Pasion

Track Listings

1. Runaway

2. Malaguena Rhumba

3. Don't Cry for Me Argentina

4. Besame Mucho

5. Fernando

6. Paloma

7. Maria Elena

Pasion,Esteban,Daystar Records,Ethnic Fusion,Latin Pop/Rock,Neo-Classical,New Age / Meditation,Pop,Solo Instrumental

Pasion

Tracks:

Overture
Night Of The Stars
Gotta Have Me Go With You
Norman At Home
Pasion Oriental
The Man That Got Away
Cheatin' On Me
'I'm Quitting The Band...'
The Man That Got Away (Instrumental Version)
Esther In The Boarding House
Oliver Niles Studio
Esther's Awful Makeup
First Day In The Studio
Born In A Trunk (Medley)
Easy Come, Easy Go
Here's What I'm Here For
The Honeymoon
It's A New World
Someone At Last
Lose That Long Face
Norman Overhears The Conversation
It's A New World (Alternate Take)
The Last Swim
Finale - End Credits
When My Sugar Walks Down The Street
The Trinidad Coconut Oil Shampoo Commercial

Customer Reviews:

Forgive the cheesy title, but a star is re-born once again........2007-07-09

In 1954, Judy Garland gave the most acclaimed performance of her career as a musical movie star in George Cukor's musical remake of the 1937 straight-up drama A Star Is Born. After its premiere, the film was heavily edited and would not be seen in its near complete form again for nearly thirty years. Judy was nominated for an Academy Award for her performance, but lost to Grace Kelly, to the chagrin of many Garland fans to this day, as well as many celebrities of the day. (Groucho Mark famously called it the biggest robbery since Brinks.)

In all that mess, the soundtrack was released by Columbia on vinyl record in mono and has since never been out of print and was a best-seller for years. In 1988, Columbia took the musical numbers and the overture directly from the film's stereo soundtrack (As, sadly, stereo soundtrack masters no longer existed.) and released those onto CD. The sound quality was somewhat horrendous, but digital audio was still in its infancy and not much else could be done.

In 2004, for the film's 50th anniversary, Columbia, Legacy, and Sony Music Soundtrax released this incredible new expanded remastered CD reissue of the film's soundtrack. This is the most complete soundtrack you can find and it's definitely worth upgrading from your 1988 CD release.

This CD contains not only all of the songs, including an extended intro to The Man That Got Away which was shortened in the film as well as the complete intro to Gotta Have Me Go With You, but also contains a near complete release of the instrumental score, which includes whole tracks and parts of tracks that were not used in the film, as well as an alternate vocal take of It's A New World, the deleted When My Sugar Walks Down The Street segment from Born In A Trunk, and a static-y complete version of The Trinidad Coconut Oil Shampoo Commercial, which was taken from a worn acetate playback disc - the only complete recording in existence.

The soundtrack is taken from a mixing and matching of several elements, such as acetate playback discs, the original Columbia mono soundtrack album masters, and the film's 4-track stereo soundtrack, among others. This means that the soundtrack goes back and forth from being stereo and mono. However, this does not detract from my listening experience any, and frankly, I can't tell much of a difference. One interesting note is that Gotta Have Me Go With You uses both the film's soundtrack and the mono soundtrack album masters to create a faithful listening experience, from the mono instrumental intro to the song itself, which except for a short portion, is taken from the film's 4-channel soundtrack. (The mono portion of the vocal part was used to edit out some plot-related screams that were present in the 1988 release. This method of retaining the aural integrity of Gotta Have Me Go With You was also used when it was included on the Rhino Records compilation Judy Garland In Hollywood: Her Greatest Movie Hits.)

Despite the fact that this soundtrack is taken from several different surviving elements and sadly not from a single set of elements, as Warner Bros. didn't have the foresight to save everything like MGM and Disney did, this is an excellent presentation of this landmark soundtrack. The sound quality for the most part is excellent, and the liner notes are also wonderful. Garland historian John Fricke writes a small essay on the production of the film and an annotated guide to the soundtrack, which gives a synopsis of the plot and also indicates where the tracks from the CD appear in the film. Producer Didier C. Deutsch also writes a small essay on the creation of this CD release, giving notes on the elements and some specific tracks.

Amazon is offering this soundtrack at an excellent price, and I have to say, it's a bargain for a soundtrack of this caliber and sound quality. Any Garland fan or movie soundtrack fan should have this in their collection.

A Star Is Born Soundtrack Review.......2007-01-10

A really excellent soundtrack to go with an excellent movie. This is some of Judy Garland's best material in both music and acting. The power of her voice on "The Man That Got Away" is amazing. "Born In A Trunk", "It's A New World", "Someone At Last" and "Lose That Long Face" are other recommended tracks. This is a MUST HAVE for all you Judy Garland fans.

Judy at her peak!.......2006-05-30

Judy Garland's finest film work was "A Star Is Born." Because she and her husband, Sid Luft, were also the producers, it was the most intensely involving production she had ever undertaken. The laser focus of her brilliant talent was never before realized on film to this degree. Also, she had gained tremendous personal confidence due to the unprecedented audience response to the concerts she had done between her MGM films and ASIB. The love with which the live audience embraced her, brought new heights to her acting as well.
The production values of the film were top of the line and it shows on this fine CD. It's a chance to experience Judy's talent on a more intimate basis without the visuals.
A must-have for every serious Garland collector.

a "Star" shines like never before..........2005-04-27

This reissued remaster of A STAR IS BORN is a must-own for fans of the movie, and in particular those who were somewhat dissatified by the previous CD edition (CK 44389). That edition was great for offering us most of the main numbers in stereo/mono mix but was marred by poor analogue distortion and other remastering problems (though this was the best that could have been done at the time). This new edition (CK 65965) presents the entire score, including background and incidental sections as well as the cut material, in a sparkling new package.

The big bonus for getting this latest edition is for Garland's complete rendition of "The Trinidad Coconut Oil Shampoo Commercial" (without the dialogue of James Mason). This has been taken from a rare acetate master, so while the sound quality is not the best, having the number complete without interrupting dialogue is a more than ample compensation. You will notice too that "Lose That Long Face" has been newly mastered from a better stereo source (cutting out the thunder-crashes that were heard on the first CD master, and Garland's singing no longer has those violent analogue fluctuations during the introduction). "Gotta Have Me Go with You" is now presented without the screams and noises, in a new master from the mono soundtrack.

"When My Baby Walks Down the Street", a section cut from the "Born in a Trunk" sequence, has been added as a bonus track. This sparkling-new STAR IS BORN reissue is a great tribute to what is most definitely Judy Garland's greatest hour on film.

Musical perfection of the highest magnitude!!!.......2005-02-25

Was there ever a more perfect voice than the one possessed by Judy Garland? Powerful yet gentle. Dynamic yet restrained. Bone-chilling yet soothing. She had the pipes!

And her instrument was showcased at its best in the music from her triumphant "A Star is Born".

This expanded version is a bona-fide treasure with the highlight being Garland's earth-shattering "The Man That Got Away," presented with vocals and several instrumental versions. Along with "Somewhere Over the Rainbow," "Have Yourself a Merry Little Christmas," and "The Trolley Song", "The Man That Got Away" is an essential for Garland fans, as well as those that know a good song when they hear it.

The fifteen-minute medley that was featured in the film as the "introduction" of "Vicki" to the public is another outstanding track, featuring "Born in a Trunk", "Suwanee," and "My Melancholy Baby," all exquisitely performed by the legendary talent.

Clocking in at just under eighty minutes, the soundtrack to the classic film is, indeed, in a class by itself, and deserving of repeated listening, maintaining its "freshness" after more than five decades.

Average customer rating:

Absolutely fantastic!
CREO
An awesome soundtrack!
Buena oportunidad para los fanaticos de Pasion De Gavilanes
Buena oportunidad para los fanaticos de Pasion De Gavilanes

Pasión de Gavilanes
Original Soundtrack
Manufacturer: Sony International
ProductGroup: Music
Binding: Audio CD

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Pasion De Gavilanes
Amor en Custodia
Te Voy a Ensenar a Querer
Cuerpo Del Deseo
Alborada

ASIN: B00022XOZ4
Release Date: 2004-05-25

Tracks:

Fiera Inquieta (Quien Es Ese Hombre)
Reggae Cumbia
Miedo Al Amor
Sobre Fuego
Vete
Paloma
Ya No Te Quiero - Andrea Villareal
Cara Y sello
Dulce Pesadilla - Andrea Villareal
Fiera Inquieta (Pop)

Customer Reviews:

Absolutely fantastic!.......2005-04-24

This disc contains almost all the finest tracks from this soap opera, and is a great way to recollect some of the scenes just by listening to it. Furthermore, main theme and easy going pop version of it is included which is fantastic! However, they never seem to include the instrumental background music on the soundtracks which is a pitty since it's usually quite beautiful and easy-listening. But other than that, 8 out of 10 tracks here are sang by Angela Maria Forero and are simply brilliant. Kinda make you want to see some of her audio CDs released.

CREO.......2004-08-24

ESTE CD ESTA ESPECTACULAR, YA QUE ES UN CD DIFERENTE A EL DE OTROS ARTISTAS, LAS MEJORES CANCIONES SIN DUDAS ALGUNAS SON ""SOBRE FUEGO, FIERA INQUIETA, REGGAE CUMBIA"ENTRE OTRAS, YO COMPRE ESTE CD LA VERSION DE ESTADOS UNIDOS Y LA VERSION DE COLOMBIA AUNQUE LAS MUSICAS SON DISTINAS, LA VERSION DE COLOMBIA TIENE UNA GALERIA DE FOTOS CON TODAS LAS LETRAS ESCRITA DE TODAS LAS CANCIONES DEL CD, MAS INCLUYE LA FOTO DE ANGELA FORERO ES LA VERDADERA ARTISTA QUE CANTA TEMAS COMO "FIERA INQUIETA" LA VERSION DE ESSTADOS UNIDOS, SOLO TRAE ESCRITA EL TEMA DE FIERA INQUIETA!
PERO EL CD ES ESTUPENDO!
LA NOVELA ESTA ARRASANDO EN PUERTO RICO!

An awesome soundtrack!.......2004-06-21

I am a huge fan of Pasion de Gavilanes, the popular Latin novella on Telemundo. When I heard that a soundtrack had been released I went out and bought it. I love the songs on this CD. I am not a big cumbia fan, but the rhythm, lyrics and singing are so infectious that I couldn't resist liking them. I of course love the novella's theme song "Fiera Inquieta," but the party-themed "Raggae Cumbia," the addicting "Miedo Al Amor," and the love song "Sobre Fuego" are my favorites. Pasion de Gavilanes is one of my favorite guilty pleasures, and its soundtrack is also one that I'm not ashamed to say I love. I recommend this great soundtrack to all PDG fans out there. But keep in mind that Zharick Leon -- who plays the sexy table singer-slash-dancer Rosario -- isn't the actual vocalist. The real singer's name is Angela Maria Forero.

Buena oportunidad para los fanaticos de Pasion De Gavilanes.......2004-06-01

Llego el 25 de Mayo por fin el soundtrack de esta telenovela que esta actualmente esta arrasando con los raiting en USA,Puerto Rico y en toda latinoamerica especialmente en su natal Colombia. Bueno en si de la produccion puedo decir que la propuesta ha tenido aceptacion no solo por el arraigo de la novela si no por que el tema "Fiera Inquieta" (Tema Principal de la Telenovela) de verdad es una gran letra en un estilo diferente y logra una dulce y gran interpretacion, de lo demas puedo decir que no hay grandes letras pero con unos movidos arreglos en cumbia lo arregla todo, vale la pena mencionar que estas canciones en realidad no las canta Zachrick Leon (Rosario Montes en la Novela) si no una chica llamada Angela Maria que aun no la presentan publicamente ni siquiera en portada o adentro, se recalca por que mucha gente cree que en realidad es Rosario y solo ella hace un doblaje en la Telenovela. En fin que el que sea fanatico de la Telenovela "Pasion De Gavilanes" no se puede dejar de comprar esta produccion. Hay que darle credito a Sony Discos y Telemundo por la idea de editar esta produccion.

Buena oportunidad para los fanaticos de Pasion De Gavilanes.......2004-06-01

Average customer rating:

Armik as good as always.

Mi Pasion
Armik
Manufacturer: Bolero Records
ProductGroup: Music
Binding: Audio CD

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Mar de Sueños
Desires: The Romantic Collection
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Piano Nights

ASIN: B000FUF8B6
Release Date: 2006-07-18

Tracks:

Calima
Mi Pasion
Rumba De Noche
Recuerdos
Warm Summer Nights
Bolero
Brisas
Libre
Sailing To Mallorca
Corazon
Guitarra Del Sol

Product Description

1. Calima
2. Mi Pasion
3. Rumba De Noche
4. Recuerdos
5. Warm Summer Nights
6. Bolero
7. Brisas
8. Libre
9. Sailing To Mallorca
10. Corazon
11. Guitarra Del Sol

Format: CD

Customer Reviews:

Armik as good as always........2006-08-10

This CD is good but not as good as his early CDs. I loved the Piano Nights, because the artist took a new approach. I hope he will continue introducing additional instruments in his compositions as solo.

I am also glad to see the modified website, which helps new fans to learn about him and his wonderful music.

I still recommend getting this CD.

Cheers!

La Pasion Segun San Marcos (St. Mark Passion)

Average customer rating:

Most inspiring and visionary
A Significant Contemporary Composer and a Challenge
A new chapter in classical music
A Grand Triumph of Style over Substance
Too ecletic without originality.

La Pasion Segun San Marcos (St. Mark Passion)

Manufacturer: Hanssler Classics
ProductGroup: Music
Binding: Audio CD

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Osvaldo Golijov: Ayre
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Osvaldo Golijov: Ainadamar
The Dreams and Prayers of Isaac the Blind
Osvaldo Golijov: Oceana

ASIN: B00005O7SX
Release Date: 2001-08-28

Tracks:

No.1: Baptism On The Cross
No.2: Dance Of The Ensnared Fisherman
No.3: First Announcement
No.4: Second Announcement
No.5: Not On The Feast Day
No.6: Two Days
No.7: The Anointment In Bethany
No.8: Why?
No.9: Aria With Crickets
No.10: The First Day
No.11&12: Judas; The Paschal Lamb
No.13: I Forswear This World
No.14: The Eucharist
No.15: We Give Thanks
No.16: On Mount Of Olives
No.17: Face To Face
No.18: In Gethsemane
No.19: Agony
No.19: Agony
No.21: Dance Of The White Sheet
No.22: Before Caiaphas

Tracks:

No.23: I Am (Confession)
No.24: Scorn And Denial
No.25: The Rending Of The Robe
No.26: Colorless Moon
No.27: Morning: Before Pilate
No.28: Silence
No.29: Sentence
No.30: Soldiers
No.31: Dance Of The Holy Purple Robes
No.32: Crucifixion
No.33: Death
No.34: Kaddish

Amazon.com

Osvaldo Golijov is an inspired Argentinean-Jewish composer, and his St. Mark Passion, an 86-minute, in-your-face work--drawing from African American, South American, Cuban, European, and Jewish music--is an exciting, vibrant, percussion-filled experience with the rhythmic thrust of Carl Orff. The combination of folk and traditional instruments forms a highly original whole, and his retelling of the Passion story packs an emotional as well as musical wallop. This big, "maximist" work is not lacking in tender moments, however. An aria describing Christ's agony, for instance, is as touching and somber as anything textually similar in Bach's Passions. Most of the work here is done by the chorus, but the solo voices, which are uncategorizable (i.e., not operatic, not pop, not folk--just good voices), are impressive and add to the unique flavor of this singular work. The performance was live, not studio-recorded, and the sense of occasion adds to the success of the set. Recommended for the curious and, well, passionate. --Robert Levine

Album Description

Osvaldo Golijov was born on December 5, 1960, in La Plata, Argentina, and now lives in Newton, Massachusetts. The score is dedicated "To the miracle of faith in Latin America, that lives through María Guinand and the Schola Cantorum de Caracas." Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, a provincial capital of half a million people about fifty kilometers from Buenos Aires in officially Catholic Argentina. While on a fellowship to the Tanglewood Festival, Golijov became acquainted personally with the Kronos Quartet, who performed there in 1990 and 1992. This relationship became a central one to Golijov's ever-increasing profile as a composer. Golijov wrote K'vakarat, which the quartet later recorded, for Kronos and cantor Misha Alexandrovich, and in 1997 Kronos and clarinetist David Krakauer recorded Golijov's Klezmer-accented The Dreams and Prayers of Isaac the Blind. When approaching the composer with the commission, Rilling encouraged Golijov draw upon his own experience—as a Jew living in an officially Catholic country; as an artist with an interest in a broadly eclectic range of style and media; as a Spanish-speaking composer of Eastern European parents, now living in the United States, and so on—in discovering a personal perspective on the twice-told (or rather four-times-told) story. The text of La Pasión Según San Marcos is composed of portions of The Gospel According to Mark, the Old Testament's Psalms and Lamentations, and Spanish poetry. Golijov matches the pared-down, vox populi directness of St. Mark's account in the directness of his musical idiom, particularly in his appropriation of popular Latin American folk and dance music. He uses these forms as models for individual numbers with the larger work, which itself shares much in common with the structures of the Passions of Bach. From the Steve Reichian pulsations of the opening bars, to the sultry rhythms accompanying Jesus' betrayal to the other-worldly setting of the Kaddish (the Jewish prayer for the dead) with which the work concludes, Golijov's score is vibrant with energy, exoticism and PASSION! ►This is the ONLY composer authorized recording with the original ensemble!◄

Customer Reviews:

Most inspiring and visionary.......2006-03-06

Such a 2000 creation from Caracas in Venezuela is a real chalice of bliss and joy. The subject is as old as our civilization. It is also one of the most interesting works by J.S. Bach. And yet we are confronted to a complete renewal, an absolute regeneration that our overlistening to and overperforming of Bach's Passions, and among others Mark's, had more or less convinced our cultural consciousness was impossible. This new creative power had to come from a completely different planet, hemisphere, continent and it had to be the highly creatively christian South America. The composer, Osvaldo Golijov, uses all the musical resources he can have at his disposal in his own country to elaborate and build a new Solomon's Temple to this forever inspiring episode in our spiritual perspective. He keeps the Boaz of the Bible, of Mark, of the tradition, even taken from Bach, but he injects the Jachin of voices, instruments, rhythms, compositions from Venezuela and Latin America. Even the Spanish flamenco has been summoned to create a real festive celebration of this event. You will find the voices surprising because they do not qualify entirely the strict definitions we are used to. The sounds of Spanish are also very surprising since we have been used to listening to German or English, at times Italian and French. And when we enter the language a little bit further we find that there is a deeper involvement and even sinking in the emotional subject due to the very syntax of the language that takes us deep into the roaring stream of these sensitive events. What's most striking though is the wide use of Latin American rhythms and percussions transforming this Passion into a real throbbing spiritual and soul-like trance. Some surprising pieces actually become parabolical and symbolical in the very architecture of the whole Passion. The foot-stamping flamenco is a real gem in this work because it is so positioned that the sound of the feet become the representation of a whole set of meanings : Pilate's thinking about the deep injustice he is about to commit, the long walk Jesus is going to take up to Golgotha, the everlasting sense of guilt that those who required and obtained Jesus' crucifixion will carry for centuries, the long processions we have taken part in and will take part in over the years to celebrate or simply remember the horror of a past that is eternally recurring and coming back among us, because our true and everlasting impulse or instinct is to survive no matter what, to dominate no matter what and to protect our power no matter what, even if we need to assassinate innocents or have them assassinated by the police, some armed forces or even some criminals who try to cultivate the barbaric frustrations that they have suffered by imposing some just as barbaric violence onto others. The first most surprising moment of this Passion is Judas' Aria « ¡ Quisiera yo renagar... ! » that does not express remorse but regret, the regret not to have reached the full and complete truth and the wish he could come back in this life to learn some more. Did he betray as it is repetitively said, or was he the victim of some illusion about truth and the fuiture, or was he expected to do this without really understanding why ? There is at this moment, including in the music a depth that reveals Judas is probably not the traitor and criminal we see most of the time under his name. The second most surprising moment is of course the final Kaddish, the Jewish prayer to the Dead, which is in Aramaic, the common language of Jesus, his disciples and the Jews at the time. This ending with the Jewish reference and atmosphere shows how the drama of Jesus is not to have been crucified on the request of the Jewish high priests manipulating the populace, but the tragic crucifixion of a Jew by other Jews hence producing the deepest subversive frustration among Jews that will lead eventually to a secession of one group from the other and millenia-long hostility, rivalry and hatred. There is nothing more tragic than a feud among brothers and sisters. We can wonder and we are perfectly entitled to think that the composer was thinking of the deep divide that was and is building up in Latin America among the brothers and sisters of these peoples who have been exploited too long by colonial or semi-colonial powers. Maybe this new dimension given to this Passion is what the Christians would call a miracle, because a miracle is an unexplainable event that occurs in our minds and souls.

Dr Jacques COULARDEAU, Université Paris Dauphine, Université Paris I Panthéon Sorbonne

A Significant Contemporary Composer and a Challenge.......2005-08-03

Osvaldo Golijov is rapidly becoming one of the exciting new composers of classical music and while he has not joined the upper echelon of John Adams, Steve Reich, Esa-Pekka Salonen, Magnus Lindberg, Thomas Adès, Phillip Glass et al, he continues to grow in importance. His recent reworking of his opera 'Ainadamar' currently satisfying critics and audiences alike at the Santa Fe Opera demonstrates how he is a composer whose creativity seems boundless. His chamber works are exceptionally interesting and he owns one major benefit for public adoration: his music is not only well crafted, it is accessible!

'La Pasion Segun San Marcos' is the result of the challenge of new works for the millennium and while Golijov produced a unique setting of the Passion the work is not wholly successful as a composition. Without question Golijov understands how to weave seemingly disparate types of music and verse (African American, South American, Cuban, European, and Jewish) and form a means of communication that goes beyond the expected telling of the crucifixion. His orchestration is vivid, highly percussive, and pliant to the inclusion of voice both in chorus and solo.

The problem with the work as whole (and the Pasion is 86 minutes in length) is a sameness to the different 'movements'. Other composers in this so-called 'minimalist' vein allow repetition of like notes and words to gradually mutate and form a greater 'big idea' (John Adams' Harmonium is an example). Perhaps it is in keeping with the composer's obvious love of the pulsating rhythms that traditionally merge into the night in the countries of South America that he disdains altering an initial thought. But here, while the work is never less than interesting, it borders on excess. There are some plangent moments that break this rhythmic monotony, but they are few (not unlike Tan Dun's similar 'Water Passion').

The recording is taken from a live performance and while that adds to the thrust of the work's impetus, the sound is somewhat distant and, in being so, loses clarity. Maria Guinand conducts the forces with great attention to detail and the solo voices are committed and maintain the energy of the work. Time will tell whether this Pasion will join the orchestral/choral repertoire. Perhaps if Golijov re-works the piece.... Grady Harp, August 05

A new chapter in classical music.......2004-07-28

For the ears of the only english speaking audiphiles, cante hondo, cuban son, and the offspring of the fusion of flamenco and african rythms and percussions producing the latinamerican sounds relates to fiesta and dancing, but the theme and lyrics of these songs very often are about profound pain and loss. This may me a requiered adjustment in some listeners. The evolution of the relationship between flamenco and african rythms gave place in different latitudes to the different versions of latin music. That is the musical thread of this passion: painful singing in spanish elevated by the rythms, from middle eastern motifs to the cuban son with the tango in bewteen, all well connected, with a climax of raptured but well articulated percussions. Listen.

A Grand Triumph of Style over Substance.......2003-09-15

To these ears, Golijov's *Pasión* is a multilevel grand flop -- and I say this as someone who instantly loved the Latin American folk elements of the *Missa Criolla* when I first heard it 34 years ago. Golijov's play of forms never jells: the parts don't add up to any grander whole. The quieter sections are often haunting -- even quite wonderful. But in the larger noisier sections, the Passion becomes a trivial nightclub act. And for this story, that's just not good enough.

There are many ways to bring new life to beloved sacred texts. Golijov's method just happens not to work. One could say, for example, that in letting both individual singers and the chorus intone the role of Jesus, Golijov is suggesting Christ's gender-free universality. But practically speaking, this tactic diffuses his identity to the point that he has no clear musical profile. He's not a person at all but an expedient of the compositional moment: Jesus becomes whatever the composer needs to get to the next section. Thus, Golijov's Christ is virtually all externally applied effect; nothing seems to emerge from the inner demands of Jesus's character. Golijov isn't tuned in on that level. Much of the music seems to have been imposed upon the subject instead of having emerged organically from an inner communion between subject and creator. As a result, Golijov's Jesus is a cipher whose fate inspires indifference. Dramaturgically, the result is disastrous: this great and powerful story does not move me one bit in Golijov's (mis)handling.

By ear alone, one never knows who's who in the drama. And Passions are first and foremost meant to be heard and understood by the congregational ear. Surely, most of Bach's listeners could not read. But they could hear and follow the drama because he had deployed and delineated the characters as clearly as if they were on an operatic stage.

In a way, the less you know about the text, the better. As soon as you start examining the text and the character of the music supporting it, you rarely find any compelling, discernible reason for the composer's having chosen *this* musical dress over any other.

Something like this happens in Rossini's *Stabat Mater*, but Rossini is working in a more homogeneous style that makes it all easier to swallow. One could say much the same about Stravinsky's *Symphony of Psalms*, in which Igor deliberately resists word-painting. But the work generates an atmosphere of transcendence in a way that Golijov's *Pasión* never approaches. And if you can't generate transcendence for one of spiritual history's grandest transcendent moments (whose symbolic significance you need not be Christian to appreciate [witness Tan Dun's *Water Passion*, for starters]), you're way out of your depth, and you've wasted our time.

Basically, Golijov's *Pasión* is populism run amok, a triumph of style over substance. Some reviewers have justly compared aspects of this style to Orff's in *Carmina Burana*. The critical difference is that Orff's approach fits: he is setting bawdy medieval texts; and the raw, rhythmic, Technicolor thrust of his music serves that end to perfection. In Golijov, the same stylistic elements (and then some) make few apt connections to the story and for the most part neither advance nor illuminate the narrative. He simply hurls buckets of Latin Americana over everything. The result is a mess of undisciplined emotion.

I get no overarching sense of musical structure from this work -- nothing that subliminally drives me to an overwhelming conclusion or sense of participation in Jesus's extraordinary fate. Golijov's is thus the weakest of the four Passion 2000 works. Oh, it's very exciting and colorful and all, and it must be a blast to perform. But it doesn't forge any consistently deep emotional connections with the subject. It is woefully deficient in majesty and awe. Frankly, I quickly lost patience with the whole thing and often couldn't wait for it to be over.

Too ecletic without originality........2003-09-13

The New Yorker's Alex Ross thinks Golijov is the savior of "new music." He is talented indeed,and the combination of Cuban, operatic, Reichian strands is well done BUT this is too much like a combination of Carl Orff (Carmina), Reich (Tellhelliim) and Pablo Milanes. It simply does not hold up to repeated listenings.
Jon Appleton
Arthur R. Virgin Professor of Music
Dartmouth College

Average customer rating:

The trio delivers
Lukewarm Passion
Authentic Piazzolla it is not
Excellent
Wonderful

Pasión

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Baroque: The Eroica Trio

ASIN: B00004S4PJ
Release Date: 2000-10-24

Tracks:

Primavera Portena
Oblivion
Revolucionario
Ontono Porteno
Premier Trio, Op.35: I. Prld Et Fugue: Lento
Premier Trio, Op.35: II. Theme Et Vars: Andante
Premier Trio, Op.35: III. Sonate: Allegro
An Eroica Trio: I. Astor
An Eroica Trio: II. Maurice
An Eroica Trio: III. Capiba
Bachianas Brasileiras: Aria (Cantilena)

Customer Reviews:

The trio delivers.......2007-01-18

The Eroica trio's album "Pasion" is exciting and delivers what it says: a passionate rendering of a variety of South American Composer's chamber pieces. While sometimes a little over the top, it is never dull and does not trivialize the Composer's work. It should be mandatory listening for any aspiring piano trio on how to inject exitement and panache into the chamber repertoire.

Lukewarm Passion.......2004-02-26

I am an Astor Piazzolla fanatic. I not only enjoy listening to Piazzolla play his own compositions, I also like to hear how others interpret his music. Sometimes its done skillfully, other times its very sloppy. Piazzolla is one of those composers who should be thoroughly studied before any attempt at interpretation is made. And those who know nothing of Piazzolla should never arrogate to themselves any right to an opinion on whether or not a particular interpretation has any merit.
Eroica Trio has been much hyped as a tonic to enliven the staid world of classical music ever since they began recording. That's fine, I like to see talented musicians stretching the boundaries of the classical world to include the works of both famous and oft-neglected Hispanic composers of serious music. That the three young women who comprise the trio are technically proficient, there is no doubt, but on Pasion they simply lack the passion that makes Piazzolla's music so mesmerizing. Only at the end of Otono Porteno can the listener feel the beginnings of a musical bonfire in the play of Erika Nickrenz.
The remainder of the works by other composers on the CD are enjoyable but simply too somnolent to live up to the promise the CD title implies. Being much less familiar with the other works, I feel unqualified to comment on the quality of their interpretations.
If you are a Piazzolla fan who has come looking for some great Piazzolla, forget about finding it here. But if you are a fan of classical music who is looking for something slightly out of the ordinary in order to expand your musical horizons, this may be the CD for you.

Authentic Piazzolla it is not.......2002-12-20

For those Piazzolla fans (a.k.a. those who delight in Piazzolla's band recordings), the lack of authentic tango sound, percussion, and rhythmic drive will keep you from listening for more than 2-3 seconds. Unfortunately, the Eroica Trio seems to think beautiful sound and smooth textures are suited to the style. Unfortunately, they are wrong.

Excellent.......2002-05-19

I had the privilege of experiencing the Eroica Trio at the Jamaica Center for Arts and Learning tonight. They were wonderful, lively, with an accuracy that causes the listener to feel every note played.
The small crowd was captivated by their young spirits, great music, and great emotion.
I can't wait to see them again in NYC

Wonderful.......2001-04-28

My wife got this CD for me for Xmas. I listened to it a couple of times, not with my full attention, and thought it was OK. Then I got to hear them in concert. Wow! After that I took the time to listen and really pay attention. And loved it. The title gets it right - I've never heard such passionate playing before.

Tracks:

Anticipacion
Brisa Calida
Al Amor de La Lumbre
Sensualidad
Misterio
Euforia

Customer Reviews:

Lavender & Lace.......2006-11-10

This CD had romantic quitar music, very soothing, but not what I would call sensual. I returned it.

downtime music.......2004-10-22

one of my most favorite artists. his classical play is not the most technical i have ever heard, nor is this music complicated in nature. it IS however very passionate and very REAL to the music that it is. i think the title of his album - pasion - says it all! there is incredible feeling here. being a fellow guitarist, i can say that i am inspired by him, and aspire to be as good of a "steward" as he. his notes "sing" to you, and that is a special gift to have. this is music that you listen to after you have had a hard day at work, run the bath, light the candles & incense, keep the lights down to a low hum, and lay back with a big fat robe on, with tea & a good book at hand. if you haven't tried it, believe me, you will never go back.

Osvaldo Golijov: La Pasión Según San Marcos

Average customer rating:

Osvaldo Golijov: La Pasión Según San Marcos

Manufacturer: Haenssler
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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ASIN: B00005PJH0
Release Date: 2000-01-01

Average customer rating:

Pasion
Buzy
Manufacturer: Teichiku
ProductGroup: Music
Binding: Audio CD

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

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International | Imports | Stores | Music
ASIN: B000B52D68
Release Date: 2005-11-21

Average customer rating:

Viva DiDonato!
FINE PERFORMANCES, MINOR BLEMISHES
Spotlight on the Artistry of Joyce DiDonato
Brava!!

Pasión!

Manufacturer: Eloquentia France
ProductGroup: Music
Binding: Audio CD

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ASIN: B000K15UAE
Release Date: 2007-02-13

Tracks:

El Vito (Canciones clasicas espanolas - Fernado J. Obradors)
La mi sola, Laureola
Al amor
Corazon, porque pasais ?
El majo celoso
Con amores, la mi madre
Del cabello mas sutil
Chiquitita la Novia
Elegia eterna- Tonadillas (Enrique Granados)
La maja dolorosa I - Tonadillas
La maja dolorosa II - Tonadillas
La majo dolorosa III - Tonadillas
No lloreis, ojuelos - Canciones amatorias
Dedicatoria (Poema en forma de canciones - Joaquin Turina)
Nunca olvida
Cantares
Los dos miedos
las locas por amor
El pano moruno (Siete canciones populares espanolas- Manuel de Falla)
Seguidilla murciana
Asturiana
Jota
Nana
Cancion
Polo
Cuba denttro de un piano (Cinco canciones negras - Xavier Montsalvate)
Punto de Habanera
Chevere
Cancion de cuna para dormir a un negrito
Canto negro
Canzonetta spagnuola (Rossini)

Album Description

Joyce Didonato sings a recital of 20th century works on Spanish themes, including works by de Falla, Granados, Montsalvatge, Obradors, Turina, and Rossini. Julius Drake is her pianist on this release.

Customer Reviews:

Viva DiDonato!.......2007-05-15

You can use many adjectives to describe this artist, but one that you have to use is "versatile". On this magnificent recital disk, Joyce DiDonato treads into the Spanish song genre, offering the listener 30 songs by Obradors, Granados, Turina, de Falla, and Montsalvatge. After that you get a "bonus" track of "Canzonetta spagnuola" by Rossini. For those who were impressed by pianist Julius Drake in her Wigmore Hall recital disk, he is back for this project and is as great as ever. Being a Joyce DiDonato fan has made me a Julius Drake fan.

The Obradors songs are quite short, with one ("Al amor") lasting just a minute. These songs are quite well done. The last of the songs (Chiquitita las Novia) has a beautiful cadenza on the word "Ah".

My favorite of the Granados songs was "La maja dolorosa I". As usual, Joyce sings this with great intention. I was particularly impressed with one phrase, where she went from a long phrase ending with "...mi alma esta" to "Oh Dios!" . I'll wager that 99 out of 100 singers would take a breath before "Ah Dios", but she doesn't. The effect is marvelous, with the "Ah Dios" at a gorgeous pianissimo, like a prayer. Once again, dramatic intention dictates her musical choices. She also showed off an impressive chest voice in "La maja dolorosa III".

The Turina songs kept the momentum going. One special treat in "Dedicatoria" was an extended piano solo by Julius Drake. It lasts about 3 minutes, and is fantastic. Joyce's intention was perfect on "Nunca olvida". The next cut, titled "Song" also features another cadenza on the word "Ay".

The de Falla songs are well known, and brilliantly done. The tempi choices in "Jota" blew the dust off this warhorse. Even though there are so many recordings of these songs, you will be hard-pressed to find a better one.

I wasn't familiar with the songs of Montsalvatge, but I loved them. I liked "Cuba dentro de un piano" the best. The beginning of this song has some tongue-twisting diction challenges, expertly executed by this great mezzo. Joyce defies categorization as "coloratura" or "lyric". She does all of it beautifully.

A Rossini song (Canzonetta spagnuola) ends the CD. This song shows the composer's skill in writing in various styles, and the song springs to life in the hands of one of today's top Rossini interpreters.

Brilliant work. Highly recomended.

FINE PERFORMANCES, MINOR BLEMISHES.......2007-05-06

Judging by the samples on [...], these are very fine performances; this singer has a beautiful sound, the tempi are generally well judged, and there is the passion promised in her singing and in the playing of the very fine accompanist. I understood very well her spanish, and found only a few, though annoying, blemishes; for example, in "El Vito" she does the word "real" in two syllables instead of one (Marilyn Horne makes the same mistake), and there are wrong stresses here and there, in individual words or in phrases. Very occasionally she gets tripped over text or fioritura, like in "Cuba dentro de un piano" or the Seguidilla murciana, but these are difficult, even for a native speaker. In balance, the pluses are more than the minuses: i'd like to own this disc; but remember, i'm judging this only by the samples.

Spotlight on the Artistry of Joyce DiDonato.......2007-04-09

Joyce DiDonato has a strong following among those who appreciate great singers who can move from the opera stage onto the recital platform and offer as much drama and intelligence to 'songs' or lieder (or canciones!). This album, ¡Pasión!, is transcendent in that it ably demonstrates how this very fine artist can traverse a large repertoire with consummate ease. Knowing that she will be singing Octavian in SF Opera's 'Der Rosenkavalier' (with Miah Persson's Sophie and Soile Isokoski's Marschallin) this June shows that she is already considered among the intelligentsia of singers. But here is a collection of Spanish music that allows her to flex her range from her usual mezzo-soprano into the higher stratosphere this music requires.

Few other singers have been able to bring these infectious songs to light (at least not since Victoria de los Angeles and a few others), but here DiDonato, well partnered by Julius Drake at the piano, offers an abundant assortment of some of the finest canciones. ¡Pasión! is a most appropriate title for this collection: Fernando Obradors' 'Canciones clásicas españolas, Enrique Granados' 'Elegia eterna', 'La maja dolorosa', and 'No lloréis ojuelos', Joaquín Turina's 'Poema en forma de canciones', Manuel de Falla's '7 Popular Spanish Songs', Xavier Montsalvatge's complete 'Canciones negras', and Rossini's 'Canzonetta spagnuola - En medio a mis dolores'.

DiDonato's vocal timbre and range are astonishingly fine and she sings this repertoire as if to the manner born. This is yet another excellent CD from an important artist of our time. Highly recommended. Grady Harp, April 07

Brava!!.......2007-04-02

There are classics interpretations of this material: Victoria de los Angeles, Teresa Berganza, Montserrat Caballe... just to name three big spanish names. So, what can you expect from an american singer to do with this repretorie? Well, that is the surprise: Joyce Didonato has done an extremely good work and she is up the level of the three Divas I mention. Her spanish is very, very good, her interpretation is superb, her care with frases, the shadows and lights of her voice to colour each song... This is one of the best CD I have bought in the past few months, and, belive me, I buy everything.

Average customer rating:

Arte Y Pasion
Paco Peña
Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

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Flamenco | Latin Music | Styles | Music

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Flamenco Guitar
Fabulous Flamenco/La Gitarra Flamenca
The Art of Paco Pena
Misa Flamenca
Almoraima

ASIN: B00000J8Z2
Release Date: 1999-06-01

Tracks:

Celosia
Fuente Tobar
Brisa Lejana
Granada En Flor
Madrid Flamenco
Quitapesares
Dia Y Noche
Repiques

Tracks:

Presagio
Cosas Mias
La Escencia
Piedra Escrita
Mantilla De Feria
Yerbaguena
El Cano Quebrao
El Patio

Amazon.com

It's no surprise that the beauty of flamenco's confident rhythms, woody sounds, and wild syncopation come across in this live performance of classical guitarist Paco Peña, the Losada Brothers, and Flamenco Dance Company. Peña, a longtime virtuoso of flamenco guitar, boldly strums through some of the strongest material in his repertoire--setting his classical guitar afire and bewitching the German audience. He and Dance Company fuse well as guitar and boots trade limelight while singers La Piconera, Angel Gabarre, and Antonio Reyes often steal the show with haunting Andalusian vocals. A multifaceted mix of flamenco with expertise and passion in all areas. --Karen Karleski

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