Survival Themes [Import]

Survival Themes [Import]

ASIN: B00006JOMQ

Track Listings

1. Slewfoot

2. Tender Years

3. Barefoot Song

4. Season Of The Monsoon

5. Faces Of The Fortune

6. Tabarca

7. Electric Reflection

Editorial Reviews
Product Description
Japanese Limited Edition in an LP-STYLE Slipcase.

Tracks:

Libera nos. I & II (John Sheppard)
Salva nos, Domine (plainchant)
Christe, qui lux es et dies (William Byrd)
In pace in idipsum (John Sheppard)
In manus tuas (Thomas Tallis)
Jesu, salvator saeculi, verbum (John Sheppard)
In manus tuas I (John Sheppard)
In manus tuas II (John Sheppard)
Miserere mihi, Domine (plainchant)
Miserere nostri, Domine (Thomas Tallis0
Misere mihi, Domine (William Byrd)
In pace in idipsum (Thomas Tallis)
Christe, qui lux es et dies (Robert White)
Veni, Domine (plainchant)
Nunc dimittis Gradulia I (William Byrd)
Te lucis ante terminum festal (Thomas Tallis)
Gaude, virgo mater Christi (Hugh Aston)

From the label:

On its spectacular debut recording, the exciting young British vocal group stile antico presents a program of English Renaissance music associated with the office of Compline, the service that ends the monastic liturgical day. A who's-who of 16th-century British composers--including Thomas Tallis, William Byrd, and John Sheppard--is represented here by hymns, antiphons, responsories, motets, and psalms: the occasion not only for music of intimacy, elegance, and reflection, but for flights of breathtaking canonic and contrapuntal invention and harmonic daring.

Stile Antico is an ensemble of young British singers, fast gaining recognition as one of the most original and exciting new voices in its field. In 2005 the group won the inaugural Audience Prize at the Early Music Network International Young Artists' Competition, drawing critical praise for its `wonderfully vivid singing' and `perfectly focused and ideally balanced voices.' Since this success, Stile Antico has appeared throughout the UK, including at the City of London, Lake District Summer Music and Beverley and East Riding Festivals; engagements for 2007 include the York Early Music Festival. The group has also collaborated with Sting on tour in his project Songs from the Labyrinth, performing lute songs by John Dowland.

Working without a conductor, the members of Stile Antico rehearse and perform as chamber musicians, each contributing artistically to the musical result. Their repertoire ranges from the glorious legacy of the English Tudor composers to the works of the Flemish and Spanish schools and the music of the early Baroque. They are passionate about the need to communicate with their audiences, combining thoughtful programming with direct, expressive performances. They are also committed to developing their educational work, for which they have received generous funding from the National Lottery through Arts Council England.

Customer Reviews:

Gorgeous.......2007-03-05

The English Tudor choral composers such as Byrd and Tallis composed some glorious music. Sit and listen in a darkened room and you will be transported back to another time and place. Wonderfully atmospheric and moving. The masters of this repertoire are Peter Phillips's Tallis Scholars, but this CD makes me think that they have some serious competition.

Great Premiere from Stile Antico!.......2007-02-27

I got an e-mail from amazon recently to the effect of, "We've noticed that you've rated so-and-so, so we thought you'd be interested in the new release Music for Compline." I usually ignore such e-mails, but I thought I'd check it out. I was intrigued by the audio samples and so downloaded the album on iTunes.

I don't know how a group of young upstarts from Britain without a conductor were able to produce such a sound, but they did. "Music for Compline" focuses on music from composers in England during the transition from Catholicism to Protestantism- Byrd, Sheppard, Tallis, etc.- and as the title implies, it's music that would have been used during a compline service at the time. Compline, for those of you not familiar with the Liturgy of the Hours, is the last prayer service in the liturgical day. As such, the music is serene, contemplative, and prayerful.

The way Stile Antico has gelled as a group is amazing, especially considering they have no conductor. (Although they surely have at least a de-facto rehearsal leader) Their sound is clear and beautiful, and they display exquisite musicianship without being overly technical or icy. They are able to share their fresh (though informed) perspectives on early music with each other to create an organic sound, so not having a conductor actually turns out to be an asset for these young musicians.

Fans of the Tallis Scholars will love this CD. Arguably, Stile Antico is better than the Tallis Scholars in some ways. To elaborate, the Tallis Scholars, as good as they are, can come across as technical and icy, whereas Stile Antico never does, at least not to my ears. On the contrary, they have a warm, authentic sound. Not that I have anything against the Tallis Scholars.

In conclusion, for everyone who loves sacred choral music, or beautiful music in general, "Music for Compline" is a must-have. The musical serenity will be a refuge from stress, and will uplift your spirits.

Music for Compline.......2007-02-05

One is somewhat spoilt for choice these days when it comes to recordings of specialist 'early music' vocal ensembles. In Britain alone, 'brand' names such as 'The Sixteen' and 'The Tallis Scholars', however different their respective approach, have become equally synonymous with excellence in ensemble, intonation, balance and blend. On this basis alone, one might be forgiven for mistaking this CD for another release from one of these fine, long-established choirs. However, this debut recording from 'Stile Antico' has something rather distinctive and individual to offer the listener. Working as a vocal consort without conductor, these are performances born out of an internal commitment and universal understanding within the group, together with an obvious love for this repertoire which they perform so admirably. It is deeply refreshing, in a professional environment where 'time is money', to hear an ensemble who have so noticeably spent a great deal of time 'living' with the music, no doubt both as individuals and collectively as a group. This crucial element of music-making, so often over-looked, is perhaps above all what makes this recording stand out. In fairness, the result is not necessarily superior to that of a conducted ensemble, where a different style of direction in the performances can be attained. But whatever one's preferences - 'Stile Antico' have certainly achieved a winning combination - communicative performances which are simultaneously meditative and emotionally uplifting.

Impeccable ensemble is evident throughout the disc, and this is especially impressive when accomplished within various well-judged slow tempi. Highlights in this regard include a wonderfully ethereal and sonorous performance of Tallis' rarely heard seven-part 'Miserere nostri', and Sheppard's intoxicating 'Libera nos I & II' whose marvellous longing dissonances are given just the right amount of time to register. Byrd's 'Miserere mihi' also receives a fine performance, and the same composer's exquisite homophonic setting of 'Christe lux es et dies' serves to demonstrate these singers' aptitude for naturally shaped phrasing and beautifully paced cadences.

The programming is cohesive throughout, combining familiar, celebrated settings with some rare gems, notably Hugh Aston's giant antiphon 'Gaude, virgo mater Christi', of which this is the first recording made available on CD.

Congratulations are also due to Harmonia Mundi for their superb recording quality, which captures splendidly not only the clarity of the voices, but also the magnificent acoustics of All Hallow's, Gospel Oak. Beautiful packaging together with intelligent, informative programme notes completes this excellent debut release.

Average customer rating:

Beverly Sills - The Best
Beverly Sills' highs are breathtaking!
THE 2005 OPERA CD OF THE YEAR
EMI Does It Again: Beverly Sills - A Tribute
Glad To Be The First Review- Beverly Sills Treasury Of Arias

The Very Best of Beverly Sills

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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The Great Recordings
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Beverly Sills: Made in America
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato

ASIN: B0006VYELE
Release Date: 2005-04-26

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Glad To Be The First Review- Beverly Sills Treasury Of Arias.......2005-04-29

At last EMI's "The Very Best Of" series has issued some of the finer recorded documented arias of the incomparable soprano Beverly Sills. Fans of this down-to-earth, warm patron of music and the most unique lyric-coloratura-dramatic soprano, will be in Heaven. Sure, this is only some of the arias in only a small number of the many operas Sills performed. To be truthful, this is not what I'd personally regard as the best of Beverly Sills. Other albums of hers do use greater vocal masterpieces she sang- the best being "The Singers" Series, and another EMI edition called The Art of Beverly Sills Volume 2 and then there's the rare and brilliant "Sillsiana". Nevertheless, this album has its charm and appeal. Beverly Sills sings arias from Rossini's Barber of Seville, Verdi's Rigoletto and Traviata. This recording seems to highlight mostly her mastership of the bel canto repertoire and Verdi. Gilda and Violetta were roles she sang with supreme dramatic integrity and sweetness and purity of vocal line. Yet, it is hardly "the best of". Where are scenes from the masterful interpretations of Donizetti, truly Sills strongest suit- Lucia Di Lammermoor, Anna Bolena, Maria Stuarda and Roberto Devereaux, where is Sills' Manon, which even she hails as her best ? And when will her recorded Norma ever see the light of day ? Sills also excelled in the French repertoire- Faust, Thais, La Fille Du Regiment, The Tales of Hoffman and she was an incredible Queen Shemakha in Korsakov's Coq D'Or. True, Sills had a light, girlish, delicate voice, bright and small, but this worked in her favor in tragic roles. Dramatically, she could get into character as passionately and convincingly as Maria Callas. When she could darken her voice and use her chest voice for dramatic effect it was often thrilling. This is the latest recording in a number of recordings that are coming out, further promoting a great singer of the past. Beverly Sills. She was the working man's soprano. She worked hard to get to the top. She was the reigning singer of the NYC Opera where she starred in such great operas as Handel's Giulio Ceare Sills as Cleopatra (also not on this recording) and Tales of Hoffman singing opposite the great but underrated bass Norman Treigle. Sills is a wonderful human being and she has a beautiful voice that I cannot get out of my mind. She will always be the greatest to me. She got me hooked into opera.

Average customer rating:

Too experimental for my taste
A must have for any Rob Thomas Fan
Something to Be is excellent
Great CD
Profound Messages

Something to Be
Rob Thomas
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007TKHHK
Release Date: 2005-04-19

Tracks:

This Is How A Heart Breaks
Lonely No More
Ever the Same
I Am An Illusion
When the Heartache Ends
Something to Be
All That I Am
Problem Girl
Fallin' To Pieces
My My My
Streetcorner Symphony
Now Comes The Night

Amazon.com

It's common knowledge that solo albums are simply an excuse for a frustrated band member to indulge their experimental sides and Rob Thomas, singer for decidedly M.O.R. multiplatinum rockers Matchbox Twenty is not one to pass on the opportunity. Having already explored the classic rock thing through his collaborations with Mick Jagger and Santana, Thomas goes the other way here with results that are unexpected, and, sometimes totally unbelievable. He veers from modern R&B on the Justin Timberlake-aping "Lonely No More" to vintage prog-rock in "All That I Am," touching on all points in between. There are a few nods to the Matchbox canon with "Ever the Same" and "This Is How a Heart Breaks" but, as the title suggests, this is an album about finding himself. For the moment, Thomas is still searching. The DualDisc portion features 5.1 surround sound, a 20-minute documentary on the making of the album by filmmaker Gillian Grisman, plus the holiday tune, "Christmas in New York." --Aidin Vaziri

Album Description

As the lead singer to the multi-platinum group matchbox 20, Rob Thomas penned a remarkable string of chart-topping hits. Rob has also collaborated with a select list of artists-most notably Santana, for whom he wrote and sang the smash pop single, "Smooth," which earned Thomas three Grammy Awards.

Customer Reviews:

Too experimental for my taste.......2007-07-04

This album was a huge departure from the work Rob Thomas had done with Matchbox Twenty. There are a lot of funky, soulful grooves on this album, which didn't work for me. It was a valiant effort, but most of the songs just didn't make much of an impact on me. "Lonely No More" was a great single, and inspired me to buy the album. Other than that single, there just wasn't any other song that really blew me away. A few decent songs, and the rest was filler. I look forward to Rob's next release, whether it be back with Matchbox Twenty, or another solo project.

A must have for any Rob Thomas Fan.......2007-04-10

I have always been a fan of MatchBox 20 and when Rob Thomas decided to do a solo project I was very excited. The cd has a sound reminescent of MatchBox 20 in places but in others he has a sound all his own. He has a wonderful voice and I really enjoyed the slower songs on the cd.

Something to Be is excellent.......2007-04-02

This CD came in excellent shape. It is both a CD and a DVD. Very much worth the price. Very entertaining!

Great CD .......2007-02-15

Great CD but not worth it for a Dual Disc. I can't play it in my car because it's a dual disc (CD on one side and DVD on the other) and I can only play it in my computer if I have a DVD player loaded on my computer. It's a great CD. The songs are fabulous but I want a CD with the songs on it that I can play in my car and download the songs onto my computer. I ended up downloading the songs from ITunes but still can't play the CD in my car. I still give the CD 4 stars because I love every single song. It'd get another star if the DVD played any music videos.

Profound Messages.......2007-01-13

Love the music and his voice. Great percussion throughout. Every song tells a story. I've recommended this CD to lots of friends.

Average customer rating:

So much better? Better than what?
Do not by even if its free
Welcome Back Carl
It's a shame His first album was the best r&b baby maker ever
GET IT!!!!

So Much Better
Carl Thomas
Manufacturer: Bungalo Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000Q364BK
Release Date: 2007-06-05

Tracks:

If I Could (Intro)
Another You
2 Pieces
Thought You Should Know
Somthin' Bout You
If That Ain't Love
Late Night Rendezvous
Get You Back (Interlude)
So Much Better
Oh No You Can't Be Serious
Can't Get Over
How Can We
If You Ever
Say I Do
I Miss You (Interlude)
Home
Late Night Rendezvous
Oh No You Cant Be Serious

Amazon.com

As easy as Carl Thomas' So Much Better is to love--the lyrics poke at the heart, and the singing swerves from soft to determined in a way that satisfies consistently--its admirers will fall into a couple of camps. Under one tent you'll find mainstream R&B fanatics, the kind who never heard a skillful handclap and ooh-baby combo they weren't willing to vibe along with, and hanging out under the other will be old-schoolers who never stopped mourning Donny Hathaway. Thomas's knack for delivering both groups the soul-stirring, love-centric songs that thrill them is no small thing--his ability to dig beneath a song's shiny surface and pull out pure emotion would do his iconic predecessors proud. Plus, he makes it all seem easy: midtempo tracks like the reggae-fied "On No (You Can't Be Serious)," on which his voice takes on tinges of John Legend, send out bursts of genuine joy, while straight-up love laments like "2 Pieces" land on the ears with a believability so real it almost burns. --Tammy La Gorce

Customer Reviews:

So much better? Better than what?.......2007-07-09

It starts off really well. The intro "If I Could (Interlude)" promises so much and I so desperately wish he could've stretched it out into a full song. But he didn't. "Another You (Steppers Mix)" is okay but nothing new. If I wanted this kind of stuff I'd buy Ne-Yo's new CD, I found myself thinking. "2 Pieces" is also instantly forgettable, as far as I'm concerned. "Thought You Should Know" featuring Lalah Hathaway is interesting but only in the sense that Hathaway only seems to be doing backing vocals (alongside Troy Taylor, Claude Kelly & Gordon Chambers). In fact, I wouldn't have known she was on the song at all if it wasn't mentioned on the CD cover and I've been a fan of hers since day one. It gives a new and inventive meaning to the word 'featuring', if you ask me. Here's what I'm trying to say: Hathway has a distinctive voice; one of those that is instantly recognisable and consummately memorable. Check out the song "Earth" on Meshell Ndegeocello's brilliant Cookie: The Anthropological Mixtape for a real example of what the woman can do as a backing vocalist. It doesn't even say 'featuring Lalah Hathaway' on the title but you know she's on the song as soon as you hear it.

Things are better with "Somethin Bout You" featuring Brandy but only slightly. She's also someone who's vocals I usually recognise immediately and I can hear her clearly here but whatever the woman does on the song, she does not duet with Thomas on lead.

"If That Ain't Love" is another yawn inducer and by this time it's starting to dawn on me that I've probably made a mistake buying this CD. Things finally get cooking with "Late Night Rendezvous" and this is more like the kind of thing I was hoping for on this album, at least musically. Lyrically, well, that's another issue. He sings on the chorus for instance: "Mama, I'm leaving the club/ I was wondering if you were up/ For a late night rendezvous..." I mean, please.

"Get You Back (Interlude)" is what it is and the title track is okay, I guess but again, nothing special. That being said, it is one of the tracks on here that could grow on me in time. "Oh No (You Can't Be Serious)" is another interesting one. Reggae influenced. Good vocals by Thomas and for the first time, I actually believe that he feels what he's singing. It reminds me of the raw emotion he displayed on "I Wish" back in the day. I also give him credit for venturing outside his comfort zone. I also like "Can't Get Over" featuring Dave Hollister. Great lead and background vocal performances and this is the only really soulful song on this CD.

The rest of the CD (apart from maybe "If You Ever", which is a pretty decent ballad and "I Miss You (Interlude)", which again, would've been so great as a full blown song) is just a waste of time, including the alternative versions of earlier mentioned songs, one featuring E40 and another that features Baby Cham. Neither is an improvement on the original, in my view. The sentiment behind "Home" is sweet but the delivery just falls flat.

So there it is. "If I Could (Interlude)" is a definite yes, "Late Night Rendezvous" is another yes but only musically. The lyrics left a lot to be desired. And then there's "So Much Better", which is a maybe, "I Can't Get Over You", which is another definite yes and "If You Ever", another maybe and finally, "I Miss You (Interlude)", another definite yes.

Overall, while there are some good moments, it's just not particularly rewarding. I very rarely post negative reviews but I was expecting so much from this CD and got so little, I just couldn't go without registering my disappointment. 14 out of the 18 tracks here (including the interludes) are written by and produced by Mike City and I feel that's probably been part of the problem. I was ready to blame the executive producer(s) but Thomas himself executive produced the project, alongside Mike City and Jheryl Busby, so ultimately I have no one to blame but the artiste himself. He calls this album "So Much Better" and my question is, so much better than what? 2000's Emotional was a phenomenal album but I was just too busy to check out his 2004 follow up. If it's true that this album is better than that one (as a number of reviewers are suggesting) then I'm now doubly glad I missed it. It must've been jaw-droppingly awful.

I've always loved Thomas's voice and have always put him up there as one of my main r&b singers of choice. I still feel he's an awesome talent. It's just that I also believe he can do much better than this. So much better, in fact.

Do not by even if its free.......2007-07-05

I am a huge carl Thomas fan but yet when i found that he had a new album and it wasnt advertised i thought it to be weird. Either way i bought the album because Carl always comes out wit a good album but this was just horrible.... All the songs sounded as if he was talking and the beats he used are not good at all. It should have been known that he is no longer with bad boy records. The label he is with now is just no good and made his album very bad....I wish that i would have not bought it even if it was 10 dollars.

Welcome Back Carl.......2007-07-05

As a true Carl Thomas fan, I must say that this a great CD. It does not top Emotional, but a gret work indeed. I appauld Carl for sticking to his guns and not making music to fit in today's model. His music is so smooth and just makes you feel like he has put his heart in things. Great job. Can't wait for the next CD.

My favorite cuts: Home, Say I do, So Much Better and Can't Get Over. Those are my favorites, but you will enjoy the whole album.

It's a shame His first album was the best r&b baby maker ever.......2007-07-04

This album will definatly derliver what you are looking for. carl's soulful sound is hypmotizing. If you are looking for somthing better than emotional(thomas's 1st album) you will be disaponted. buy the album a take it for face value.

GET IT!!!!.......2007-07-02

From front to back this album is great. If you're a fan of real R&B then this album is for you. So Much Better is well worth wait. I've listened to this cd every day since it was released and I still cant get enough. Carl definitely doesnt disappoint on this one. My favorite tracks are "If That Aint Love", "Home", "Say I Do", "So Much Better", "I Miss You",...I like the whole damn album and Im sure you will too.

Average customer rating:

Okay but definately 70's sounding
Oldie but a Goodie
I still remember all the words
Still fresh and new
Still great after all these years!

Free to Be You and Me
Marlo Thomas
Manufacturer: Arista
ProductGroup: Music
Binding: Audio CD

General | Children's Music | Styles | Music

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Free to Be You and Me
Free to Be You and Me
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ASIN: B000F2CC0E
Release Date: 2006-05-09

Tracks:

Free To Be You And Me - The New Seekers
Boy Meets Girl - Mel Brooks and Marlo Thomas
When We Grow Up - Diana Ross
Don't Dress Your Cat In An Apron - Billy De Wolfe
Parents Are People - Harry Belafonte and Marlo Thomas
Housework - Carol Channing
Helping - Tom Smothers
Ladies First - Marlo Thomas
Dudley Pippin And The Principal - Billy De Wolfe, Marko Thomas, Bobby Morse
It's All Right To Cry - Rosey Grier
Sisters And Brothers - Sisters and Brothers
My Dog Is A Plumber - Dick Cavett
William's Doll - Alan Alda and Marlo Thomas
Atlanta - Alan Alda and Marlo Thomas
Grandma - Diana Sands
Girl Land - Jack Cassidy and Shirley Jones
Dudley Pippin And His No-Friend - Bobby Morse and Marlo Thomas
Glad To Have A Friend Like You - Marlo Thomas
Free To Be...You And Me - The New Seekers

Amazon.com

There are thousands upon thousands of children's albums out there, but the one that quietly left its mark with more '70s children than perhaps any other album was this disc. Free to Be...You and Me was a pet project of proud feminist Marlo Thomas (a.k.a. "That Girl"), and it was born--according to the liner notes--by the desire to provide her niece with music "to celebrate who she was and who she could be." Harry Belafonte sings "Parents Are People," ex-football great Rosie Grier offers an incredible, touching melody titled "It's All Right to Cry," and Diana Ross waxes future-positive on "When We Grow Up." A great hour of brain food for young--and not-so-young--children. --Denise Sheppard

Customer Reviews:

Okay but definately 70's sounding.......2007-07-10

I remembered this from childhood so I bought it. It's okay but you don't want to listen to it over & over, the songs and skits get irksome after the first run through. Not actually all songs, some short skits - a lot to do with gender equality wich is good but not alltogether entertaining... I prefer Billy Jonas - What Kind of Cat Are You!!!

Oldie but a Goodie.......2007-06-27

This title was great when my children were children; now they're adults with children of their own, and it's still great. We keep it in the player in the car for when the grandkids ride with us along with Peter, Paul and Mommy and Peter, Paul, and Mommy Too. The grandkids enjoy it just as much as our kids did.

I still remember all the words.......2007-05-24

Every time I hear these songs, it takes me back to my very first Fisher Price record player! I can still sing along with every song. My husband thinks the collection is a bit cheesey, and he is probably right. But that never stopped me from loving the best memories of my childhood. We are buying the collection for our children for sure!

Still fresh and new.......2007-05-12

Not literally fresh and new, perhaps, but thirty years ago when I was first listening to this on vinyl, I never would have imagined that the message would still be essential in the 21st century. I've been buying copies for the kids of all my friends and relatives, because I hope that the more people listen to this growing up, the more likely that eventually we'll live in a world where this CD isn't needed.

Still great after all these years! .......2007-03-14

An early birthday gift for my daughter (to be nine in April '07) - she can't get enough of this CD! After one listen, she was quoting bits and bites and getting up to hit "repeat" on the CD player. Cool.

My sister and I loved it as kids and though it's a teeny bit dated, the messages are sound, clear, and still 'work' today. The comedy is great for all ages(who can beat Mel Brooks and Alan Alda?)
So, my review says: get it! Listen ofen! And give it to someone you love!

Average customer rating:

A Great Introduction to Italian Opera
Best of the best!
Fabulous bargain for anyone
Great songs for a low price.
Not a good choice.

The Best of Italian Opera

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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The Most Famous Opera Arias
The Most Famous Opera Duets
The #1 Opera Album
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Best Opera Album in the World...Ever!

ASIN: B000000UXN
Release Date: 1997-01-21

Tracks:

La Traviata: 'Libiamo, Libiamo'
Rigoletto: 'La donna e' Mobile'
The Barber Of Seville: 'Una voce poco fa'
La Boheme: 'Che gelida manina'
Rigoletto: 'Gualtier Malde!' Caro nome'
Il Trovatore: 'Vedi! le fosche'
Il Trovatore: 'Il balen del suo sorriso...Per me ora fatale'
TOSCA: 'Vissi d'arte'
La Traviata: 'Di Provenza il mar, il suol'
The Marriage Of Figaro: 'Voi che sapete'
Aida: 'Se quel guerrier io fossi...Celeste Aida'
Madama Butterfly: 'Un bel di vedremo'
La Gioconda: 'Cielo e mar'
Lucia di Lammernoor: 'Ardon gl' incesi'

Customer Reviews:

A Great Introduction to Italian Opera.......2005-05-01

The artists on this CD succeed in their goal to create a CD that displays great Italian opera. Carlo del Monte and Victoria de los Angeles open the disc with the Brindisi from La Traviata. Victoria de los Angeles is not the best Violetta, but she does the job, along with her parner Carlo del Monte, an underappreciated tenor. Victoria de los Angeles also appears on the CD in "Un bel di vedremo" from Madama Butterfly, a role she was well known for. Swedish tenor Nicolai Gedda appears on the disc twice. His first appearence is a superb rendition of "La donna e mobile" from Rigoletto. His final performance on this disc is in the heroric aria "Celeste Aida", a performance in a role that was not in his voice range. Anna Moffo is the star on this CD, appearing three times in three very different roles. First is her beautiful "Una voce poco fa", normally a role that calls for a mezzo-soprano. Her second is "Voi che sapete" from Le Nozze di Figaro, another mezzo-soprano role. Her final appearence is her best, "The Mad Scene" from Lucia di Lammermoor. Underrated tenor Giuseppe Campora performs "Che gelida manina" with a great tenor voice. Soprano Reri Girst is excellent in her performance of "Caro nome" from Rigoletto. One of my favorite baritones appears on this CD. Robert Merrill is a perfect Count di Luna, and it is evident in his rendition of "Il balen del suo sorriso". Another baritone appears on this CD: mario Sereni. He is not a world famous baritone, but he should have been. Overall, this is an excellent introduction to the world of Italian opera.

Best of the best!.......2003-01-11

The performers, the selections, the quality... almost divine!

Fabulous bargain for anyone.......2002-11-24

I would recommend this CD to anyone, from opera novice to experienced listener...

These are older recordings -- I would guess mostly from the 1960's. The recording quality is exceptional for the day and, while not the equivalent of modern engineering, is sufficient to allow sheer physical pleasure from the music and an immediate appreciation of the vocal qualities of the artists. The sound quality is the only mild drawback...

The performances are magnificent! The voices are almost entirely lighter and more agile than the great voices of the 80's and 90's. In fact, the ear of the editor is apparent in his preference for lighter and more agile voices.

For example, there is a beautiful rendition of "Che Gelida Manina" from someone I had never heard before, Guiseppe Campora. He does not have the weight or volume of Pavarotti or Domingo, but has more elegance and a pure, charming tone. A connoisseur performance, but nevertheless a true operatic rendition by a tenor who can hit the high C with authority -- as good for a newcomer to opera who wants to hear the real thing, as for an opera lover who would like to hear something a bit different.

Some of the artists were among the most famous singers of their day: Moffo, de los Angeles, Gedda.

Anna Moffo, one of the greatest sopranos of her day (and all time), is in magnificent voice in famous blockbusters from Rossini's Barber of Seville, Mozart's Marriage of Figaro, and the Mad Scene from Lucia di Lammermoor.

De Los Angeles is at her best in "Libiamo" from La Traviata, but the recording quality (the one inadequately engineered track on the CD) and her lack of oomph make for a second-rate version of "Un bel di".

In keeping with the light and lyrical orientation of the selections, Moffo -- a famous Gilda and hardly a dramatic voice -- is bypassed for the even lighter, sweeter and more agile colatura Reri Grist (while she still had her voice), in a lovely "Caro Nome".

Another nice selection is Mario Sereni performing "Di provenza, il mar". Both this and "Libiamo" are taken from one of my favorite recordings of Traviata -- also a great chance to hear Serafin at the helm of the Rome Opera House orchestra. (The 2-CD version of this is still available from EMI, I think.) Newcomers will love this pretty tune, and Sereni's archtypal Verdi baritone is good, although hardly the best ever.

Franco Corelli has never been a favorite of mine, but he sounds the best I've ever heard him in his rendition of "Cielo et mar".

Anyway, I didn't intend to list every cut. Whether you are an opera lover who would like to hear some of opera's most famous arias performed in a new light, or an opera lover who would like to hear great performances at a cut-rate price, this CD gets my unqualified approval.

Great songs for a low price........2001-08-16

Ranging from selections of La Traviata, Il Trovatore and other popular Italian operas, this is a great cd for under four bucks. The singers may not be well recognized, but they do possess powerful voices.

Not a good choice........2001-02-22

To the contrary of one of the other ratings, I think if you are new to opera, this is NOT the CD I would recommend as an introduction. While it DOES have many of the very well known, it is, in my opinion, very poor quality, done by people with hardly any feeling for the music. They are good singers, but that's all they are doing. Hearing someone sing words is much different than hearing someone accomplished sing the soul of the story. All in all, a very boring, poorly done CD. I guess you get what you pay for though. I just recived mine yesterday, and will probably return it. If you are new to opera, I would suggest Pavarotti. The 2 star rating is because the orchistra was good.

Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)

Average customer rating:

a surprising offer
Welcome to Perfection
Buy this as an encyclopedia of Mozart, then add other recordings...
Great value..Cant beat this deal at all!!!
Incredible Bargain

Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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Bach: Complete Works - 155 CD Box Set
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ASIN: B000BLI3K2
Release Date: 2005-10-25

Album Description

Mozart Edition: The Complete Works will make a great gift this Holiday season for the music lover in your life or someone who is hard to buy for. This collection contains 170 discs of completed works by Mozart in one beautiful package. Also included is a cd-rom containing essays on his works, artist bio's, text and libretti's. At this super low price all music lovers will enjoy the Symphonies - Concertos - Serenades - Divertimenti - Dances - Chamber Music - Church Sonatas - String Ensembles - Violin Sonatas - Keyboard Works - Sacred Works - Concert Arias - Songs - Canons and Operas in this collection.

Customer Reviews:

a surprising offer.......2007-07-05

Complete works of Mozart for such a price is a surprising offer. We are pleased of the good quality, and the availability of otherwise difficult to find works of Mozart

Welcome to Perfection.......2007-06-28

Dispite what anyone else says, if god ever tried to talk to humanity it was through Wolfgang because his music is absolute perfection.It is the most beautiful music i've ever heard in my life( and this is coming from a 21 year old metal-head ).If one has second thoughts about buying this collection dispell them right now because this is probably the first item i've bought in a long time that i have not regreted.

Buy this as an encyclopedia of Mozart, then add other recordings..........2007-06-22

Brilliant Classics Complete Mozart edition, released for the 250th anniversary year of Mozart's birth (he was born in 1756), has much to recommend it. It contains almost all the works of Mozart, and has many fine performances: the piano sonatas by Klara Wurtz, Piano Concertos by Derek Han, Paul Freeman/Philharmonia, The Magic Flute, conducted by Charles Mackerras (licensed from Telarc), String Quartets by the Franz Schubert Quartet (Licensed from Nimbus) each stand out. The Symphonies, by the Amsterdam Mozart Academy/ Jaap ter Linden, are "So-so": I don't like the small period ensemble, but Symphonies 20, 40 (both versions: one with clarinets and the other without), 23, 24, and 34 are pretty good. Symphonies 1:I, 25 and 41 are sub-par: scrappy playing and weak violins make for a pretty rough experience. I would supplement this with the complete Mozart Symphonies by Karl Bohm/Berlin Philharmonic (DG), among the best recordings of these works, and the best complete set of Mozart's Symphonies, completed in 1968.

The Requiem, conducted by Nicol Matt (2001 recording) has had better performances, and for this I would recommend Bohm/Vienna Philharmonic (DG) and Colin Davis/London Symphony (Philips), which use a larger choir and orchestra, and have more drama where it is needed. The other choral works conducted by Nicol Matt are better, especially "Exsultate Jubilate" motet, the short Masses, and "Ave Verum".

Also worthy of mention are the "Posthorn" and "Haffner" Serenades, by Colin Davis/Bavarian Radio Symphony Orchestra, licensed from Novalis for this release.

This is a great overview, and Brilliant Classics are to be commended for making it available at a low price, to get Mozart's music out to the mass public. It's a great buy, but I would get the Bohm Symphonies, and also Piano Concertos by either Ashkenazy/Philharmonia (Decca), Perahia/English Chamber Orchestra (Sony) or Anda/Mozarteum Orchestra of Salzburg (DG) for supplements. Also, Karl Bohm's recordings of the operas: The Magic Flute, the Marriage of Figaro, Idomeneo, and La Clemenza di Tito (all DG) are required listening, too. Recommended, but not as the only recording of Mozart's works.

Great value..Cant beat this deal at all!!!.......2007-06-13

As others have reviewed the product and highlighted that there are a few poor pieces... But who cares when there is 170 discs.. if you had have 10 cds that are poor quality and had a 160 disc set of good cd's and you paid $90 for the set.. would you be happy? I would think so... So don't get frustrated and just buy the set.. Enjoy the music for the price.. I am not going to go into details like others did but just buy the set!

Incredible Bargain.......2007-06-10

This offer is an incredible bargain at just over 50 cents a CD. The price jumps around often - you can sometimes get it for $4 or $5 less. but still at 50 cents. Mine arrived in excellent shape - it's hard for them to do otherwise. The way they are packaged they are either in good shape or some major disaster has happened destroying a whole bunch. Those I have played sound great. It will probably take a life time to play them all. Meanwhile we can just revel in our riches and feel all warm and fuzzy.
I also own the Bach set and am wildly happy with that as well.

Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)

Average customer rating:

Sweet
A Desert Island Disc
Ne plus ultra
One of the great Lucias
Crazy reviewers

Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Gaetano Donizetti , Beverly Sills , Carlo Bergonzi , Thomas Schippers , and London Symphony Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
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The Great Recordings
Bellini: I Capuleti e i Montecchi

ASIN: B000060P5O
Release Date: 2002-03-12

Tracks:

Part One: N.1 Preludio E Coro D'Introduzione: Percorrente Le Spiagge Vicine - Ambrosian Opera Chorus
Part One: N.2 Scena E Cavatina: Tu Sei Turbato! - E N'Ho Ben D'Onde - Piero Cappuccilli
Part One: No.2 Scena E Cavatina: Cruda, Funestsa Smania - Piero Cappuccilli
Part One: N.2 Scena E Cavatina: Il Tuo Dubbio E Ormai Certezza - Piero Cappuccilli
Part One: N.3 Scena E Cavatina: Ancor Non Giunse! - Beverly Sills
Part One: N.3 Scena E Cavatina: Regnava Nel Silenzio - Beverly Sills
Part One: N.4 Scena E Duetto - Finale I: Egli S'Avanza - Carlo Bergonzi
Part One: N.4 Scena E Duetto - Finale I: Sulla Tomba Che Rinserra - Carlo Bergonzi
Part Two: Act One, N.5. Scena: Lucia Fra Poco A Te Verra - Piero Cappuccilli
Part Two: Act One, N.6. Duetto: Appressati, Lucia - Piero Cappuccilli
Part Two: Act One, N.6. Duetto: Il Pallor, Funesto, Orrendo - Piero Cappuccilli
Part Two: Act One, N.7. Scena Ed Aria: Ebben? - Di Tua Speranza - Beverly Sills
Part Two: Act One, N.7. Scena Ed Aria: Ah! Cedi, Cedi O Piu Sciagure - Beverly Sills

Tracks:

Part Two: Act Two - Finale II, N.8. Coro E Cavatina: Per Te D'Immenso Giubilo/Per Poco Fra Le Tenebre - Ambrosian Opera Chorus
Part Two: Act Two - Finale II, No.9. Scena E Quartetto: Dov'E Lucia? - Qui Giungere Or La Vedrem.../Ecco Il Tuo Sposo - Piero Cappuccilli
Part Two: Act Two - Finale II. Sestetto Con Coro: Chi Mi Frena In Tal Momento?/Chi Raffrena Il Mio Furore? - Piero Cappuccilli
Part Two: Act Two - Finale II, No.10. Seguito E Stretta Del Finale II: T'Allontana, Sciagurato - Maledetto Sia I'Istante - Piero Cappuccilli
Part Two: Act Two, No.11. Uragano, Scena E Duetto: Orrida E Questa Notte - Piero Cappuccilli
Part Two: Act Two, No.11 Urgano, Scena E Duetto: Ashton! - Si/Qui Del Padre Ancor Respira - Piero Cappuccilli
Part Two: Act Two, No.12. Coro: D'Immenso Giubilo - Ambrosian Opera Chorus
Part Two: Act Two, No.13. Gran Scena Con Cori: Deh, Cessate Quel Contento - Justino Diaz
Part Two: Act Two, No.14. Scena Ed Aria: O Giusto Cielo! - Il Dolce Suono - Ambrosian Opera Chorus
Part Two: Act Two, No.14. Scena Ed Aria: Ardon Gli Incensi - Ambrosian Opera Chorus
Part Two: Act Two, No.14. Scena Ed Aria: S'Avanza Enrico! - Piero Cappuccilli
Part Two: Act Two, No.14. Scena Ed Aria: Spargi D'Amaro Pianto - Piero Cappuccilli
Part Two: Act Two, Scena - Recitativo: Si Tragga Altrove - Piero Cappuccilli
Part Two: Act Two, No.15. Aria E Finale: Tombe Degli Avi Miei - Carlo Bergonzi
Part Two: Act Two, No.15. Aria E Finale: Fra Poco A Me Ricovero - Carlo Bergonzi
Part Two: Act Two, No.15. Aria E Finale: Oh Meschina!/Tu Che A Dio Spiegasti L'Ali - Ambrosian Opera Chorus

Amazon.com

This Lucia was recorded in 1970, when Beverly Sills was at the peak of her vocal and dramatic powers. She had been singing the role of Lucia on stage for six years, and she knew the character. Here is a manic-depressive who is slightly crazy from the start, and Sills's embellishments to the vocal line (and there are tons of them; hardly a line is left as written), mostly composed especially for her, are always at the service of the drama. She is a far cry from the chirpy Pons and Peters (and even Sutherland, whose just-plain-singing of the role is unmatchable, but who was never all that interested in building character) and comes closer to Callas, but without the great Greek soprano's huge palette of colors or, for that matter, vocal limitations. Sills is gloriously fluent in the coloratura, the high notes are impeccable, and her reading of the words is truly involved and involving. Carlo Bergonzi has everything as Edgardo, while Piero Cappuccilli's Enrico is snarling and cruel. Schippers leads a very tight, exciting, complete performance, and for the first (and only) time on CD, the glass harmonica Donizetti asked for is used in the Mad Scene. This is a must for lovers of great singing. --Robert Levine

Customer Reviews:

Sweet.......2007-06-30

The opening chords and strains, the sextet and the mad scene. These of course are what I love about Lucia, though all of it is beautiful. I've had this recording for months and just listened to it today. I doubt I'll listen to it again. I have lots of Lucias, and no favorites. Though I especially like Sutherland's 1959 recording of the mad scene, it's beautiful, and her trills hadn't got muddy yet. I'm only going to comment on the mad scene in this recording. It sounds more like a lullaby than the ravings of someone who'd just murdered her husband. I was surprised, because I'd read (apocryphal) that Sills had said she'd pound tables and sing off key to get the drama out. I prefer bel canto coloratura to table pounding, I don't care about the drama. At all. Still, that said, I was both stunned and disappointed in Sills' mad scene. It was, well, flaccid. (I love Sills, am listening to the 1st disc of Sillsiana right now, and I have the Pons recording and do not think she chirped!)

A Desert Island Disc.......2007-06-11

Like many other reviewers here, I am a serious bel canto fan. And like many of them, I have heard many Lucias live and have several recordings of the great Lucias: Callas, Sutherland, and Sills. This opera is, in my view, along with Norma, fundamental to understanding bel canto properly as a style in which virtuosity is the servant of drama. Not just empty display by prima donnas.

I have known and loved this opera since I was a teenager and to me, Sills is simply the best Lucia I have heard. I recall as a college student going to the listening library on many Friday afternoons and listening to this recording on LP over headphones until well into the evening, as it was not released on CD until a decade later. I was simply entranced.

Sills really is Lucia, the perfect realization of the "Ophelia" type so beloved by the Romantic imagination: a delicate, sensitive, emotional girl driven mad by cruelty and betrayal and crushed by events outside her control. Her tone is delicate, yet clear, and she sounds girlish (which Callas, for all her considerable art, could not quite convey). The high notes are firm and a bit bright, but never shrill or wobbly. The words absolutely clear, even in the hushed tones Sills uses so devastatingly. Her ornamentations express joy, terror, or agitation, perfectly evoking those heightened emotions. Her mad scene is really spooky. Again, only she and Callas sound like they are wandering about in a trance, living a demented fantasy. Along with Callas' Norma, in my view, it is the greatest bel canto performance on record. Sills, like Callas as Norma, really makes you think she IS Lucia.

What more can you ask for? Well, you get a perfectly stylish Edgardo in Bergonzi (although I feel that Pavarotti is unbeatably ardent, passionate, and even sexy in the role) and as so many have noted, a conductor who loves the opera and conducts like he does, excellent stereo sound, and a complete edition of the score. And how about that wonderfully spooky glass harmonica in the mad scene!

This recording needs to be in the collection of every opera lover and above all is required listening for any fan of bel canto. Sills, through words and music, makes us "see" DONIZETTI'S Lucia (not Beverly Sills, Diva) and feel her plight. That is what great operatic artists do. Run to get this one!

Ne plus ultra.......2007-01-03

I have four "Lucia"s on my shelf, and this is the one I always listen to when I want to experience the full drama of this bel canto classic. (We can safely ignore the opinions of those tin-eared listeners who don't grasp the shattering drama delivered by bel canto at its best.) Granted I may be somewhat influenced by having seen and heard Sills in the opera house, but her superiority in all "departments" in conveying Donizetti's dramatic achievement is not bettered anywhere, not by Callas and certainly not by Sutherland, whatever the glories of her singing. Sills conveys Lucia's incipient madness with the first notes she utters and her performance traces an uninterrupted arc from the fountain scene until she's led away after the Mad Scene. And she's fully seconded by everyone else who takes part, especially Bergonzi and -- best of all conductors in this score -- Thomas Schippers. If you want to know why bel canto opera has such a large body of fans, immerse yourself in in this recording as soon as possible.

One of the great Lucias.......2004-12-03

Many people, me included, have often wondered at the supreme ugliness of, even in her "prime", Maria Callas' voice. Of course, the rejoinder always has been "But did you see her in the house?"

Obviously, since she blew herself out at a comparatively early age, the answer is "no".

Now, we have a whole new group of nay-sayers telling us the Sills voice is too small, too thin, too ugly, too whatever. To those, I would simply say "But did you see her in the house?". Fair is fair.

I saw Ms. Sills many times in the house throughout her lengthy career. She did not possess a "perfect" voice. Who does?

But, during her greatest years, of which this recording is one of several examples, she possessed a beautiful and remarkably expressive lyric coloratura instrument. While a shade "lighter" than some, she had the almost uncanny ability of always being heard, even in the heaviest ensembles and over the loudest orchestras (which happened often when Julius Rudel was at the helm). Her voice seemed to bounce around the house. When you saw her in person.

Lucia was one of her most remarkable achievements. Anyone who ever saw her in the house knows of what I speak. Those who did not see her in the house should remain silent in their envy.

Now, make no mistake. I adored Sutherland. I would be completely unable to chose between the two, so different were their approaches to their art.

Of course, Sills' tireless efforts to popularize opera and bring a new audience to the opera house are well known.

Thank God I was around to see them both in the house. Many times.

And as for Anna Moffo. Well, she was a beautiful woman with a beautiful voice. For a while.

Enough said.

Crazy reviewers.......2004-11-30

Sills is a great Lucia. For those who say her voice is too small for the role, especially compared to Sutherland and Callas, I say it is the right size for this role. Lucia, after all, was written for Fanny Persiani, who was a soprano with a light coloratura voice. Also, for those who say Sills' coloratura pales in comparison with Sutherland's, I say hogwash. Sills' coloratura is superb. She does smudge some staccati, but only does so for dramatic effect. Her trills and runs are breathtaking.

This role is NOT merely a display of stratospheric high notes and complicated coloratura. It is also a greatly dramatic role which must be ACTED with the voice. In this regard, Sills succeeds with flying colors. Her solo scenes are magnificent, just listen to her Mad Scene (her singing here reaches the highest pinnacle of vocal acting). Her work with her colleagues is also superb.

The rest of the cast is made up of great singers, especially Carlo Bergonzi as an elegant and passionately restrained, but still affecting Edgardo. One must hear his double-aria finale to realize his greatness. He sings with beautiful tone and magnificent phrasing and diction. He is truly in a class of his own.

The conducting of Thomas Schippers is great. He propels the action forward and gives every passage its dramatic due. His pacing of the three duets that follow "Regnava nel silenzio" is very exciting and makes for thrilling listening.

In short, this recording is truly one of the best on the market.

Meet Joe Black: Original Motion Picture Soundtrack

Average customer rating:

I'm a slob when it comes to music...
Indescribably delicious
Hard-To-Find Arrangements
An overlooked masterpiece that slipped under the radar.
"Meet Thomas Newman" - The best album of his works so far !

Meet Joe Black: Original Motion Picture Soundtrack
Thomas Newman
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

1990s | By Decade | Soundtracks | Styles | Music
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Meet Joe Black (Ultimate Edition)
The Shawshank Redemption: Original Motion Picture Soundtrack
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ASIN: B00000DHZU
Release Date: 1998-11-03

Tracks:

Yes
Everywhere Freesia
Walkaway
Meet Joe Black
Peanut Butter Man
Whisper Of A Thrill
Cheek To Cheek - Chris Boardman
Cold Lamb Sandwich
Fifth Ave.
A Frequent Thing
Death And Taxes
Served Its Purpose
Sorry For Nothing
Mr. Bad News
Let's Face The Music And Dance - Chris Boardman
The Question
Someone Else
What A Wonderful World - Chris Boardman
That Next Place
Somewhere Over The Rainbow/What A Wonderful World - Israel Kamakawiwo'ole

Amazon.com

Meet Joe Black, director Martin Brest's remake of the '30s semiclassic Death Takes a Holiday, took widespread critical potshots for its three-hour length and laconic pace. Ironically, composer Thomas Newman's score is a compelling exercise in musical economy--spare, emotionally longing arrangements where the spaces resonate almost as much as the notes. The composer (youngest son of the great film scorer Alfred Newman and cousin to Randy Newman) shows the same deft handling of emotional nuance he displayed on The Shawshank Resemption, The Horse Whisperer, and Oscar and Lucinda (winner of Best Original Score at the 1998 Australian Film Awards), here underplaying the story's romance and otherworldly aspects with a few piano notes and a masterful use of strings and winds. Yet another tribute to the Newman gene pool and an impressively mature work from one of Hollywood's brightest young film composers. --Jerry McCulley

Customer Reviews:

I'm a slob when it comes to music..........2007-01-14

My mental stability has always been in question, especially by my grandma. However, after just minutes of absently listening to the tv in the next room, some internal radar picked up on the sensual sounds coming from the movie Meet Joe Black. I put down my bowling ball and slowly walked into the next room. I felt as if my world had changed. This music had slid under my skin and was traveling into my brain. I sat on the sofa next to my stuffed pink flamingo and tears slid down my cheeks. I listened and the sadness washed over me like an ocean. Yet I couldnt get enough. This music carries me away on adventures you wouldn't believe. Its the music I say. The emotions that cloak me from hearing the music have NOTHING to do with the actors. I just breathe the music.

Indescribably delicious.......2007-01-04

I cannot think of any score I've heard that is as poignant to the film for which it is written than Thomas Newman's "Meet Joe Black". After repeated listens I'm still fascinated by how the love theme for "Whisper of a Thrill" and "Someone Else" is both sublimely romantic and disturbing at the same time. I find that juxtaposition to be a perfect match to the film...although it had its faults, the score does not. The achingly beautiful scenes between Brad Pitt and Claire Forlani toward the end of the film owe a huge debt to Newman's score. How did the Academy overlook him for Best Original Score? He wasn't even nominated. A shame really. But no award would do this music justice. It is simply, indescribably, and deliciously beautiful.

Hard-To-Find Arrangements.......2006-12-28

Aficionados of the "classics" will love this soundtrack. The medley of "Somewhere Over the Rainbow" and "What a Wonderful World" is worth the entire album. The instrumental music is wonderful ambient music for a relaxed or romantic setting.

An overlooked masterpiece that slipped under the radar........2006-09-09

Though the film itself may have left some viewers itching to leave the theater (with a rather gratuitous running time of 178 minutes), the score alone from "Meet Joe Black" makes it one of the more memorable films of 1998. In fact, Thomas Newman's score makes such an impact that it is able to stand out as a separate work of art all on its own. Hell, I would even go so far as to say it's a masterpiece.

Personally, I think Newman does some of his best work here. Specifically with tracks such as "Walkaway" and "Cold Lamb Sandwich", both of which are beautifully seasoned with the film's main theme. Other tracks like "Everywhere Freesia" and "Peanut Butter Man" showcase Newman's ability to compose vivacious and spirited pieces. Newman is more well-known for his moody and haunting "dark" themes, so it's nice to hear the occassional "quarky" track every once in a while, such as the previous two.

Other highlights on the soundtrack include "Whisper of a Thrill,", "Death and Taxes", and the stunning closing track, "That Next Place" (one of Newman's best compositions to date).

Granted, this may not be for every avid film score lover out there. I think Thomas Newman fans more than anyone else will tend to lean more towards it and appreciate it a little more. It is a prime example of Newman's distinguished style, and proves why he is one of the most widely respected and talented film composers in the industry today. I just find it to be such a shame that this little gem seemed to have slipped under the radar.

"Meet Thomas Newman" - The best album of his works so far !.......2006-08-08

I admit I'm a little late concidering the release date and this soundtrack is way too good to have never heard of it. But with score it's like with everything else: You must make the experience yourself! And so will the movie of "Meet Joe Black" has been recently shown on television. And I cannot begin to tell how amazed and sad at once I was -- amazed by the talent a composer can ever carry (Thomas Newman turns out to be a god) and deeply sad about how I could ever miss this beautiful composition for so many years (that's inexcusable)! This truly is - without exaggerating anything - one of the greatest and most affecting orchestral scores ever written for a movie!!! Everyone who listens to the score, even without having watched the movie at first, will know what I mean! This beautiful album of instrumental tracks I would highly recommend to try for yourself with no need for the DVD at all! The movie is a typical fantasy romance with Mr. Death sneaking in someone else's body and our stereotyped Barbie, who both fall in love with each other, but cannot be together forever, so he breaks her heart, kills her father and then sends back the old inhabitant of this body, and so on... <---this plot must not meet everyones taste or expectations to a 08/15-US-movie-romance! But in the center of focus for now is the score and this one I can only recommend as mostly scores completely drown within the intenseness of a movie; but in this case the movie wouldn't be what it is without those soft violin strives and the sensitive accompaniment of the piano sounds.
To mention a couple of them, I mostly liked the main theme and its variations:

3. Walkaway (main theme) 8.5/10

6. Whisper Of A Thrill (the sex scene between Barbie and Death) 9/10

8. Cold Lamb Sandwich (main theme - but only with violins and piano) 10/10

17. Someone Else (soft violin strives) 10/10

19. That Next Place (the big finale in the midth of the fire work show) 11/10

There is nothing else left to say about this, one must make the experience for himself! This is unequivocal a work of art; a so far not reached masterpiece, which captures the whole beauty of the movie marvellous good with its harmonic ecstatic melody. I don't know what other references Thomas Newman has as a composer, but I'm looking forward to listen to some more of his works...something a lot of other people should do as well! You won't regret it! ;)

Average customer rating:

Most Famous???
Only one song knew well
The Most Famous Opera Duets
Good selection of opera highlights
The closest thing

The Most Famous Opera Duets

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | 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

Operettas | Opera & Vocal | Styles | Music

Ludwig, Christa | Divas | Opera & Vocal | Styles | Music

Price, Leontyne | Divas | Opera & Vocal | Styles | Music

Scotto, Renata | Divas | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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ASIN: B000002SCA
Release Date: 1994-04-12

Tracks:

Les Peurs des perles Act 1 - Au fond du temple saint
Madama Butterfly Act 1- Vogliatemi bene, un bene piccolino
Le Nozze di Figaro Act III - Sull'aria - Le Nozze di Figaro
La Traviata Act I - Un di, felice, eterea
Lucia Di Lammermoor Act I - Ah! Verranna a te sull'aure
Tristan und Isolde Act II - O sink hernieder, Nacht der Liebe
Carmen Act I - Parle-moi de m
Die ZauberflAct I - Bei Mern, welche Liebe F
Lakmct I - Viens, Mallika
Rigoletto Act I - il sol dell'anima
Der Rosenkavalier Act II - Mir ist die Ehre wilderfahren
Don Giovanni Act I - Li darem la mano
La Boh Act IV - O Mimi, tu pi torni
Il Trovatore Act IV - Miserere...Quel suon, quelle preci

Amazon.com

This is a misnomer--not all of these duets are all that famous--but it's a fine compilation nonetheless. You'll hear selections from Bizet's The Pearl Fishers (Nicolai Gedda and Ernest Blanc at their most elegant French), Madama Butterfly (Carlo Bergonzi and Renata Scotto--an impassioned pair), Lucia di Lammermoor (a classy Alfredo Kraus and Edita Gruberova), the lovely Lakme duet, The Presentation of the Silver Rose from Der Rosenkavalier (with the earnest Christa Ludwig and the other-worldly Teresa Stich-Randall), and a fine Trovatore "Miserere" (with Leontyne Price and Franco Bonisolli singing up a storm). There are many others, too--a veritable cornucopia of couplings--and a treat for the opera lover. --Robert Levine

Customer Reviews:

Most Famous???.......2007-05-14

The title of this cd is misleading and I found myself wondering whose list did they use. That is not to say that there aren't some real treasures included here. The duet from Lakme is lovely in every way, Mady Mesple in particular, very beautful and very french, and far superior to Sutherlands hooty approach. Scotto and Bergonzi are superb, the Tristan and Isolde of Vickers and Dernesch truly other worldly, and the presentation of the rose duet with the young Ludwig and the astonishing Teresa Stich- Randell had me playing it over and over and I still can't believe it, but the most famous??? This cd is definitly worth buying, and I hated giving it only 3 stars but if you're talking most famous you could fill a couple of cd's with Puccini, not to mention Verdi, Mozart, etc. before Bizet's Les Pecheurs des perles, beautiful as it is, made the most famous list.

Only one song knew well.......2007-05-14

I should have done more researc