Behind That Light

Editorial Reviews
Amazon.com
Follow-up to the well-received Moai, Behind That Light once again blends Monica Ramos's inventive harpestry with guitar, vocals, ambient sound textures, and chunky club beats. Assisted by Per Andreason once again, this time out Ramos stretches herself as primary composer and sings (in Spanish) on roughly half the tracks, making a less-balanced though more personal recording. In the vein of kindred spirit fiddler Natalie MacMaster, whose In My Hands pushed boundaries of both the Celtic genre and performer, Behind That Light finds Ramos redefining what listeners can come to expect. Her classical training is readily evident (particularly on a composition such as the solo performance of "Mami"), and yet, clearly, Ramos is ready to mix it up pop-style as on the tempo-tastic Fantasia-gone-global "Joborg." Yet it is on the deceptively simple swelling melody of "Creo (Faith)" where this young talent comes from Behind That Light to shine most brightly. --Paige La Grone

Product Description
Behind That Light, the follow up to the debut album Moai, features Monica Ramos' virtuoso harp playing and finds her adding singer to her list of artistic accomplishments. Highlights of the album include "Para Un Angelito (For a Little Angel)" which features Monica's playing and singing, as well as "Joburg" with its varied rhythms and sampled vocals. Beautiful harp playing, electronic keyboards, classical guitar and sweeping orchestral movements coupled with Monica's self assured vocal delivery make Behind That Light an album that captivates the listener from start to finish. REVIEW: You may repeat this field for titles with multiple fair-use citations from reviews. Please include the source of the citation at the end of the field in parentheses, including the publication name and date. Each citation should be limited to 20 words. ARTIST BIO: Behind That Light is not your typical Latino/Nordic/ harp record... In other words, it's a record that only Monica Ramos could make. Following on the success of last year's Moai, the Chilean-born, Swedish-based harpist returns with a collection of songs and instrumentals whose appeal is truly international. Acknowledging her own background as a South American who later studied classical music but who has been writing song lyrics since the age of 12, Ramos has created a new style of harp music, one that glances at Latin American folk harp, Western classical, pop, dance, and ambient music. Like her earlier album, Ramos' Behind That Light includes some tracks that marry the harp's romantic sound to the driving grooves of modern dance music. This record generally reflects the sound of her current touring band, which includes bass, guitar, layers of percussion, and keyboards. That sound is gently rhythmic and at times almost classical. It's not the type of sound that you'd expect to hear in the dance clubs. " Previously dance clubs weren't right for my music but that's changed," says Ramos. Behind That Light features a lot more songs than Moai, giving the new album a more intimate feel. "I love to write lyrics," she says. "I've been writing since I was 12 - writing thoughts, reactions to what's happening in my life. And for this record, I thought, I will do something with all this." The album is about half vocal, and apart from one wordless vocalese, the songs are all in Spanish. This includes the title track. "Behind That Light," she explains, "you will find my sorrow, something I'm trying to hide. I wrote it as a sad song, because sometimes you feel misunderstood." As a harpist playing her own music, Ramos has dealt with misunderstandings. "When people hear I play the harp, they always ask, oh, in what orchestra?" she says. "I played in orchestras for years, and it's not what I want now. I want to do my own music." That music can include the hard-rocking accompaniment of "Para Un Angelito (For A Little Angel)" as easily as the shamanic chanting and percussion of "Lamento." It still includes the classic sound of the harp, especially on her solo track, "Mami," which has an almost Debussy-like beauty. But it also encompasses a piece like "Joburg," whose poignant harmonies came unexpectedly after a trip to South Africa. "I was supposed to be recording, but this piece just seemed to come from somewhere, and I couldn't stop until it was finished." For Monica Ramos, the harp is an instrument with much broader possibilities than most people realize. Playing Latin American harp music while she was growing up offered her an alternative view of the instrument, so even when she began studying classical harp, the idea of crossing styles seemed a natural one. Which is not to say it's been easy. "People seem to think I'm doing this because it's the easiest way to play, or to make money. Wrong!" she chuckles. "The easy way would be to do orchestral music, because that's where the harp is expected. This is not easy; you have to fight, to prove that you can do this music with this instrument." The proof, though, is in the listening. On "Creo," for example, Ramos begins with solo harp, then adds cello, then more strings, and finally a string synthesizer. The result is a lush orchestration that recalls both her Latin and classical training. Fortunately, Ramos hasn't been fighting alone. Noted producer and occasional composer Per AndrŽasson, who helped shape the sound on Moai, returns on Behind That Light. His arrangements can feature soaring strings, as on "Streeto," (which he also composed) or evocative ambient sounds that barely reach the threshold of audibility, as on "Tus Palabras (Your Words)." And Ramos' brother, guitarist Alvaro Covarrubias, contributes the lovely "Angelina," essentially a guitar/harp duet with some very discreet percussion.

Monica Ramos' own favorite from the album, she says, might be "Creo (Faith)." "I wrote that when I really started to believe in life and love." When was that? "Ah - that's the question," she laughs. Without actually answering the question, she offers that "now I feel really lucky." And with good reason: Moai was an effective introduction, and Behind That Light now presents the harp as a viable pop instrument, and Ramos' hybrid style as one that could appeal to a very wide audience.

Behind That Light,Monica Ramos,Climate Records,Adult Alternative,Ethnic Fusion,New Age,New Age / Meditation,Pop

Behind That Light

Tracks:

When The Cruel War Is Over - Hoist Up The Flag Quick Step
Americus Quick Step
Fireman's Polka
Tenting On The Old Camp Ground
Dixie's Land Medley Quick Step
Battle Cry Of Freedom - Kingdom Coming Quick Step
Excerpt From William Tell
Sumter Light Guard March
Bonnie Eloise Quick Step
Amazing Grace
Glory Hallelujah Grand March
Scenes That Are Brightest - In Happy Moments Quick Step
Kazoodie Ko Whirl Overture
Woodman, Spare That Tree
Fireman's Quick Step
When Johnny Comes Marching Home
Civil War Folk Song Medley: Oh, Suzanna, Garry Owen, Jordan Am A Hard Road, Bonnie Blue Flag, The Girl I Left Behind Me
Coronation March

Customer Reviews:

Authenric Music with traditional instruments........2000-09-17

For those of you who enjoy the music, as it was sung and played during the Civil War, this recording is a "must!" J.A. McA.

Living history.......1999-07-31

So shoot me. I like bagpipe music and I like fife and drum recordings and I like brass bands. Recently cruisin' the Internet brought me to the website of a company called Summit Records out in Arizona; and my eye was caught by the title (DCD 126) with a group calling itself The Americus Brass Band. I obtained a copy post haste and I want to all to know about it with equal rapidity. There is just short of 55 minutes of Civil War tunes played in a style that is "historically accurate, right down to the high military pitch and the clicking of the rotary valves on the original antique instruments employed" (as the notes tell us). The history of the band is available in those notes, so let me just dwell on the "music that still produces feelings of humor, joy, sadness, and patriotic pride." Well, what music does not produce at least one of those?--and I am not entirely sure there was anything about the Civil War of which we on either side should be particularly proud. But Sing a Song of Suffering seems to be an eternal way of making the best of a rotten situation during war time; and this CD is replete with such memories as "Tenting Tonight," "Amazing Grace," "Woodman, Spare That Tree," and even a little bit of the "William Tell Overture" and a Meyerbeer opera! In short, this is not the expected line up of soldier songs but selections that are "typical of that which might have been played by a group such as the Americus Brass band." I love it. Give it a try, please.

Average customer rating:

(G)lassy
Excellent
The film was great, but the score made it outstanding.
A Great Soundtrack for a Great Film
ANOTHER GREAT GLASS SCORE!

Philip Glass : The Fog of War

Manufacturer: Orange Mountain Music
ProductGroup: Music
Binding: Audio CD

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The Fog of War - Eleven Lessons from the Life of Robert S. McNamara
Philip Glass : Music from the Thin Blue Line
Roving Mars
Philip Glass : Symphony No. 8
Philip Glass : The Music of Undertow

ASIN: B0000EWQ0S
Release Date: 2003-12-02

Tracks:

100,000 People
Target Destruction
Revolution in the Pentagon
Low Evil
Blind Moles
Behind the Moon
November 1, 1967
IBM Punch Cards
The War to End All Wars
Statistical Control
A New Weapon
Damned If I Dont
The Family
Chengtu
Dominoes
67 Cities
Rolling Thunder
Invitation
Success
Data
Across the World
5 Weeks
Norman Morrison
Snowing
Gulf of Tonkin
Return From Vietnam
Private and Public
Unilateralism
Why Are We Here?
Evil Grade
Body Count
The Light That Failed
No Second Chance
The Fog of War

Album Description

Errol Morris' adroitly assembled documentary film "The Fog of War" examines the career of Robert S. McNamara-- United States Secretary of Defense during the Kennedy and Johnson Administrations and whose tenure includes the Vietnam War and the Cuban Missile Crises. Combining excerpts from 26 hours of interviews with McNamara, archival footage, filmed recreations, as well as newly declassified White House recordings Morris' filmmaking illuminates a national past that ominously parallels the contemporary political present. Morris reveals what previous biographies failed to investigate—the relationship between McNamara and the infamous United States General Curtis LeMay and their involvement in the firebombing of Tokyo—along with 67 other Japanese cities—in 1945. Errol Morris states "The easy thing to say would be McNamara is a bad guy, he did all these bad things...the story is more complex and far more interesting than I imagined. The disturbing thing is that this was a man with real ethical dimension who did something terrible."

As with music previously contributed to Morris' films, Philip Glass' score to "The Fog of War" effortlessly supports and enhances the film. The music, at times lyrical and at other times intense, deepens the horrifying images of war, highlighting the ambiguities of McNamara's character—and the consequences of his actions. Glass' music reinforces Morris' effort to understand the difficult ethical questions about governing and power raised by "The Fog of War".

Album Description

The acclaimed composer's score to the 2003 documentary by Errol Morris, their third collaboration. The film is subtitled ''11 Songs From The Life of Robert S. McNamara. Orange Mountain Music.

Customer Reviews:

(G)lassy.......2007-07-28

Some people hear things others never do. Of these, a few write them down. Of these, a small number create a theme and variations upon it that cohere and enthrall.

Philip Glass belongs to this minute group of human beings. Fortunately for us, recorded music exists to make his work available to all and at any time. His soundtrack for the Errol Morros documentary on Robert McNamara is a lesson in how to create film music that unobtrusively ups the ante of the film it graces.

Glass' score both intensifies and accelerates the movie. It is nearly impossible for one not to experience a quickened pulse when Glass pulls together--of all things, a snare drum, a bit of low brass, and a flute.

Ah, that flute. It floats in and out of track after track, bereft of its customary vibrato, a penetrating, entrancing reminder that something serious is going on in the film. It is a masterful use of a small, metal pipe. At the command of Glass, the humble flute and its younger brother the piccolo punch considerably above their weight.

Who could write such a work? Probably only Philip Glass.

The movie's pretty good, too.

Excellent.......2006-08-09

Intriguing historical account of MacNamara- what he was thinking, what he did not say during two administrations involved in the Viet Name war. Use of film footage and Philip Glass' eerie and ominous soundtrack further developed the power of this film.

The film was great, but the score made it outstanding. .......2004-08-05

Ever thought about what it would be like to watch a film with no muscial score? I have and I did for this documentary. Believe me when I write this, there's no way this film would have been as good without Glass' melodic brutality looming in the background.

Glass does something wonderful with this score; he gives war, uncertainty, doubt and fear a musical element, an audible personality that captures each bomb, burnt building and ominous threat in complete perfection, leaving your ears and your mind in a state of disbelief and amazement, thinking to yourself, "Wow, that music fits this segment like a glove."

The Thin Blue Line score made me an instant Glass fan but this score made me borderline Glass fanatic.

In my opinion, he surpasses Carter Burwell in the category of most unflinching film composer.......by a long shot.

A Great Soundtrack for a Great Film.......2004-05-24

Errol Morris is the best documentary film maker ever and The Fog of War is his crowning achievement. The film explores the complexity of war and how it evolves. There is no political bias or agenda here...just plain truth and facts. Great work. Equal to the task is Phillip Glass's soundtrack. The music is haunting and eerie.

ANOTHER GREAT GLASS SCORE!.......2004-03-31

I'll keep this review short, just like the length of the pieces on the CD. This is yet another great score by Glass, and superbly recorded as well. Glass uses his classic strings and percussion to great effect and oftentimes great surprise as well.

This score has more variety than Glass's score for another Morris film, "The Thin Blue Line". By the way, will "The Thin Blue Line" ever get released on DVD?

The pieces are all short ones, which makes it an easier listen for Glass newbies I would imagine, but I would have preferred a few longer pieces- all the short pieces make it sound like "Glass fragments"- on some pieces once Glass gets going he has to come to a stop.

Still, I wholeheartedly recommend this wonderful CD!

Behind That Light
Average customer rating:

A great listen, but doesn't grab you like Moai...

A summer evening, a lover, a glass of fine wine, and Ramos!

Behind That Light
Monica Ramos
Manufacturer: Climate Records
ProductGroup: Music
Binding: Audio CD

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Meditation | New Age | Styles | Music
Adult Alternative | Pop | Styles | Music
Similar Items:

Moai

Wind from the Sea

Amarantine

ASIN: B00005899Z
Release Date: 2001-01-30

Tracks:

For A Little Angel
Joburg
Bajo Esa Luz
Angelina
Creo
Mami
Lamento
Streeto
La Barca Azul
Tu Dulce Mirar
Ya Te Vas
Tuls Palabras

Amazon.com

Follow-up to the well-received Moai, Behind That Light once again blends Monica Ramos's inventive harpestry with guitar, vocals, ambient sound textures, and chunky club beats. Assisted by Per Andreason once again, this time out Ramos stretches herself as primary composer and sings (in Spanish) on roughly half the tracks, making a less-balanced though more personal recording. In the vein of kindred spirit fiddler Natalie MacMaster, whose In My Hands pushed boundaries of both the Celtic genre and performer, Behind That Light finds Ramos redefining what listeners can come to expect. Her classical training is readily evident (particularly on a composition such as the solo performance of "Mami"), and yet, clearly, Ramos is ready to mix it up pop-style as on the tempo-tastic Fantasia-gone-global "Joborg." Yet it is on the deceptively simple swelling melody of "Creo (Faith)" where this young talent comes from Behind That Light to shine most brightly. --Paige La Grone

Album Description

Behind That Light, the follow up to the debut album Moai, features Monica Ramos' virtuoso harp playing and finds her adding singer to her list of artistic accomplishments. Highlights of the album include "Para Un Angelito (For a Little Angel)" which features Monica's playing and singing, as well as "Joburg" with its varied rhythms and sampled vocals. Beautiful harp playing, electronic keyboards, classical guitar and sweeping orchestral movements coupled with Monica's self assured vocal delivery make Behind That Light an album that captivates the listener from start to finish. REVIEW: You may repeat this field for titles with multiple fair-use citations from reviews. Please include the source of the citation at the end of the field in parentheses, including the publication name and date. Each citation should be limited to 20 words. ARTIST BIO: Behind That Light is not your typical Latino/Nordic/ harp record... In other words, it's a record that only Monica Ramos could make. Following on the success of last year's Moai, the Chilean-born, Swedish-based harpist returns with a collection of songs and instrumentals whose appeal is truly international. Acknowledging her own background as a South American who later studied classical music but who has been writing song lyrics since the age of 12, Ramos has created a new style of harp music, one that glances at Latin American folk harp, Western classical, pop, dance, and ambient music. Like her earlier album, Ramos' Behind That Light includes some tracks that marry the harp's romantic sound to the driving grooves of modern dance music. This record generally reflects the sound of her current touring band, which includes bass, guitar, layers of percussion, and keyboards. That sound is gently rhythmic and at times almost classical. It's not the type of sound that you'd expect to hear in the dance clubs. " Previously dance clubs weren't right for my music but that's changed," says Ramos. Behind That Light features a lot more songs than Moai, giving the new album a more intimate feel. "I love to write lyrics," she says. "I've been writing since I was 12 - writing thoughts, reactions to what's happening in my life. And for this record, I thought, I will do something with all this." The album is about half vocal, and apart from one wordless vocalese, the songs are all in Spanish. This includes the title track. "Behind That Light," she explains, "you will find my sorrow, something I'm trying to hide. I wrote it as a sad song, because sometimes you feel misunderstood." As a harpist playing her own music, Ramos has dealt with misunderstandings. "When people hear I play the harp, they always ask, oh, in what orchestra?" she says. "I played in orchestras for years, and it's not what I want now. I want to do my own music." That music can include the hard-rocking accompaniment of "Para Un Angelito (For A Little Angel)" as easily as the shamanic chanting and percussion of "Lamento." It still includes the classic sound of the harp, especially on her solo track, "Mami," which has an almost Debussy-like beauty. But it also encompasses a piece like "Joburg," whose poignant harmonies came unexpectedly after a trip to South Africa. "I was supposed to be recording, but this piece just seemed to come from somewhere, and I couldn't stop until it was finished." For Monica Ramos, the harp is an instrument with much broader possibilities than most people realize. Playing Latin American harp music while she was growing up offered her an alternative view of the instrument, so even when she began studying classical harp, the idea of crossing styles seemed a natural one. Which is not to say it's been easy. "People seem to think I'm doing this because it's the easiest way to play, or to make money. Wrong!" she chuckles. "The easy way would be to do orchestral music, because that's where the harp is expected. This is not easy; you have to fight, to prove that you can do this music with this instrument." The proof, though, is in the listening. On "Creo," for example, Ramos begins with solo harp, then adds cello, then more strings, and finally a string synthesizer. The result is a lush orchestration that recalls both her Latin and classical training. Fortunately, Ramos hasn't been fighting alone. Noted producer and occasional composer Per AndrŽasson, who helped shape the sound on Moai, returns on Behind That Light. His arrangements can feature soaring strings, as on "Streeto," (which he also composed) or evocative ambient sounds that barely reach the threshold of audibility, as on "Tus Palabras (Your Words)." And Ramos' brother, guitarist Alvaro Covarrubias, contributes the lovely "Angelina," essentially a guitar/harp duet with some very discreet percussion.

Customer Reviews:

A great listen, but doesn't grab you like Moai..........2001-06-10

On my first listen of Behind That Light, I found that Monica Ramos's second release had a very nice, mellow sound; certainly something I enjoy listening to. But after buying and listening to it a couple times, I find that BTL just doesn't grab me as strongly as Moai does. With Moai, I was sending the CD Player back to track #1 as soon as #10 ended - several times over. The conclusion of Behind That Light finds me ejecting the CD and putting Moai back in. Not that it's a *bad* listening experience. To the contrary, Behind That Light is a beautifully composed and performed collection of work. It's just... different. On BTL, there is a notable absence of the soaring and lilting melodies present throughout Moai in songs like "Silencio Profundo" and "Eternidad" among others. Also hidden away somewhere are the moving techno-like rhythms of Moai's "Ocean" and "Sonic Beat". Listening to Moai leaves me with goosebumps. Behind That Light leaves me wanting something more. Hopefully, Monica Ramos's next release will bring back some of those lilting, soaring melodies and moving rhythms. In closing, Behind That Light is a wonderful album. In my opinion, it's missing some of the qualities that makes Moai so captivating and powerful.

A summer evening, a lover, a glass of fine wine, and Ramos!.......2001-02-26

Charming and delightful! But be warned, If you're turned off by sheer lilty femininity this ain't for you. "Behind That Light" is gorgeous. Tracks 1,3,4,5 amd 10 were the stand-outs, for me. As my review title says, this music would be perfect for a mild, dry summer evening with fireflies dancing, crickets chirping, walking in the garden, drinking good wine with your signifigant other. If this sounds like hell to you don't buy it, otherwise...

Average customer rating:

Singers of Imperial Russia, Vol. 3
Various Artists
Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Russia | Far East & Asia | International | Styles | Music

General | International | Styles | Music

General | Pop | Styles | Music

General | Classical | Styles | Music

Tracks:

Sophia - Irena Bohuss
Black Skirt - Irena Bohuss
Traviata: Sempre Libera - Irena Bohuss
I Love Men - Irena Bohuss
Boh: Donde Lieta Usc Irena Bohuss
For Good Night - Irena Bohuss
Sad Song - Janina Korolewicz-Wayda
Halka: Like the Shrub in the Whirlwind - Janina Korolewicz-Wayda
Guelder-Rose - Janina Korolewicz-Wayda
Tosca: Vissi d'Arte - Janina Korolewicz-Wayda
Juive: Pour Lui, Pour Moi, Mon P Act 2 - Janina Korolewicz-Wayda
Soldiers Bride, Op. 8, N. 4 - Anna el-Tour
Zuleika, Op. 34, N. 1 - Anna el-Tour
By the Sea: Op. 46/Not a Sound from the Sea/The Wave Breaks into Spra - Anna el-Tour
Come to the Kingdom of Roses and Wine - Nadezhda Zabela-Vrubel
Sadko: Cradle Song - Nadezhda Zabela-Vrubel
Ruslan and Ljudmila: Magnificent Star of Love...O My Ratmir! - Maria Kuznetsova
Life for the Tsar: It Is Not for That That I Grieve - Maria Kuznetsova
Traviata: E' Strano...Ah, Fors' Lui - Maria Kuznetsova
Taras Bulba: Non, Je N'Ai Pas Sommeil - Maria Kuznetsova
Snow Maiden: How Painful Hre [Act 1] - Lydia Lipkowska
Snow Maiden: But What Ails Me?/Death of the Snow Maiden [Act 4] - Lydia Lipkowska
Barbiere Di Siviglia: Una Voce Poco Fa.. Io Sono Docile Act 2 - Lydia Lipkowska
Tsar's Bride: All the Livelong Day Act 2 - Lydia Lipkowska

Tracks:

Eugene Onegin: I Love You, Olga (Act 1) - Dmitrij Smirnov
Eugene Onegin: In Your House! - Dmitrij Smirnov
Eugene Onegin: Whither, Whither...Distant Echo of Youth (Act 2) - Dmitrij Smirnov
Dubrovsky: O Give Me Oblivion - Dmitrij Smirnov
Ruslan and Ljudmila: There Is a Desert Country - Dmitrij Smirnov
Rusalka: Unwillingly to These Sad Shores - Dmitrij Smirnov
Prince Igor: Daylight Is Fading, Act 2 - Dmitrij Smirnov
Dobrynja Nikitich: The Flowers Are Blooming in the Fields - Dmitrij Smirnov
Queen of Spades: Forgive Me, Bright Celestial Vision (Act 1) - Dmitrij Smirnov
Queen of Spades: What Is Our Life? - Dmitrij Smirnov
Snow Maiden: Mighty Nature, Full of Wonders Act 2 - Dmitrij Smirnov
Boris Godunov: Yet One More Page...Duet, Pimen & Gregory [Act 1] - Dmitrij Smirnov
Fair at Sorochinsk: Pourquoi, Mon Triste CUr? - Dmitrij Smirnov
Tranquillity - Dmitrij Smirnov
She Was Yours - Dmitrij Smirnov
Before My Window [Op. 26 N. 10] - Dmitrij Smirnov
Cradle Song, Op. 1 N. 5 - Dmitrij Smirnov
I Wish I Were With You - Dmitrij Smirnov
Rose and the Nightingale - Dmitrij Smirnov
O God! How Pleasant a Cool Summer Evening - Dmitrij Smirnov

Tracks:

Life for the Tsar: My Poor Horse Fell in the Field [Act 4] - Evgenija Ivanovna Zbrueva
Snow Maiden: Clouds Plotted With Thunder [Lel's 3rd Song, Act 3] - Evgenija Ivanovna Zbrueva
Dream on the Volga: Cradle Song - Evgenija Ivanovna Zbrueva
Faust: Versez Vos Chagrins (Act 4) - Evgenija Ivanovna Zbrueva
Ruslan and Ljudmila: And Blazing Heat, Pt. 1 - Evgenija Ivanovna Zbrueva
Ruslan and Ljudmila: The Wondrous Dream of Love [Ratmir's Aria, Act 5] - Evgenija Ivanovna Zbrueva
Erlk - Evgenija Ivanovna Zbrueva
Ruslan and Ljudmila: She Is My Life (Act 5) - Evgenija Ivanovna Zbrueva
Queen of Spades: Dear Friends (Pauline's Song, Act 1) - Evgenija Ivanovna Zbrueva
Doubt. -Be Still My Fears - Evgenija Ivanovna Zbrueva
Rusalka: Hark! The Trumpets Are Sounding...Days of Past Enjoyment [AC] - Evgenija Ivanovna Zbrueva
Prince Igor: Now the Daylight Dies [Konchakovna's Cavatina, Act 2] - Evgenija Ivanovna Zbrueva
Nero: Zulima's Bacchic Song - Evgenija Ivanovna Zbrueva
Carmen: C'Est Toi? C'Est Moi! ...Mais Moi, Carmen, Je T'Aime Encore - Eugene Witting, Evgenija Ivanovna Zbrueva
Life for the Tsar: My Poor Horse Fell...Open Up! [Act 4] - Evgenija Ivanovna Zbrueva
Life for the Tsar: Light the Fires! ...Saddle Your Horses! [Act 4] - Evgenija Ivanovna Zbrueva
Chant Hindou - Evgenija Ivanovna Zbrueva