchestral recording.......2000-03-03

Sony says: CINEMAGE consists of 'New recordings of Sakamoto's best-known music for film and television, including "Forbidden Colours" from Merry Christmas, Mr. Lawrence with vocal by David Sylvian, the Oscar® winning theme from The Last Emperor, and "El Mar Mediterrani" composed for the 1992 Olympic Games in Barcelona. Sakamoto on piano is accompanied by a large orchestra in these new arrangements of well-known themes.'

Average customer rating:

Ozaki, he is not one of those J-pop stars.
Ozaki was a charisma for all Japanese youngers

Aisubeki Mono Subeteni: Best
Yutaka Ozaki
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005G6ZL
Release Date: 2001-08-13

Tracks:

I Love You
Oh My Little Girl
Forget Me Not
57th Street
Rules On The Street
Love Way
Bond
The Night
Scrambling Rock N' Roll
Two Hearts
Graduation

Customer Reviews:

Ozaki, he is not one of those J-pop stars........2006-08-29

His music is still very popular and almost legendary among young admirers.
In some big cities, there are what are called "screen concert" on his obit. People just get together and watch his old concert films. And those "live music" are still covered by media.

His music is very rebellious and full of his conflicts with the older generation, society and his identity. These are more or less common adolescent themes and go beyond generations so that he still gets young worshippers.

I love some of his songs, but not all of them. I believe he was a great singer and still is. He is one of a limited number of singers whose songs really represent the life of the singer.
His music is his life. He was a very very honest guy and I don't feel any commercialism in his music.

Ozaki was a charisma for all Japanese youngers.......2004-12-03

His name Yuyaka Ozaki..
If there may be not some American who know about him. But he have the greatest populality from Japanese yougers even now. The reason that I wrote "even now" is for that he is not alive. Ozaki passed away in such young age as twenties. The cause have not been known even now, alcohlism, suicide or death by violence..

He had gotten great populality in Japan music scene, however by such sudden death, he became a legendary singer. In those days after he died, the fan's suicide broke, he had the influence so much.

His singing style in live performance was simple with a acoustic guitar only except for some cases. In addition to that, his song words included very deep message, especially for teenagers, the resistance to schools, the contradiction to society, teen's life future or the mean that teen live even.

Honestly, I can not say that he is a great singer on the point of singing well or bad. But one time, he song shoutly, another time song like wispering or crying. He song as he felt and thought freely. And by using sinple way like guitar only, his singing,not sometime crying was conveyed to teenagers heart directly.

I think thateverybody is troubled about their life expecially at teen age is common thing over the world. If you listen to his cd, at any costs, I wish that you listen to the cd with understanding his words, or the cd may finish just a noisy sounds. The half of his charms are his strong message.

Thank you for reading poor English.

Average customer rating:

Ozaki, he is not one of those J-pop stars.

Junanasaino Chizu (Seventeen's Map)
Yutaka Ozaki
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005G6GE
Release Date: 2001-08-13

Tracks:

Scenes Of Town
Can't Sing Even The Beginning
I Love You
High School Rock 'N' Roll
Night
Seventeen's Map
Loveless Town
Oh My Little Girl
To All That I Hurt
My Song

Customer Reviews:

Ozaki, he is not one of those J-pop stars........2006-08-29

Karita Mattila - Arias & Scenes / Yutaka Sado, LPO

Average customer rating:

a voice that lets you indulge
Mattila's best album to start
An Outstanding Recital
Total excitement from Mattila in wide-ranging repertoire
Magnificent

Karita Mattila - Arias & Scenes / Yutaka Sado, LPO
Karita Mattila , Yutaka Sado , London Philharmonic Orchestra , Giacomo Puccini , Tchaikovsky , Richard Wagner , Giuseppe Verdi , Franz Lehár , and Leos Janácek
Manufacturer: Erato
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Binding: Audio CD

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ASIN: B000059ZHW
Release Date: 2001-06-19

Tracks:

Tchaikovsky: Uzh polnoch blizitsa
Puccini: In quelle trine morbide
Wagner: Einsam in truben Tagen
Wagner: Euch Luften, die mein Klagen
Tchaikovsky: Zachem zhe eti sliozi?
Verdi: Come in quest'ora bruna
Janacek: Mamicko, mam tezkou hlavu
Wagner: Der Manner Sippe
Wagner: Du bist der Lenz
Strauss: Ich kann nicht sitzen ins Dunkel starren
Lehar: Vilja-Lied

Amazon.com

This is a wonderful record. Karita Mattila's voice is ravishingly beautiful: velvety, caressing, intense, focused, gloriously radiant in the high register, full and warm in the low one, even in quality and purity throughout a span of more than two octaves. She can color and inflect it at will. Her intonation, breath control, and phrasing are impeccable.

Here, impersonating heroines from a heady mix of Russian, Czech, German, and Italian operas, Mattila displays an extraordinary vocal, stylistic, and emotional range--whether it's the wild despair of Janacek's Jenufa and Tchaikovsky's Lisa; the ecstasy of Wagner's Elsa and Sieglinde; the wistful nostalgia of Puccini's Manon and Verdi's Amelia (from Simon Boccanegra); the agonized outcry of Strauss's Chrysotemis; or the simplicity, humor, and charm of Lehar's Hanna, the famous Merry Widow. The program has the usual problems besetting excerpts from operas. The endings always seem arbitrarily cut off, and one of Sieglinde's arias begins in the middle. However, Mattila succeeds not only in setting mood and atmosphere, but also in creating real characters by purely musical and expressive means. The orchestra is excellent, balance and sound are first-rate, and Duncan Riddell plays the difficult violin solo in Jenufa's aria splendidly. --Edith Eisler

Customer Reviews:

a voice that lets you indulge.......2006-02-21

I had the pleasure of seeing Miss Mattila in Puccini's Manon Lescaut recently at Houston Grand Opera. Heretofore, I didn't know what her voice sounded like. An Italian friend of mine does not like her, so I figured she was one of those hyped-up divas that we encounter so frequently these days. But, I have to confess that Mattila blew me away in the theater. Her performance was full of nuances and telling gestures; Mattila is a very gifted singing actress, not to mention striking. Then there's that voice, which is creamy, with a touch of smokiness. The richness of her voice would lead you to believe her incapable of a thrilling high note, until she wows you by opening up her top with laser-like intensity.

Some Fleming fan had the nerve to claim that she ranked far below Fleming in terms of vocal assets. By that, I guess they meant scooping, sliding, conspicuously sighing, bellowing, etc.

This is a stupendous first CD recital for Karita. We are treated to some of the most dramatic and moving music in the whole opera canon. Mattila leaps head-first with an excerpt from Pique Dame. Here, she demonstrates how well she can connect with the words and mood of what she sings.

Next follows In Quelle Trine Morbide. Unfortunately, she mars the aria with some audible breathing, something I also noticed in the theater. Never fear- from here on, Mattila's top notch.

When I first heard Einsam in Truben Tagen, it was rather jarring. I was so accustomed to Nilsson's and Schwarzkopf's interpretations on disc. But, after repeated listens, I can say with confidence that Mattila's delivery of the aria is no less triumphant. Her richness pays even greater dividends in the second excerpt from Lohengrin.

By the time she sings Come In Quest'ora Bruna, I found myself really cheering the diva on. The role of Amelia is perfectly tailored to her voice. I asked myself why this aria almost never surfaces on recital discs. Maybe it took a Karita Mattila to demonstrate Verdi's genius.

Now, as others her have stated, the scene / prayer aria from Jenufa may well be the highlight in a disc full of highlights. Mattila masterfully navigates the complex range of moods in this pivotal sene, never succumbing to Fleming-like sighs and histrionics. Simply put, Karita proves capable of bringing a tear or two to your eye.

By now, you are in aural heaven. Mattila keeps you on cloud nine with two superb excerpts from Die Walkure, and a very fine one from Elektra. In the latter, she is given a formidable test of her vocal talents, and soars with flying colors.

Like many others, I find the Vilja-Lied as the end piece rather odd, after some twenty minutes-plus of riveting drama. I wish it could have been Sola, Perduta, Abbandonata instead. Oh well, nevermind. This recital is pure gold.

Don't let anyone tell you that the golden days of operatic singing are over. Grazie, Mattila.

Mattila's best album to start.......2005-01-12

This is my favorite soprano. So full of energy, clear and beatiful sound. The best about her is when you hear her or see her on stage. I just saw her the 1st of January at the Met in Janacek's Katia Kavanova, i just got hooked with the interpretation. She is magical.

This is for me the best cd of her collection. Because it has the best of her repertoire. My favourites arias here are Jenufa and Pique Dame. This album is very well done, and if you don;t kow her, this is the first one you have to buy. Then, i recommend the live album, and then, the last compilation. Is a must have!!

An Outstanding Recital.......2003-09-01

Karita Mattila, the famous dramatic soprano from Finland, has a wide-ranging repertory that includes Mozart, Verdi, Wagner, Puccini, and Richard Strauss, as well as Slavic composers like Tchaikovsky and Janacek (she is especially admired as Jenufa). Mattila's soprano is one of crystalline purity, with a rapid vibrato adding a thrill to the tone. Unlike many big voices, hers has lightness and grace -- obviously a result of her Mozart singing. Her musical/vocal precision reminds me of Birgit Nilsson, while her dramatic intensity and commitment recall Leonie Rysanek. Mattila sings each of the selections on this disc beautifully, and with a sense of drama that never distracts from the music. A favorite track of mine is "Come in quest'ora bruna" from Verdi's SIMON BOCCANEGRA, sung with the most exquisitely pure, youthful tone. The JENUFA, WALKEURE, and ELEKTRA excerpts are all thrilling and justify her reputation in those operas. My one and only regret is that Mattila did not include the two arias of Donna Anna in Mozart's DON GIOVANNI (a role for which she is highly acclaimed). This is a real shame: I would have loved to hear her sing those arias, as they are favorites of mine and would seem to be ideally suited to her voice and temperament. But as it is, this is an outstanding soprano recital.

Total excitement from Mattila in wide-ranging repertoire.......2003-06-13

It's not difficult to choose a highlight here: the stunning "Meditation and Prayer Scene" from Janacek's "Jenufa," eight minutes of some of the most moving singing you will ever hear. Alternating between stark drama and intimacy, the scene makes an unusual choice, and is perfect for Karita Mattila's powerful artistry.

But everyone who hears this gorgeous recording will have favorites, such as the two Tchaikovsky selections from "Pique Dame," and Mattila's choices from "Lohengrin" and "Die Walkure" -- all precisely sung. And no matter how many times one encounters the aria from Puccini's "Manon Lescaut," it will rarely sound as effortless as it does here.

The closing track, a frolicking "Vilja-Lied" from Lehar's "The Merry Widow," finds Mattila employing a slightly darker tone and adding mystery to a song that can sometimes sound relentlessly chirpy. In this case, it seems like a cannily judged encore, almost a balm following the intensity of music from "Elektra" that immediately precedes it.

Conductor Yutaka Sado, whose work is new to me, is superb. He finds colors in every track and encourages the London Philharmonic to play with terrific tone and nuance. The entire orchestra sounds marvelous, but special mention must go to Duncan Riddell, whose sensitive, heartfelt violin solo in the Janacek is one of the highlights of the whole recording. The sound quality is excellent; Erato's warm, natural ambience suits Mattila's velvety voice perfectly.

It would not be difficult to recommend this as one of the finest vocal recordings of recent years. In many ways, it's almost a model recital: a great artist, unusual selections, and intelligent collaboration from the conductor and orchestra -- just outstanding in every way.

Magnificent.......2001-11-28

My first impression of Karita Mattila and her voice was "breathtaking!" What a magnificent voice, expressive and true, and filled with a rich vibrato and a memorable tone. I've been recommending this CD to everyone I know who is into opera!

Artery & Vein: The Very Best of Yutaka Ozaki

Average customer rating:

Ozaki, he is not one of those J-pop stars.

Artery & Vein: The Very Best of Yutaka Ozaki
Yutaka Ozaki
Manufacturer: Sony Japan
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005G7L1
Release Date: 2001-08-13

Tracks:

Single Version
Japanese
Japanese
Japanese
I Love You (Live)
Japanese (Live)
Japanese
Japanese
Japanese
Cookie
Japanse
Japanese

Customer Reviews:

Ozaki, he is not one of those J-pop stars........2006-08-29

Yutaka Sado conducts Ravel, Bizet, Berlioz & Dukas

Average customer rating:

Yutaka Sado conducts Ravel, Bizet, Berlioz & Dukas

Manufacturer: Valois
ProductGroup: Music
Binding: Audio CD

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Tracks:

Bolero
Prelude
Aragonaise
Intermezzo
Les Toreadors
Habanera
Danse Boheme
L'Apprenti Sorcier
Marche Au Supplice

Average customer rating:

L'Orchestre de Satie
Erik Satie , Yutaka Sado , and Orchestre des Concerts Lamoureux
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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