Touch in the Dark [Import]

Touch in the Dark [Import]

Track Listings

1. In Front Of Me

2. Pale Light

3. Whisper

4. Restless

5. Touch In The Dark

6. Tower

7. Dream

8. Child

9. Garden

10. Shadows

11. Shadows ( Accoustic Version)

Editorial Reviews
Product Description
Japanese pressing of the goth-metal act's sophomore album includes one bonus track. Details TBA. Avalon. 2004.

Tracks:

I Wish It So
There Won't Be Trumpets - Sondheim
What More Do I Need? - Sondheim
That's Him
The Girls Of Summer - Sondheim
The Saga Of Jenny
Like It Was
Stay Well
I Feel Pretty
Glitter And Be Gay
My Ship
In The Clear
Never Get Lost - Take Me To The World
My New Friends - Bernstein

Amazon.com essential recording

With a spirit of innocence and excitement, no audible breaks of register, and perfect diction, Dawn Upshaw graces us with a satisfying crossover recording in which each song is a fully realized musical monologue. The eclectic and infrequently performed repertoire, from Bernstein, Blitzstein, Sondheim, and Weill, compliments her charm and interpretive acuity. There's her humorous "Saga of Jenny," her adorable "That's Him," her poignant "Like It Was," and her freshly vibrant "I Feel Pretty." Conductor Eric Stern is divine in his arrangements and accompaniment. This is one of the best musical theater albums available. --Barbara Eisner Bayer

Customer Reviews:

Crossover at Its Best.......2006-11-15

"I Wish It So" is the CD that first introduced the exceptional "crossover" talents of soprano Dawn Upshaw. The album, which comprises (mostly) little-heard songs by Kurt Weill, Marc Blitzstein, Leonard Bernstein, and Stephen Sondheim, opens with the title number, a lyrical gem from Blitzstein's JUNO, and continues with Sondheim's vibrant "There Won't Be Trumpets," in which Upshaw, rather than belting, lets her voice ring. She then slam-dunks Sondheim's "What More Do I Need," a truly raucous number. Other highlights include the two songs from Weill's LADY IN THE DARK: the haunting ballad "My Ship" and the witty "The Saga of Jenny," presented here in a superb jazz arrangement. The sound of Upshaw's lower middle voice in this number is thrilling. Her combining of Blizstein's "Never Get Lost" and Sondheim's soaring, life-affirming "Take Me to the World" is perfect, as is her musical yet emotional rendition of "Like It Was" from Sondheim's MERRILY WE ROLL ALONG. The album climaxes with the mock-coloratura aria "Glitter and Be Gay" from Bernstein's CANDIDE, in which Upshaw scales the heights with consistently pure and beautiful tone. In a day when many great opera singers attempt, unsuccessfully, to sing "popular" song, "I Wish It So" is an example of crossover at its very best. It is a CD that no one who loves both opera and musicals should miss.

If Dawn Upshaw had made only one album..........2006-08-24

I have a weak spot for crossover albums by opera stars, which can often be train wrecks or embarrissing self-parodies. There's not a cringe-worthy note in this one, however. Dawn Upshaw has never been as vibrant on disc, and her style in pop music (albeit serious pop music) surpasses expectations. She is a master at touching vulnerability and stars-in-her-eyes vulnerability. There's no current Broadway star who can match her in any of these songs form Sondheim, Weill, and Bernstein, certainly not for sheer beauty of voice and charm. Upshaw went on to make an excellent album of Rodgers and Hart songs, but nothing else quite matches this first effort.

Great songs by a better than average singer. Buy It........2006-04-24

'I Wish It So' sung by popular / classical switch hitter, Dawn Upshaw is a very, very good interpretation of classical American musical theatre pieces by four masters of the genre, Leonard Bernstein (music), Marc Blitzstein (lyrics), Stephen Sondheim (lyrics) and Kurt Weill (music). As I am most familiar with female interpretations of Kurt Weill's songs, especially by the likes of his widow, Lotte Lenya and Weill interpreter extraordinare, Ute Lemper, I have to say that while Upshaw does them justice, she does ont outshine the very best Weill interpretations. Primarily, I believe she suffers from never actually performing the works on stage, as Lenya has.

And, since Ute Lemper did an album with a similar collection of songs (Illusions) from Sondheim and others, I thing Lemper still has the edge on interpreting other composers as well.

On the positive side, I find Upshaw's interpretation as good or better than almost everyone else who makes a career out of these songs, such as, dare I say it, Barbra Streisand. This is a good thing, because I believe Upshaw is not up to the very best mezzos who share her classical works. She can't hold a candle, for example, to Renee Fleming or Anne Sofie von Otter, although her interpretations of Weill are as good as von Otter, just not as good as Lenya and Lemper.

A very, very nice album if you like female vocalists.

A must album for all musical theatre lovers........2005-04-21

Dawn Upshaw once again disproves the adage that opera singers can't sing showtunes properly. Her diction, her ability to act out the lyrics and her crystal clear angel-like voice are just heavenly. Miss Upshaw could teach quite a few Broadway and Cabaret singers a thing or two about interpretation and she would have her hands full teaching opera singers like Te Kanawa or Fleming how to put over a showtune properly. Simply divine!

Timeless recording.......2004-07-20

This is an endlessly rewarding album by an operatic soprano who demonstrates an expressiveness and range rare in crossover albums of this sort. Upshaw modifies her classical technique without compromising it, narrating with a conversational tone and youthful ebullience well-suited to musical theater. She continues her tradition of championing obscure American art songs with three gorgeous Blitzstein pieces, and wisely avoids the standard, overdone Sondheim showpieces in favor of several gorgeous lesser-known songs. "I Feel Pretty" is given a refreshing makeover, while "Glitter and Be Gay" demonstrates both her impressive vocal control and comedic prowess. Despite the odd choice of "There Won't Be Trumpets", which demands a belter to properly execute the climax, this album is a well-conceived and cohesive collection that becomes more enjoyable on each subsequent listen.

Average customer rating:

Kurt Weill: Re-discovery...
Incredible Live Album

Kurt Weill: The Centennial
Kurt Weill , Brock Peters , Carole Cook , Charlotte Rae , Nancy Dussault , Norm Lewis , Peter Becker , Rod McKuen , Shirley Jones , Tim Curry , and Steve Orich
Manufacturer: Lml Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005U8HM
Release Date: 2002-01-08

Tracks:

Act 1: Pirate Jenny - Charlotte Rae
Act 1: I'm A Stranger Here Myself - Jodi Stevens
Act 1: Economics - Jane A. Johnston
Act 1: Is It Him Or Is It Me? - Pam Dawber
Act 1: Barbara Song - Linda Purl
Act 1: Lullaby - Kathryn Skatula
Act 1: That's Him - Nancy Dussault
Act 1: Don't Look Now - Sharon Lawrence
Act 1: Apple Jack - Norm Lewis
Act 1: Speak Low - Sally Kellerman
Act 1: September Song - Rod McKuen
Act 1: Ice Cream Sextet - David Holladay

Tracks:

Act 2: Wouldn't You Like To Be On Broadway? - David Holladay
Act 2: What Good Would The Moon Be - Melissa Dye
Act 2: It Never Was You - Hugh Panaro
Act 2: We'll Go Away Together - Hugh Panaro
Act 2: Tschaikowsky - Jack Noseworthy
Act 2: The Saga Of Jenny - Carole Cook
Act 2: Surabaya Johnny - Tim Curry
Act 2: My Ship - Shirley Jones
Act 2: Mack The Knife - Loretta Devine
Act 2: Lost In The Stars - Brock Peters

Customer Reviews:

Kurt Weill: Re-discovery..........2006-11-10

I am so impressed and pleased to have found this recording on Amazon.com. I am always amazed when I find these seemingly obscure recordings, and thrilled to know they exist. What a wonderful history of our musical world---and what a chance to hear interesting, challenging, and unusual performances from so many well-known people. The songs live on--the composer is 'new' again, and this recording becomes part of history re-discovered. Thank you Amazon.com for your continued professionalism and for having these recordings available.

Incredible Live Album.......2002-02-10

This incredible concert (which i attended) benefitting The Actors' Fund of America, contains some absolute MUST performances for any Broadway collector.

For me, the highlights are HUGH PANARO ("It Never Was You"), NANCY DUSSAULT ("It's Him") and TIM CURRY singing "Surabaya Johnny" in German!

Loretta Divine, Brock Peters, they're all great!

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Average customer rating:

Very Good

Excellent Weill Alternative to Lenya and Lemper

Everything is right but the style

Intelligent reading from both singer and conductor

Brilliant--The best of the 7 Deadly Sins recordings

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Kurt Weill , John Eliot Gardiner , Anne Sofie von Otter , Bengt Forsberg , Hannover North German Radio Orchestra , Karl-Heinz Lampe , Frederick Martin , Christfried Biebrach , and James Sims
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GM3
Release Date: 1995-03-14

Tracks:

Die Sieben Tods Prologue
Die Sieben Tods No. 1 Faulheit (Sloth)
Die Sieben Tods No. 2 Stolz (Pride)
Die Sieben Tods No. 4 Zorn (Anger)
Die Sieben Tods No. 5 Vrei (Gluttony)
Die Sieben Tods No. 6 Unzucht (Lust)
Die Sieben Tods No. 6 Habsucht (Avarice)
Die Sieben Tods No. 7 Neid (Envy)
Die Sieben Tods No. 8 Epilog
My Ship
One Life To Live
Buddy On The Nightshift
Nannas Leid
Bilbao - Song
Surabaya - Johnny
Das Leid Von Der Harten Nuss
Je Ne T'amie Pas
Schickelgruber
Der Abscheidsbreief
Foolish Heart
Speak Low
I'm A Stranger Here Myself

Amazon.com

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler. --David Hurwitz

Customer Reviews:

Very Good.......2006-01-03

This is a very nice selection of Weill pieces showing the full range of his output. These range from the ambitious Seven Deadly Sins to songs from Happy End to some of his Broadway work. All are very interesting. The performers, particularly Von Otter, are excellent. Recommended strongly.

Excellent Weill Alternative to Lenya and Lemper.......2005-09-29

`Speak Low Songs by Kurt Weill' is a great addition to the performances of Herr Weill's works by the prominent mezzo-soprano, Anne Sofie Von Otter. I have listened to many performances by Weill specialists from the archetype, Weill's wife, Lotte Lenys, for whom many of the songs were originally written to Ute Lemper and Gisela May, who lean heavily toward Lotte Lenya's gravel-voiced interpretation of Weill's songs.

Anne Sofie Von Otter breaks with this tradition and gives us what are easily the sweetest interpretations of Weill's songs from both his German and English works, which I have heard anywhere.

The flagship performance on this disc is `Die Sieben Todsunden' (`The Seven Deadly Sins') which was a cycle of songs to be sung on the stage, accompanied by dances done by a second performer. This takes the first nine (9) tracks and is at least as good as what I have heard from Weill specialist, Lemper. This album is the first time I have noticed that there are two versions of this work, and that Ms. Von Otter is performing the version for soprano.

But, I think the most moving performances come later, especially in von Otter's performances of the three numbers from `Happy End', `Bilbao-Song', `Surabaya-Johnny', and `Das Lied von der harten Nuss' (Song of the Big Shot). I have heard these done by many people, but never so sweetly. These numbers are so lovingly performed that I insist that you ignore the fact that the lyrics are in German. The accompanying booklet gives English translations, which I simply ignore and enjoy the musical talent with no filter. My understanding German has nothing to do with this, as I do the same with French, which I can just barely make out.

Kurt Weill may not be the most important influence on American musical theatre in the 20th century, but he is easily in the top five, along with the Gershwins, Irving Berlin, Richard Rodgers and collaborators, and Cole Porter.

Ms. Von Otter is ably accompanied on this disk by her favorite pianist, Bengt Forsberg plus the Norddeutch Rundfunk orchestra directed by John Eliot Gardiner. While I really like her selection on this disk, the collection makes me wish Ms. Von Otter would do some more Weill and spend less time hanging out with Elvis Costello, but that's a different story.

Everything is right but the style.......2005-09-24

Weill and Brecht defined a nasty age with nasty art, writing some of the grittiest satire in the history of music. In this CD von Otter misses that edge, skirts all the dangerous, sleazy implications, and ultimately sounds too much the opera singer slumming it for an hour. Her earnestness is no subtitute for the right period style, a la Lotte Lenya.

Intelligent reading from both singer and conductor.......2005-01-27

THE SEVEN DEADLY SINS is such a brilliant mini-masterpiece (and, to me, the pinnacle of the Brecht-Weill years) that it is hard to screw up. It is a testament to the staying power of this work (and to the brilliance of Weill's music in general) that it can be performed by the likes of Lotte Lenya, Julia Migenes, Ute Lemper, Judy Kaye, Marianne Faithfull, Teresa Stratas, and -- as here -- Anne Sofie von Otter, and STILL work... and EACH of these women are totally successful in the piece on their own terms.

Here, Anne Sofie von Otter gives us an intelligent (and highly musical) rendering of the text, keeping the musical line very much intact. She sings with vibrato at times, and then will turn around and use straight-tones at moments where it is dramatically appropriate to do so. She balances the performance well, shifting gears between cool detachment (which she is often criticized for) and impassioned outbursts (which her critics often fail to notice).

John Eliot Gardiner surprised me with how easily this music seemed to come to him, especially as he seems to be a man more at home with "Period-Instrument-Mozart" than highly charged 20th century works. However, his reading of "The Rake's Progress" by Stravinsky was totally staggering. For example, his choice beginning the climactic moment of the score ("Envy") as slowly as he does caught me very much off guard at first, and I didn't really care for it at all. However, with each successive listen, I find myself "getting" this choice more and more.

Finally, the "filler." As to be expected, she is more successful with the European material than she is with the songs from Weill's Broadway years. But this is the case with about 99.9% of all opera singers who try to sing Weill's Broadway scores. You will never hear any singer give "Je ne t'aime pas" a more hauntingly beautiful, passionately intense performance than Anne Sofie von Otter. Truly, the ultimate interpretation of one of my favorite Weill songs. "Nannas Lied," "Der Abschiedsbrief," and the HAPPY END selections. However, "My Ship" and "One Life to Live" seem to fail at catching fire -- the former because it is marred by an attempt to sound like a "pop singer," the latter because von Otter sings English better than native speakers (she knows where the ACTUAL emphasis in the phrase "nothing: the thing is to have fun" goes, as opposed to where Ira Gershwin placed it). I also -- surprisingly enough -- don't care for her performance of "Schickelgruber" -- she just seems totally lost to me. (I really think that this song is foreign territory to 'legit' sopranos and mezzos -- I don't even care for the Stratas rendition.) Just when I thought I would have to suffer through another bad batch of "opera-crossover," Anne Sofie turned around and surprised me by giving highly successful performances of the numbers from ONE TOUCH OF VENUS (especially on "I'm Stranger Here Myself").

All in all, a worthy purchase: highly recommended to all fans of THE SEVEN DEADLY SINS and Kurt Weill enthusiasts.

Brilliant--The best of the 7 Deadly Sins recordings.......2002-10-12

Weill, and particularly anything Brecht-Weill, has suffered for too long with interpertations based on tired ham theatrics, burlesques of Lenya's style, to the point where we have come to expect it as the only way to sing this music. Lenya herself is said, late in life, to have commented that a better singer (specifically Stratas at that time) would be more appropriate for properly interpreting Weill's music.

Here, after countless CD releases of the Seven Deadly Sins, is the first recording sung in the key the composer originally intended! The result is relevatory, sublime and magnificent.

Ms. Von Otter interprets the rest of the songs with mixed results--all are lovely, several are excellent, though several others have been handled better by singers with more "theatrical" talents. Nevertheless, this recording stands alone, head and shoulders above the others.

Kurt Weill: Life, Love, & Laughter--Dance Arrangements, 1927-50

Average customer rating:

SAIL ON, KURT!
Not at All Vile Weill
ELEVATOR MUSIC

Kurt Weill: Life, Love, & Laughter--Dance Arrangements, 1927-50
H.K. Gruber , and Palast Orchestra
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Superhits Präsentiert Vom Palast Orchester
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ASIN: B000055YBR
Release Date: 2001-02-12

Tracks:

Mile After Mile
Bilbao Song
Stay Well
Life, Love And Laughter
My Ship
Green-up Time
The Little Gray House
Blues Potpourri
September Song
All At Once
Le Roi d'Aquitaine (Waltz)
Foxtrot Potporri
Alabama Song
Lied Der Jenny
Speak Low
It Never Was You
What Good Would the Moon Be
Tango Ballade
Kanonen-Song

Amazon.com

Here's a disc of 19 familiar and unfamiliar Kurt Weill songs arranged for dance band and played by an expert group of specialists in Roaring Twenties band music. They're led by singer-conductor-composer H.K. Gruber, whose previous recordings include Weill's Die Dreigroschenoper. The result is a start-to-finish delight. From the first notes, you're beamed back in time to one of those sleek transatlantic passenger liners, sitting in an art deco ballroom watching elegant couples in tuxedos and ball-gowns swirl by while the band plays hits from Weill's German and Broadway triumphs. Sure, the venom is leached from the originals, but who needs agitprop when you're on a dance floor? The arrangements are by a variety of hands, hired by Weill's European and American publishers with his approval to get more mileage from his musical theater works. They're delightfully square rhythmically and formulaic in transferring Weill's music to conventional dance bands, but the music still holds up and is fun to hear in its new clothes. A special treat is the eight tracks with Max Raabe, whose light tenor and falsetto singing preserve the spirit of Weill's songs, as well as perfectly mimic the boy band singers of times gone by. --Dan Davis

Customer Reviews:

SAIL ON, KURT!.......2006-04-23

I wouldn't take offence here oh, Weill purists! These reconstructions are charming and harmonically reverent to their originals, more than could be said for many versions of the Weill Songbook through the decades, including Lou Reed's friendly `adaptation' of the September Song's chord progression and melodic line!

Shoenberg and Webern expressed their disdain of Weill's music; curiously, Arnold had also disclosed a secret wish of having his own audiences walk back home "whistling his tunes", oh, don't ask why... You can certainly whistle, hum and sway your partner now, as the transatlantic's bouncy dancehall sails on just as Kurt, Lotte and the lot of them did when escaping the lethal hounds of early 30s Berlin.... the-next-little-dollar bound.

Not at All Vile Weill.......2001-08-13

The ever versatile HK Gruber has done it again digging up these gorgeous dance arrangements for Weill's music--proving, if anything, Weill's versatility. Anyone familiar with the Capriccio historical Weill recordings will be aware of the long tradition of dance bands taking Weill's music as the lead for dance music or pop music incarnations (all the way up through the more obvious appropriations familiar to Americans: Mack the Knife and September Song). Hardly MUZAK arrangements (listen to the delicate violin in track 17's "What Good Would the Moon Be" to hear what I mean), this generous helping of 19 songs offers a chance to see Weill through a delightfully different but entirely compatible lens. Max Raabe provides the ideal vocal compliment on 8 of the tracks, his tenor floating effortlessly into his head voice suggesting a "period" sound reminiscent of Bing Crosby. The import title for this disc is "Charming Weill," and that modest adjective expresses the least of its virtues.

ELEVATOR MUSIC.......2001-05-23

This is a very strange CD: why would anyone want to take the quirky rhythms and melodies of the great Kurt Weill and "tame" them into dance arrangements? Certainly one has listened to (& even perhaps admired) dance arrangements of composers from Victor Herbert to Cole Porter to Jerry Herman, but these are all, if you will, main stream composers-- men whose music sounds good in original Broadway or Hollywood arrangements and just as good (or almost as good) as played by a dance band...think "Begin The Beguine" as done by Fred Astaire on film or "Begin The Beguine" done by Jo Stafford with the Paul Weston Orchestra.

But Weill was an innovator: a man who can still be listened to experiencing the thrill of something fresh and new. One immediately thinks of his collaborations with Bertolt Brecht in Germany: "Threepenny Opera" and "The Rise & Fall Of The City of Mahagonny" or "The Seven Deadly Sins", etc. his American opera, "Street Scene" with Langston Hughes or his American musical plays: "One Touch of Venus" with Ogden Nash or "Love Life" with Alan Jay Lerner, etc. The songs on this CD all deserve great recordings from the "Alabama Song" to "September Song" but they turn into a kind of flattened elevator music instead of having fresh interpretations or even more traditional ones. What happens is that the longing in "What Good Would the Moon Be" and the romance of "Speak Low" and the raucousness of "Bilbao Song" are all much too similar and much too easy.

Tracks:

Overture
Ballad of Mac the Knife
Cannon Song
Ballad of Immoral Earnings
Second Threepenny Finale
Solomon Song
Call from the Grave
Epitaph
Third Threepenny Finale
Surabaya-Johnny
Alabama Song
Je ne t'aime pas
Jennys Lied
Speak Low
Lost in the Stars
My Ship
One Life to Live

Album Description

This release by the award-winning Center City Brass Quintet showcases the depth and variety of music by the German-born composer Kurt Weill, beginning with a suite of songs from his best-known Threepenny Opera. This is followed by a collection of cabaret and art songs composed in Europe, and concludes with songs composed in America for the Broadway stage in collaboration with the likes of Ira Gershwin and Moss Hart. Every song is in a brand new arrangement for brass quintet, written especially for this recording. Fans of the Center City Brass Quintet's previous CD releases will enjoy the same rich sound, technical brilliance, and artistry they have come to expect from this fabulous ensemble which the American Record Guide has deemed "one of the strongest of today's brass quintets".

Kurt Weill from Berlin to Broadway - a selection

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Kurt Weill from Berlin to Broadway - a selection

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004WZTK
Release Date: 2000-10-24

Tracks:

The Threepenny Opr: Mack The Knife - Harald Paulsen With Orch
The Threepenny Opr: Cannon Song - Harald Paulsen With Orch
The Threepenny Opr: Pirate Jenny - Lotte Lenya With The Lewis Ruth Band/Theo Mackeben
The Threepenny Opr: Babarasong - Lotte Lenya With The Lewis Ruth Band/Theo Mackeben
The Threepenny Opr: Lied Von Der Unzulanglichkeit Menslichen Strebens - Bertolt Brecht With Theo Mackeben And His Orch
Happy End: Mandalay Song - Lewis Ruth Band
Happy End: Surabaya Johnny - Lotte Lenya With Pno
Rise And Fall Of The City Of Mahagonny: Moon Of Alabama - Lotte Lenya With The Three Admirals And Orch
Rise And Fall Of The City Of Mahagonny: Denn Wie Man Sich Bettet - Lotte Lenya With Pno
Knickerbocker Holiday: September Song - Walter Huston With Orch/Maurice Abravanel
Knickerbocker Holiday: There's Nowhere To Go But Up - David Brooks With Orch/Maurice Abravanel
Knickerbocker Holiday: The Scars - Walter Huston With Orch/Maurice Abravanel
Lady In The Dark: One Life To Live - Gertrude Lawrence With Orch/Leonard Joy
Lady In The Dark: The Princess Of Pure Delight - Danny Kaye With Orchestra/Maurice Abravanel
Lady In The Dark: And Other Russians - Danny Kaye With Chor And Orch/Maurice Abravanel
Lady In The Dark: The Saga Of Jenny - Gertrude Lawrence With Chor And Orch/Leonard Joy
Lady In The Dark: My Ship - Gertrude Lawrence With Chor And Orch/Leonard Joy
One Touch Of Venus: I'm A Stranger Here Myself - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Westwind - Kenny Baker With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Foolish Heart - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: Speak Low - Mary Martin/Kenny Baker With The 'One Touch Of Venus' Orch/Maurice Abravanel
One Touch Of Venus: That's Him - Mary Martin With The 'One Touch Of Venus' Orch/Maurice Abravanel
Ulysses Africanus: Lost In The Stars - Walter Huston With Orch/Victor Young
Ulysses Africanus: Lover Man - Lotte Lenya With Pno
One Touch Of Venus: Very, Very, Very - Kurt Weill
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One Touch Of Venus: Jersey Plonk - Kurt Weill
One Touch Of Venus: The Trouble With Women - Kurt Weill

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The Andre Kostelanetz Touch

The Kostelanetz Touch

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Liebestraum
Manhattan Serenade
Blues in the Night
My Sombrero
Night and Day
Flamingo
Coubacaban
When Day Is Done
I'll See You Again

Customer Reviews:

The Andre Kostelanetz Touch.......2002-05-31

If you were born before 1950, you will like this CD. I bought it because I have long admired Andre Kostelanetz. He was accomplished in leading both popular and classical orchestras. The recordings on this CD are monaural and were recorded in the late 30's to mid 40's. I don't think Tiger Rag, Bugle Call Rag and Turkey in the Straw complement the other selections. The remainder, however, are lush and romantic.

Average customer rating:

A Great Album For Someone Looking For Something A Little Different
Pretty good CD.
Touch in the dark
Sounds like
Attention Siouxie fans!

Touch in the Dark
Asrai
Manufacturer: The End Records
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music
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ASIN: B0002MHE00
Release Date: 2004-08-24

Tracks:

In Front Of Me
Pale Light
Whisper
Restless
Touch In The Dark
Tower
Dream
Child
Garden
Shadows

Customer Reviews:

A Great Album For Someone Looking For Something A Little Different.......2007-03-10

I find it funny, how, when you search something such as Epica on eBay, you get results including CD's from a slew of other female-fronted metal/rock bands because the seller put the word "Epica" in the name of the item so all the people searching for Epica would see it. Annoying as that it is, that's how I first heard about Asrai (and a bunch of other bands). Among all the albums and artists I learned about on eBay through an entirely un-related search, Asrai and Morning sounded the most appealing right off hand, so I quickly went and listened to some samples. I wasn't so sure about the Morning samples (and am still not, though I now own a CD by them...), but I absolutely fell in love with the samples Asrai had on their website - I ordered the album "Touch In The Dark" a few days later, received it 4 weeks later, and now, 2 months later, I am still very pleased.

Asrai is a Goth Rock band that consists of five members, two women and two men, and has been around since the late 1980's. It was founded by the singer and the drummer (Margriet and Karin Mol, respectively), who are twin sisters. The music is very unique, and has a lot of different touches which makes it interesting (such as metal, pop, punk rock, wave, etc.), and though I wouldn't really consider any of the songs particularly "fast", the album contains a kind of "fun", poppy sound while still remaining dark - perfect! They're a breath of fresh air when listened to in conjunction with a bunch of other female-fronted bands, many of which maintain of more solemn sound (which I like too of course, but it's nice to have a variety). All the band members are really talented, and the vocals are fantastic! They have all female vocals - no grunts here (though there are on very rare occasion some male vocals in the background). The sound itself is rather addicting as well. The lyrics are good too - and are perfectly "wholesome" (- no profanity, nothing religiously offensive, no drugs, no sexual content, etc.) so you don't have to worry about the lyrics distracting you or detracting from your enjoyment. Here's the track-listing and a bit of a glance at each song:

1. In Front Of Me: (4.5/5) A very unique sounding, fun song. I like the short, somewhat ethereal intro to this song, and the aggressive ending as well. The vocals are impressive and the beat is catchy - overall a great opener. The second single released, I believe.
2. Pale Light: (4/5) I love the opening and the verses! - But I find the chorus a bit monotonous and repetitive. I like the rhythm and beats in the first two verses (and the one after the first chorus) especially. I think this was their first single.
3. Whisper: (3.5/5) Okay, but probably my least favorite song on the album. The slight industrial touches and the dark beat is cool, but for some reason I just find this song a bit dull.
4. Restless: (5/5) Easily one of the best songs on the album! The song is brilliantly composed - it's not repetitive, it's of varying intensities, and powerful and pretty. I love the feel of this song! Its a great dance song as well.
5. Touch In The Dark: (4.5/5) A beautiful power ballad with a very mystic quality. It also has a bit of acoustic guitar in it and great vocals. I really like the part later on where it slows down and the vocals are almost spoken word.
6. Tower: (5/5) A very melodic, dark, soothing ballad - brilliant! Margriet's vocals are amazing! The song is very slow and ambient, but all the same, because of the vocals and background effects the song remains powerful. This song is very unique as well.
7. Dream: (4/5) Second to least favorite song on the album, but still good. I don't know, it just doesn't seem to quite fit with the other songs on the CD atmospherically. It's probably one of the faster one's though.
8. Child: (4/5) Starts off with a bang, but slows down relatively quickly. This song has some neat effects, and is quite dark, but I find it just a bit repetitive. I really like the last verse though, and the angry sounding ending to the song.
9. Garden: (4.5/5) This song really works for me - not quite sure why. I love the rhythm and the chorus! Again, some really cool effects are applied close to the second verse. I really like the lyrics for this song as well. Awesome song!
10. Shadows: (4/5) Great closing song! It actually picks up the pace quite a bit, and is the shortest song on the album (at 3:21). Overall it just sounds a bit different, but the swift, more upbeat style of this song actually works as a perfect ending!

All in all I highly recommend this to any female-fronted metal fan (despite the fact that this is Gothic Rock - it still works!) looking for something a bit different, refreshing, and fun. I also suggest checking out the samples on their website (samples range in length from about 50 seconds to a little over 2 minutes, they have them for I believe about 6 songs) if they sound even remotely interesting to you - it's a great way to decide if you want the album!

Pretty good CD........2007-03-02

I had heard Asrai about 6 months ago, and was unfortunately turned off by them at first because the vocals in their first song were a bit pitchy and didnt sound too great over the computer. Just a few days ago, I came across the CD for only 3 dollars! So I figured I'd give it another chance being that it was only three dollars. I found out my first impression was definitely wrong. The CD is really great and ended up being better than the other CD I purchased along with it!! The singer's vocals also are a lot better sounding in the other songs, so it isnt a problem if you are dreading what I said earlier. Great CD overall.

Touch in the dark.......2006-04-07

It's amazing what a simple cd cover can do. Awhile back I came upon the gorgeous art work for Asrai's "Touch in the Dark" cd. I had never heard of the band but I liked the cover art. I eventually got a copy of "Touch in the Dark". The first thing that came to my mind when I started listening to the cd was how much I was reminded of The Dreamside, especially Margriet Mol's powerful vocals. Margriet has a distinct voice that is rarely heard in the gothic metal genre. I could also hear slight touches of Siouxsie & Sioux. Asrai may not offer anything new to the genre of gothic metal but they certainly have made a good solid rock album which mixes both goth and metal. The first five tracks on "Touch in the Dark" are excellent but unfortunately after the fifth track, the band loses its momentum and the songs starts to sound the same. Production is a step above The Dreamside's current cd but not by much. It could use some improvement or the band could use a better producer. The sound isn't that clear or pristine as say Nightwish's immaculate "Once" cd. All in all though, "Touch in the Dark" will satisfy any goth metal fan.

Sounds like.......2006-03-29

This is an awesome combo. I'd say Tori Amos like vocal stylings coupled with rockin' metal

Attention Siouxie fans!.......2006-02-09

This Dutch unit have sucessfully recaptured the sound of the early LPs of Siouxie & the Banshees (ie "The Scream", "Ju Ju") and updated it for the Within Temptation/ Sins of Thy Beloved crowd. These even sound like "Kalidascope"-era Banshees titles: "whisper", "touch in the dark", "shadows"... Lead singer Margriet Mal effectivly brings Siousie's wail in the 2000s! Play this back-to-back with "Once Upon A Time" for comparison.

Average customer rating:

Impeccable taste

Tell Me the Truth about Love

Manufacturer: White Line
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music
ASIN: B00004NJJU
Release Date: 2000-04-25

Customer Reviews:

Impeccable taste.......2006-02-17

Mary Carewe is a Britisher with impeccable taste in lyrics and a delightful and fascinating voice. This is high-toned cabaret or, as she dubs her intimate program, "serious cabaret". If you like Ute Lemper or Bolcom and Morris, you'll enjoy Mary Çarewe. This is her only solo CD to date, but I can't help but believe that more are in the works for this talented soprano. Her big vocal range is matched by her big voice, which regularly accompanies symphonic orchestras in the UK and Europe in programs of modern music and pop, i.e., would you believe a program of James Bond film title songs with the Hallé orchestra?

Average customer rating:

Brecht sings!
Some good, some bad, all Weill.

Weill: From Berlin to Broadway

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
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The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
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Stratas Sings Weill

ASIN: B000000WQ7
Release Date: 1996-01-23

Tracks:

Die Dreigroschenoper: Ballade von angenehmen Legen - K. Weill
Die Dreigroschenoper: Zweiter Dreigroschenfinale: Ballade uber die Frage, 'wovon lebt der Mensch?' - K. Weill
Die Dreigroschenoper: Die Songs der Dreigroschenoper: Seerauber - Jenny - Kanonensong - Liebeslied - Barbarasong - Tango-Ballade - Ballade von angenehmen Leben - Lied von der Unzulanglichikeit menslichen Strebens - Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Overture - K. Weill
Die Dreigroschenoper: Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Ballade von angenehmen Leben - K. Weill
Die Dreigroschenoper: Liebeslied - K. Weill
Die Dreigroschenoper: Kanonensong - K. Weill
Die Dreigroschenoper: Seerauber - Jenny - K. Weill
Die Dreigroschenoper: Ernster Dreigroschenfinale - K. Weill
Die Dreigroschenoper: Barbarasong - K. Weill
Die Dreigroschenoper: Eifersuchtsduett - K. Weill
Die Dreigroschenoper: Abschied ... Zweiter Dreigroshenfinale - K. Weill
Die Dreigroschenoper: Zuhalterballade - K. Weill
Die Dreigroschenoper: Lied von der Unzullichkeit menschlichen Strebens - K. Weill
Die Dreigroschenoper: Moritat - K. Weill
Die Dreigroschenoper: Schlusschoral - K. Weill
Die Dreigroschenoper: Moritat von Mackie Messer - K. Weill
Die Dreigroschenoper: Lied von der Unzulanglichkeit menslichen Strebens - K. Weill
Kleine Dreigroschenmusik: Moritat von Mackie Messer - K. Weill
Kleine Dreigroschenmusik: Die Ballade von angenehmen Leben - K. Weill
Kleine Dreigroschenmusik: Tango - Ballade - K. Weill
Kleine Dreigroschenmusik: Kanonensong - K. Weill
Happy End: Bilbao Song - K. Weill
Aufstieg und Fall der Stadt Mahagonny: Alabama Song - K. Weill
Mahagonny - Excerpts: Auf nach Mahagonny - Alabama Song - Ach, bedenken Sie, Herr Jakob Schmidt...Havana Song - Wunderbar ist das Heraufkommen des Abends - Ihr habt gelernt das Cocktail-Abc - Erstens, vergesst nicht, kommt das Fressen - Meine Herren, m... - K. Weill
Der Silbersee: Das Lied von Schlaraffenland - K. Weill
Der Silbersee: Der Backer backt ums Morgenrot - K. Weill
Knickerbocker Holiday: September Song - K. Weill

Tracks:

Knickerbocker Holiday: The Scars - Kurt Weill
Lady In The Dark: Glamour Music Medley Including: Oh Fabulous One - Huxley - Girl Of The Moment - Kurt Weill
Lady In The Dark: One Life To Live - Kurt Weill
Lady In The Dark: This Is New - Kurt Weill
Lady In The Dark: The Princess Of Pure Delight - Kurt Weill
Lady In The Dark: It's Never Too Late To Mendelssohn - Kurt Weill
Lady In The Dark: Tchaikovsky (And Other Russians) - Kurt Weill
Lady In The Dark: The Saga Of Jenny - Kurt Weill
Lady In The Dark: My Ship - Kurt Weill
One Touch of Venus: I'm A Stranger Here Myself - Kurt Weill
One Touch of Venus: Ballet: Forty Minutes For Lunch - Kurt Weill
One Touch of Venus: Westwind - Kurt Weill
One Touch of Venus: Foolish Heart - Kurt Weill
One Touch of Venus: The Trouble With Women - Kurt Weill
One Touch of Venus: Speak Low - Kurt Weill
One Touch of Venus: That's Him - Kurt Weill
One Touch of Venus: Wooden Wedding - Kurt Weill
One Touch of Venus: Ballet: Venus In Ozone Heights - Kurt Weill
One Touch of Venus: Finaletto: Speak Low - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Ulysses Africanus: Lost In The Stars - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Ulysses Africanus: Lover Man - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Marie Galante: J'attends un navire - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Complainte del a Seine - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Happy End: Surabaya Johnny - Kurt Weill
Six Songs By Kurt Weill Interpreted By Lotte Lenya: Aufstieg und Fall der Stadt Mahagonny: Den wie man sich bettet - Kurt Weill

Customer Reviews:

Brecht sings!.......2003-02-02

Come on! A chance to hear Bertolt Brecht sing his own Mack the Knife before Bobby Darrin messed it up! How many CDs are going to have that?!

Some good, some bad, all Weill........2003-01-02

Kurt Weill and Broadway fans will probably feel an intense need to have this album, and I'm not sure I'd be able to dissuade them. There's some good stuff on this recording, to be sure, but a great deal of it is in German, and much of it might not interest even someone with just a casual interest in the material chronicled. While there's a strong representation of The Threepenny Opera (all in German), the selections from Lady in the Dark featuring Gertrude Lawrence and Danny Kaye are vital, as are the tracks of Mary Martin and Kenny Baker performing selected numbers from One Touch of Venus. (You can also hear Walter Huston performing a song from Knickerbocker Holiday, though it is, for some strange reason, "The Scars." It's an interesting historical record, but not a great song.) Lotte Lenya also sings some as well, which is a treat, but overall, this is a highly variable recording. Make sure you know exactly what you're getting beforehand, or you may be likely to find yourself--as I do--listening to only half the album.

Music Info:

Music Info

music info

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