Leo Live [Live]

Leo Live [Live]

Editorial Reviews
Amazon.com
Leo Kottke has peppered his oeuvre with live albums, which is befitting since his extraordinary instrumental technique and droll humor make him a natural (albeit low-key) audience charmer. This 15-song set from a 1995 Boulder, Colorado, concert finds the guitarist focusing on late '80s and early '90s albums. He draws from 1986's A Shout Toward Noon (check out his cover of Duane Allman's deceptively intricate "Little Martha"), '88's Regards from Chuck Pink, '89's My Father's Face, '90's That's What, and '94's Peculiaroso. Kottke reaches deeper into his song bag to pull out "Bean Time" (from 1972's Greenhouse), but it's refreshing to hear him reexamine a particularly fertile period in his career while the original recordings are still fresh in his mind. The clear-as-lake-water audio quality also deserves kudos. As usual, Kottke's playing is beyond reproach and his between-song remarks are winning. --Steven Stolder

Tracks:

Oceano
Mi Mancherai (il postino)
Mi Morena
Canto Alla Vita
Remember When It Rained
Remember
America
Never Let Go

Tracks:

Oceano
Per Te
To Where You Are
Mi Mancherai (il postino)
Mi Morena
Alejate
Canto Alla Vita
Nocturne/Bohemian Rhapsody (performed by Lucia Micarelli)
Alla Luce Del Sole (special guest artist: Bela Fleck)
My December
Caruso
Remember When It Rained
Vincent (Starry, Starry Night)
Remember
You Raise Me Up
America
Never Let Go

Amazon.com

If Josh Groban's unabashedly melodramatic musical fusion inspires grousing on both sides of the classical/pop pundit divide, the screams of the (mostly) young female fans that punctuate these 2004 performances at L.A.'s historic Greek theater better underscore the real point. This set's CD and more expansive DVD complement each other well; if anything, supplemented by a live string ensemble and crack backing band, they're a warmer, more focused showcase for the singer's talents than the studio albums that made his meteoric fame. In peak form, Groban variously delivers forceful renditions of his pop-operatic powerhouses "Canto Alla Vita" and "Anna Luce Del Sole" (the former featuring a drum solo [!] from Groban, the latter a fine guest turn by Bela Fleck on banjo), takes a surprising solo piano break on Paul Simon's "America," waxes Central Asian on Troy's "Remember" and brings the crowd to its feet with the heart-on-his-sleeve dramatics of Closer's "Never Let Go." They're all informed by the singer's insouciant, youthful enthusiasm, arguing that Groban is gifted with more than just a magnificent voice; he's a complete natural as a performer as well. The DVD also includes a tour diary narrated with typical charm by the singer, as well as bonus live performance of "Believe" from the Polar Express soundtrack. --Jerry McCulley

Album Description

Josh Groban's 2002 PBS "Great Performances" special was a #1 selling DVD and the best-selling long-form music video of 2003. His second "Great Performances" special was taped at L.A.'s Greek Theater in the summer of 2004. For fans of the young sophisticated pop phenomenon who has sold more than 8 million albums, this CD+DVD package is just the latest great performance in the career of Josh Groban. DVD Extras: On the road with Josh for Summer 2004 Tour and a special performance of "Believe" from The Polar Express (it's PBS footage mixed w/ film footage).

Customer Reviews:

Josh is even better in live!.......2007-04-14

I recently saw Josh on his new tour with Awake, and it was so awesome that inspired me to buy this DVD to replicate the experience a little bit. I loved it! Especially loved the few extra songs I've never heard before (Mi Morena, America). Some people were complaining about the nasal sound and quality, but this is a live show so of course it sounds a little different. Bottom line is I think Josh is a great preformer and his very funny also :)

Very Good!.......2007-02-09

This CD/DVD was very good. I watched the DVD and was impresed with the way He handles the "spot light." He seems to be a very humble person and I think that is what makes his music so enjoyable to listen to. Not forgetting his awesome voice!

Let me explain..........2007-01-14

There are several reviews that talk about how annoying it is for the fans to wave light sticks and/or American flags in this DVD. Perhaps if I explain why, it will seem less annoying.

The waving of the light sticks was started at the very beginning of his first tour, mainly to show him how much the fans appreciated the concerts. The first idea was to wave them during the last verse of "You Raise Me Up," when the choir came out. Later, fans added another show of support by waving blue light sticks during "Vincent (Starry Starry Night."

OK, if you still find that annoying, that's your right. However, the flag waving at the end of "To Where You Are" was special. This concert was filmed on September 11, and the flags were waved at the end of "To Where You Are" for those who were lost, and the families of those who were lost, on 9/11/2001.

It's your right if you still find these things annoying. I just thought I'd try to help you to understand.

Since this is a forum for giving our opinions of the DVD, I have to say that I love it. He has a beautiful voice and I love listening to him under any circumstance. The DVD is wonderful, IMHO.

Re-Live the Concert Experience!.......2007-01-09

Was fortunate enough to attend Josh's "Closer" concert tour date at Jones Beach--amazing voice. Getting this album brought back all of the memories of that amazing evening outdoors under a "Starry, Starry Night." I used to not bother purchasing live albums because they had poor audio quality, but not anymore. Love this album! (Actually, I love all of his stuff.)

DVD is so worth the price.......2007-01-08

I disagree with some of the reviewers complaining about a nasal sounding CD. Yes, there are few parts where it may sound a little nasal but people have to remember that this a LIVE concert and if they wanted perfect sound they should buy the studio album instead. He still sounded brilliant and great. The DVD is fantastic for all those who don't have the luck or means to attend a Groban concert. It captures the energy and pure joy of a concert. Sometimes its even better than being at the concert because you can see Groban close up. I hope that there will be a concert DVD released for the AWAKE concerts.

Average customer rating:

I Love This Album

Where I Live There Are Rainbows
Na Leo Pilimehana
Manufacturer: NLP Music, Inc.
ProductGroup: Music
Binding: Audio CD

General | Contemporary Folk | Folk | Styles | Music
Similar Items:

Feel The Spirit
Wonderful World
Maui Revealed: The Ultimate Guidebook

ASIN: B000KJT7PA
Release Date: 2006-09-19

Tracks:

Hawaiian Lullaby (Where I Live, There are Rainbows)
Sophisticated Hula
Crushed Flowers
On A Little Bamboo Bridge
Kaimana Hila
Rhythm Of The Ocean
Lovely Hula Hands
Ku u Sweet Lei Makamae
Along For The Ride
Soft Green Seas
Hanauma Bay
Pineapple Express

Customer Reviews:

I Love This Album.......2007-04-07

I went to Hawaii last year and heard this group on The Pineapple Express at the Dole Plantation. I loved their singing and wanted more. This album is great and I plan to purchase more of Na Leo - their harmonies are a wonderful blend. Musicians will love them!

Average customer rating:

What to say besides "It's great"...
Hits the mark in so many ways
Of the top two Kottke albums
simply the best
Even tho I was in Boulder at this taping, I'm not biased. .

Leo Live
Leo Kottke
Manufacturer: RCA Victor
ProductGroup: Music
Binding: Audio CD

General | Contemporary Folk | Folk | Styles | Music

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

General | Live Albums | Folk | Styles | Music
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6- and 12-String Guitar
One Guitar, No Vocals
My Feet Are Smiling
Home & Away Revisited
My Father's Face

ASIN: B0000000LY
Release Date: 1995-09-12

Tracks:

William Powell
The Room At The Top Of The Stairs
Airproofing
Jack Gets Up
'Combat'
Peg Leg
Twilight Time
Bean Time
'Roy Autry'
Parade
I Yell At Traffic
Flattened Brain
Little Martha
Oddball
Arms Of Mary

Amazon.com

Leo Kottke has peppered his oeuvre with live albums, which is befitting since his extraordinary instrumental technique and droll humor make him a natural (albeit low-key) audience charmer. This 15-song set from a 1995 Boulder, Colorado, concert finds the guitarist focusing on late '80s and early '90s albums. He draws from 1986's A Shout Toward Noon (check out his cover of Duane Allman's deceptively intricate "Little Martha"), '88's Regards from Chuck Pink, '89's My Father's Face, '90's That's What, and '94's Peculiaroso. Kottke reaches deeper into his song bag to pull out "Bean Time" (from 1972's Greenhouse), but it's refreshing to hear him reexamine a particularly fertile period in his career while the original recordings are still fresh in his mind. The clear-as-lake-water audio quality also deserves kudos. As usual, Kottke's playing is beyond reproach and his between-song remarks are winning. --Steven Stolder

Customer Reviews:

What to say besides "It's great"..........2006-03-08

I have many Leo Kottke cds. This is first all live recording, though. It is such a treat! The tracks are seperated into speaking and playing so you don't have a full minute of speaking with a song. I appreciate that.

As for Leo, he plays and sings then begins to tell a story. He gets back to playing and singing and then another story. I really enjoy hearing him be intimate with the audience as well as tear up his guitar like only a handful of people can do.

I would not get this as your first Kottke disc; buy the best of Capitol and Chrysilas discs. If you already have a disc or two, then get to know the man and understand that he can play just as well or better on stage as he does in the studio.

Hits the mark in so many ways.......2005-10-01

I once read a write-up that said something along the lines of "the one advantage to this live album from Leo Kottke is you get to hear his stage banter." And that's all it said. Take it from me, and others on this page, that there are many advantages to hearing this live album. I could try and explain them all, and I think that's what I'll do. So if I get windy, sorry.

For one thing, I have finally figured out what keeps me from loving "Peculiaroso," Kottke's latest album at the time of this concert. It was Rickie Lee Jones production. Her influence was like a thick quilt that was thrown over the sound, muffling everything to a uniform level and keeping some of the tighter, more rhythmic elements of the songs at bay. Here on stage, they finally get to breathe. The feel of his playing is more loose, yet his precision is as tight as ever. It's the wonderful paradox of his playing that has kept his career afloat for so long.

Nowhere is this more clear than on the songs from "Peculiaroso": "Peg Leg," "The Room at the Top of the Stairs," "Parade," "Arms of Mary," and his much appreciated cover of "Twilight Time."

And as much as I regularly salivate over the album "My Father's Face" from 1989, his newer renditions of "William Powell" and "Jack Gets Up" do nothing to diminish their initial power. In fact, "Jack Gets Up" sounds better here. I still don't have an inkling what the song is about ("Your kid has a face like a walnut from the ice cream/from the ice cream" ?), but the reduction in instrumentation leaves Kottke to do the quiet segues on his own. This mostly consists of a single note line that he swiftly, yet effortlessly, plays with one stroke and glides his finger to the other note.

It's also a treat to hear "I Yell At Traffic" and "Oddball" without the harebrained studio additions that no doubt scared potential fans away. For me, the absence of the synthesizer from the jazzy "Oddball" is worth the price of admission.

And a new song is introduced, "Flattened Brain," and has yet to find a home on a studio album. It's another showcasing of Kottke's concise rhythm coupled with his usual highly impressionistic (or nonsensical, depending on your opinion) lyrics. It's a bit like "Driver" from "Great Big Boy," only faster.

And yes, this CD contains stage banter. Two tracks are dedicated to Kottke's off-the-wall yet hilarious stories. I've seen him play several times, and it is typical for him to tell a story that has nothing to do with the songs of his set, making "Combat" so shamelessly funny. The crowd helps him indulge in said quirks.

The sound quality of this CD beats Leo's "Live in Europe" album by a mile. The guitar and voice are crystal clear. But all of the hollering and applause from the audience is just as clear, and never does one overshadow the other. The whole experience is successfully captured for you on this little package, helping you feel the atmosphere of what had to be a very positive and satisfying evening.

So there are the advantages. You don't really have to be a Leo Kottke fan. If you like instrumental music or the sound of an acoustic guitar even, this is a wise buy. Gee, just thinking about it makes me like it more.

Of the top two Kottke albums.......2005-09-10

Leo Live is tied with My Feet Are Smiling for the two best Kottke albums in my opinion. It's a verasitile CD with sadly only two stories told by Leo, but it's better than none. It also includes the song Flattened Brain, which is oddly one of my favorite Kottke tunes, and hasn't been recorded on any other album of his. A must have CD.

simply the best.......2002-08-09

too cute for words and the picking is phemonenal as to be expected from the master of 6 and 12 string-a must have for any fan!

Even tho I was in Boulder at this taping, I'm not biased. ........2002-01-02

This is an incredible CD! Yea, I was in Boulder at this show, and it was worth trudging through the snow to get to and from the performance that Easter evening. His musical talent is vast, and that talent comes shining through on this CD. His story telling between songs is a wonderful insight into who he is as a person. Without those between song stories, Leo's talent makes him seem other-worldly. Hearing the personal side of this performer is a warm and welcome addition, and is why this CD is one of my favorites.

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
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Callas: La Divina [Limited Edition]
Lyric & Coloratura Arias by Maria Callas (EMI's Great Recordings of the Century)

ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

Music To Prepare You For Eternity

Catalogue: Live in East Germany
Ganelin Trio
Manufacturer: Leo Records UK
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music

General | Jazz | Indie Music | Stores | Music
ASIN: B0000281VQ
Release Date: 1997-06-14

Tracks:

Catalogue: Live in East Germany

Customer Reviews:

Music To Prepare You For Eternity.......2005-10-03

This is one of the five most shattering jazz CDs I have ever listened to, and I have heard a few thousand... That the Ganelin Trio don't have their deserved place in the pantheon of jazz pains me, but I cannot do anything about it. That there is not a single review on this CD on Amazon is a shame which is easy to rectify.

Here is what some respected publuications have noted on this album:

"One of the very important jazz records of recent times" (Penguin Guide to Jazz)
"One of the most exciting events that Free Music has ever staged..." (Melody Maker)
"Maybe not since the first Ornette Coleman records appeared has Western European jazz experienced quite such a shock of the totally unexpected as the Ganelin Trio produced." (The Wire)

The words below by critic and music historian Steve Kulak capture the essence of this music better than I possibly could. He speaks about this album and their music in general but his words apply especially strongly about "Live In East Germany", which is the trio's finest forty-something minutes. I am thus quoting Mr. Kulak in one extensive excerpt below:

""Live in East Germany" (the tapes of which were smuggled out of the former Soviet Union by a German tourist).....features the Trio's performance at the historical 1980 concert in West Berlin. Those lucky enough to be there would no doubt have witnessed first hand what was meant by "an insanely accelerated history of jazz." The music can be approached as one extended composition, or as a series of scenes, although it may seem odd to speak of scenes in a work where hearing and sound prevail. Yet hearing, together with vision, is the second sense that brings us knowledge from afar. And those who were there to see and hear the Trio were... astonished.

"....Had these albums been released by three white boys from New York, the course of modern music could well have been catapulted into different time zones and ridden a different wave onto the beachhead that is contemporary music today. But this was 1979, and these were three Russians at the wrong end of the Seventies. We were still a whole decade away from the hole in the wall that would signify not only a new Berlin, but a new political order and with it the fading memories of a vanquished Soviet system. Too many aspects of Soviet culture suffered the same discrediting process that the failure of its political system implied. To the victor not only the spoils but all the glory.

"What we have in the Ganelin Trio is not a free jazz hybrid: it is highly structured, new music. Unarguably and absolutely. It is structured in a way that improvised music can not be. It is played with intensity and gravity, which is not necessarily what makes it different, though its humour and teetering-on-the-edge quality might. It may be humourous in the way that all excessive intensity is; it depends on whether intensity affects you that way. It can also be heard as music which appears to live in two different epochs: its own and as a rehearsal for the next one. One blink from then to now and back again."

"The Ganelin Trio offer layers of compositional audacity that eludes music with a greater claim. What impresses most is its structure, an edifice comparable to the inside outside architecture of a glass and metal building with all the beams, wires and ducting exposed but with no walls to obstruct your line of sight. It is a most impressive construct: the way it all fits in and works together, especially if you care enough to follow the pipes and cables from beginning to end. But there is more: the calibre of the musicianship, its attack and fluency, its exemplary execution and uncompromising commitment, right through to the sheer originality of the overall conception: all this represents the Ganelin Trio. The music is astounding. It is not wallpaper but furniture. You cannot ignore the music. It forces you to listen to it, takes you inside. You might end up feeling like an exhausted fish pushed to the high tide mark and then abandoned, as the Trio's retreat starves you of oxygen and leaves you floundering with only sound clinging to your gills. But it might also leave you with the creepy sensation of a chill searching for your spine."

"It is an impossible music. Impossible to categorise, impossible to dance to, impossible to dream through... and impossible to ignore. You can drink through it comfortably though, and all the while generate a sense of being closer to its inspiration if the collective spirit grabs you. There is in the end no one way of accessing it. Analysing the context of its creation might contribute to an understanding of it that may or may not be useful. Appreciating the method of artists in the context of the social history of their times can be instructive. But listening is the only viable option, not words. That might sound self-evident, but listening in this case amounts to much more than that, which is why a drink might help to get you through the experience. Although their densely textured sound presents a formidable challenge to any listener, this is not impenetrable music. This is music that penetrates you and your psyche in other ways. Because within the vibrant animation that pervades every inch of the surface of their compositions, lies an absolute stillness. In the end the performance becomes a spiritual experience coaxed into existence by visionaries."

"How much music can you listen to? How much music do you need? What form should engagement with this relentlessly modern music take? Approach it as you would approach a transforming fire... or like fallen pieces of the moon."

"Is it fair to say that as a New York Trio they would have been anointed for such bold structural innovation in music and canonized? America does have a dominant spirit of irredeemable materialism and an indifference to the poetry of things, but America can also do many things very well. But to say this music could only have been created within the context of a Soviet shadow is unarguable. The major role of any artist is to make invisible passions either visible or heard. In the expression of those passions, we should realise that artists are shaped by contexts which they do not necessarily choose and which go on to inform the nature of their individuality. Much in American music is muscle and technique, lacking the elusive quality of great music. Just for a second imagine the bloated cadaver of jazz/mock fusion. Now try to imagine instead another direction, a richer musical hybrid of a type that was being invented at that same time in the Seventies in the Soviet Union by groups such as the Ganelin Trio. This music was all but hidden from view by an Iron Curtain that too few on the bright side of it were privileged to peek behind. Leo Feigin of Leo Records in London will one day tell his story about peeking, smuggling and the privileges of portly men in overcoats, and I daresay aspects of it will read like a typical cold war thriller. What a time it must have been."

".....Music like this, heavy, tragic, powerful, astonishing, thrilling is not created in horror or despair, social oppression or political restriction. After all it was a supremely even-handed system: it forbade both the élite and the poor alike to beg in the streets and to steal bread! The music of the Trio is not a political statement. It would trivialise it too much to restrict it to such a petty ephemeral canvas. The Ganelin Trio is light years beyond politics yet inescapably formed by it. The music addresses futility of another sort. It disperses our emotions and throttles our less than common sense by obliging us to address the force of nature itself. You are deluding yourself, it screams, and by the end of any concert recording by the Ganelin Trio you are probably perfectly content to admit it. If the access button in your brain is switched on, you may never listen to music quite the same way again. It may not be an obvious or even a conscious decision. But you will not be able to ignore this epochal roar from those times when greater certainty prevailed and whose pathetic passing may be of some regret. If you were born to this then you were born to riches as nourishing as peasant bread. "

Average customer rating:

Live at the Royal Festival Hall 2004
Anthony Braxton Quintet
Manufacturer: Leo Records UK
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music
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20 Standards (Quartet) 2003
23 Standards (Quartet) 2003
Duo (Victoriaville) 2005
Compositions 175 & 126 (for Vocalists, Creative Orchestra and Constructed Environment)

ASIN: B000BW5SFO
Release Date: 2006-04-18

Tracks:

Composition 343: Part 1
Composition 343: Part 2

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Good coloratura work by Elizabeth Futral
At Last a Solo Recital on CD
An Interesting display

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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The Very Best of Régine Crespin

ASIN: B00009AQMF
Release Date: 2003-06-24

Tracks:

Come Take Me In Your Arms
My Soul Is Filled With Love For You
What Are These Tears And Sighs
How I Loved Him!
A Maiden Adorning
He Has Come Back
See Here, Dorabella
Ah! Let me Live In This Dream
He's The God Of Youth And Springtime
The Silver Moon Was Shining
Ain't It A Pretty Night!
Take Me Away To The One I Adore
Oh Sleep, Why Dost Thou Leave Me?

Customer Reviews:

Good coloratura work by Elizabeth Futral.......2007-05-27

This is an interesting CD from soprano Elizabeth Futral. The theme of this is a set of operatic arias sung in English, not in the original French or Italian or. . . . I'm not sure how sold I am on the concept, but, after all, it's the singing and musicality that is most important. And, by that measure, Elizabeth Futral does very nicely.

The accompanying booklet begins by noting that (page 8) "The voice of the light soprano has enchanted listeners for centuries." Futral's singing is characteristic of this type of voice.

In this era, any coloratura soprano has two challenges: first, to compare with the past generation's astonishingly talented practitioners, well exemplified by Joan Sutherland and Beverly Sill. Second, though, there are some wonderful coloratura sopranos today against whom others will be compared, with Natalie Dessay and Sumi Jo among the most adept. Thus, Futral will almost automatically be compared with such exemplars. I do not think one could say she is the equal of those four just mentioned, but she does not compare badly either.

From the Wikipedia: "In musical notation, the Italian word staccato (literally detached, plural staccatos or staccati) indicates that notes are sounded in a detached and distinctly separate manner, with silence making up the latter part of the time allocated to each note. The rhythm is not affected. Notes identified as staccato should be played or sung abruptly and short." This is worthy of comment, since the "Bell Song" from "Lakme," one of the selections on this CD, features many such notes. Futral sings them well. Her performance in this work is well done (although it is somewhat jarring, again, to hear it sung in English). She begins with a nice high note and a bang up following trill. She displays good agility and features nice technique on staccato notes. Overall, this is well done. Toward the end, which calls for great ornamentation, she seems a bit hesitant at time, but she concludes with a nicely sung high note.

Other examples of her singing. From Handel's "Alcina," she sings "Come take me in your arms." Her voice is a light, standard coloratura voice (although not all coloratura sopranos have such a voice, of course). She displays considerable agility, a decent trill, and good ornamentation. There is a bit of harshness on a high note toward the close, but hardly fatal to the overall positive effect of her singing.

From Donizetti's "Linda di Chamounix," there is "My soul is filled with love for you" (otherwise known as "O luce di quest'anima"). Her version is not too shabby when compared with such greats as Sutherland and Jo. The cabaletta shows off, again, her agile voice. Good staccato high notes. Nice trills and a well nailed final high note.

Then there is the charming "Son vergin vezzosa" from Bellini's "I Puritani," here entitled "A maiden adorning." Again, nice agility, good trills, well done florid singing technique. While there is some harshness in the penultimate high note, overall, well done.

In short, Futral adds to a currently rich supply of coloratura sopranos, and compares well with the best of them.

At Last a Solo Recital on CD.......2005-03-19

Elizabeth Futral is one of those rare sopranos who seems to put pacing of her career, care of the voice, and commitment to repertoire range ahead of the too early media blitz that can hamper a singer's career. Clearly she has it all - beauty of voice, beauty of physical presence, fine acting skills, intelligence, and interpretive insights.

Having seen her Cleopatra in LA Opera's GUILIO CESARE and in SF Opera's production of Previn's STREETCAR NAMED DESIRE put her high on the list of important new sopranos. This rather strange recording gives samples of her foray's into all styles from Handel to Previn and does a fine job in capturing the beauty of her phrasing and quality of her seamless soprano voice. It is somewhat distracting to place a first recital recording before the public being sung entirely in English, especially for those who are unfamiliar with Futral's gifts. But credit Chandos with the courage to try something different, something that may introduce new audiences to the opera field.

Surely after the recent successes of Futral performances in the opera houses more recordings will follow. Meanwhile this is a tasty sampler of just how versatile - and special - Elizabeth Futral is. Grady Harp, March 05

An Interesting display.......2003-07-23

Coloratura-soprano Elizabeth Futral is a remarkable artist with a beautiful instrument and a most impressive technique. Her appearences in record stores are mostly on lesser known and up and coming labels such as Opera Rara and CHANDOS; with a few performances on DG.

This CD has an unusual semi-personal package. Duets, trios and quartets are featured. The title of the program is called Great Operatic Arias which seems rather broad for a soprano recital disc.

Futral sings well as always, however the content seems to lack a bit of intricacy and polish. Each aria, duet etc leaves you wondering whether or not a bit more time could have been put into this. The arias range from baroque to 20th century; covering four languages.

The entire program is performed in English and this is interesting... Although some of the arias just sound plain strange in English! It is a very nice thing to actually completely and instantly understand what is being sung. I was most impressed with the CHANDOS Lucia di Lammermoor. Futral probably gave her best performance on record in that role. She is astonishingly good on that recording. Her mad scene is awesome!

Tracks:

Leo Low: Ha-Zamir
Yehezkel Braun: Al Mishkavi Balelot
Braun: Metsa'uni Ha-Shomerim (from Shir Ha-Shirim)
Braun: Hishbati Etkhem (from Shir Ha-Shirim)
Braun: Mi Zot Olah Min Ha-Midbar (from Shir Ha-Shirim)
Braun: Aperion (from Shir Ha-Shirim)
Braun: Ts'ena Ur'ena (from Shir Ha-Shirim)
Salamone Rossi: Halleluyah
Rossi: Al Naharot Bavel
Traditional (arr Ullmann): Yomeh Yomeh
Du Meydeleh
Uru Na
Eliyahu Ha-Navi
Michael Horvit: Even When God Is Silent
Meir Finkelstein: LeDor VaDor
Max Janowski: Sim Shalom
Louis Lewandowski: Enosh
Franz Joseph Haydn: Stimmt an die Seiten
Traditional Polish (arr Jacobson): Regle
Traditional Czech (arr Eben): Tancuj
George Gershwin: I Got Rhythm
Robert MacGimsey (arr Cassey): Shadrack
Traditional (arr Faktori): Hava Nagila
Yedidyah Admon (arr Jacobson): Shedemati
Mordecai Zeira (arr Helzner, Sher): Al Giv'ot Shekh Abrek
Shlomo Weisfish (arr Jacobson): Simona Mi-Dimona
Alkoni (arr Jacobson): Hey Harmonika
Emanuel Amiran (arr Jacobson): Mayim
David Burger: Ha-Tikvah Ha-Noshanah
Traditional (arr Ben-Haim): Ha-Tikvah

Album Description

In the summer of 1999, the Zamir Chorale of Boston celebrated its thirtieth anniversary as well as the centenary of the Zamir movement with a concert tour of Eastern Europe. Performances were given in synagogues and churches, concert halls and museums, restaurants and courtyards, cemeteries and concentration camps. In Warsaw, Lodz, Auschwitz, Krakow, Prague, Terezin and Vienna we gave honor to the dead and hope to the living. Our live concert recording, The Songs Live On, is a witness to the excitement and spiritual intensity of our odyssey. Zamir is very proud to present this unique recording comprising selections from our recent European tour. Recorded during live performances in Lodz, Vienna, Prage, Krakow, and Terezin, these songs celebrate the return of Zamir to the land of its birth. Ranging from liturgical settings to popular songs, spanning four centuries, and representing composers from seven countries, our tour repertoire demonstrated the breadth and quality of Jewish music for Jewish and non-Jewish audiences alike. The Songs Live On captures the energy of these live performances and the enthusiasm of both Zamir and our audiences. If you couldn't join us in Europe, this is your chance to share in the music.

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Peculiar Amazon indexing

100 World's Best Loved Melodies

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009VNBR4
Release Date: 2005-07-05

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Blue Danube
Waltz of Flowers
Waltz No. 1
Waltz of the Snowflakes
Naila Waltz
Spanish Dance
I Dream of Jeannie With the Light Brown Hair
Sugar Plum Fairy
Dance of the Comedians
Camptown Races
Carnival of the Animals Finale
Dance of the Clown [From "A Midsummer Night's" Dream]
Dance of the Hours
Dance of the Swans [From "Swan Lake"]
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Tritsch Tratsch Polka
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Dance of the Priestesses
Overture from "William Tell"
Toreador Song [From "Carmen"]
Overture from "Carmen"
Samson & Delilah
Ride of the Valkyries
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Scheherazade
Water Music - The Hornpipe
Nocturne
Eine Kleine Nachtmusik
Hungarian Rhapsody
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Preer Gynt Suite No. 1 Anitra's Dance
Liebestraum
Adagio from "The New World Symphony"
Flight of the Bumblebee
Ave Maria
Air on a G String
Neapolitan Song
Violin Concerto
Serenade No. 4

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When You Wish Upon a Star
Chances Are
Calcutta
Cherry Pink and Apple Blossom White
Gigi
They Call the Wind Maria
Memories Are Made of This
Catch a Falling Star
Smoke Gets in Your Eyes
So in Love
Begin the Beguine
Misty
Little Things Mean a Lot
Embraceable You
It Might as Well Be Spring
On the Street Where You Live
Moment to Remember
Anniversary Song
Golden Days
Theme from a Summer Place
Tonight
Lullaby of Broadway
Easter Parade
Tenderly
Young at Heart

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Claire de Lune
Piano Concerto No. 1
Minute Waltz
Piano Concerto
Fantasy Impromptu
Piano Sonata No. 20 - Finale
Swan
Polonaise No. 6
Waltz in C Minor
1812 Overture
Light Cavalry Overture
Nutcracker Overture
Marche Militaire
Tannhauser Overture
Radetsky March
Tragic Overture
Triumphal March
Tales of Vienna Woods
Emperor's Waltz
Waltz. Wine, Women and Song
Voice of Spring
Fledermaus Overture
Skater's Waltz
Roses from the South
Romance
Symphony No. 5
Mer
Moonlight Sonata
Capriccio Espagnol
Lohengrin
Symphonie Fantastique
Greensleeves
Souvenir
Lonely Heart
Die Meistersinger
Polovtsian Dance

Customer Reviews:

Peculiar Amazon indexing.......2007-06-08

A search for Deep Purple's "Smoke on [in] the water," brought up this title. I rate it only #1 because I could not locate the "Smoke on the Water" listing. Amazon seems to be having an indexing problem.