No comments about Atlas: An Opera in 3 Parts.

No comments about David Brenner, Excuse Me Are You Reading That Paper?.

2 comments about Beethoven - Fidelio / Benacková · Rolfe Johnson · Vogel · I. Raimondi · Ainsley · Wilson-Johnson · Sir Charles Mackerras.

1. This recording reproduces everything with clarity and strong presence, thanks to the smaller forces of the orchestra and the period brass instruments.



2. This has to be one of the best recordings of Beethoven's only opera. The cast is superb, with perhaps the exception of Czech soprano Benackova, but she gets the job done. Ildiko Raimondi sings a charming Marzelline, though her voice often overpowers and outshines Benackova's Leonore. Vogel is a convincing Rocco. The baritone who sings the villainous role of Don Pizarro gives an outstanding performance. His act I aria sends chills down my spine every time I listen to it! You can hear the absolute hatred in his voice as he reflects on his plan to murder Florestan. Definitely one of the highlights of this recording! Florestan is sung very well, however, there are moments in his act II aria where it seems as though the role is too demanding on his voice. The other, smaller roles are also well sung.
   
   I love Mackerras' conducting in this recording. His tempi are as close to perfect as I have found. This is particularly noticeable in the opening duet, which is often taken far too slowly. The music moves along smoothly, bringing out the drama in the story line, rather than hindering it, as in other recordings I have heard.
   
   The balance between the orchestra and the singers is wonderful, and the sound quality in general is excellent. A must buy for any lover of opera!

4 comments about I Think There's a Terrorist in My Soup: HOW TO SURVIVE PERSONAL AND WORLD PROBLEMS WITH LAUGHTER - SERIOUSLY.

1. I never buy books like this one but did this time. I enjoyed if very much. It had me laughing out loud as I read it and people would look at me funny.lol



2. Customers considering buying this book need to know that it should carry an "R" rating. Funny, yes, but definitely not for a "G" rated mind. Wish I had been warned.



3. Brenner is funny and insightful -- always has been -- and this book is a continuation of his previous memoir/humor books. I was stopped cold by his gushing over George W. Bush -- especially after he spends a considerable amount of time illustrating the President's extreme difficulty is making impromptu intelligent statements. It is uncharacteristic of Brenner to produce fawning praise over the President's ability to read a speechwriter's phrase. That aside, it is timely and funny.



4. David Brenner is a well-known comedian of course, but his
   book goes beyond quick humor. He also displays a formitable
   intelligence and the ability to honestly analyze our everyday
   situations, including our problems with national security,
   diversity, race relations, language, etc., all while having
   fun, and he is able to convey in his book both that intelligence and humor.
   Given his reputation as a quick-witted humorist on TV, and in
   clubs, his down-to-Earth ability to grasp our most basic concerns is both surprising and enlightening.
   Brenner does a first-class job of entertaining the reader with
   this book, while also addressing mundane concerns. He has
   a very funny book that nearly everyone will enjoy.

5 comments about Monk: Atlas - An Opera in Three Parts.

1. Monk's "Atlas" is one of the important works of the later 20th century. It is an opera almost entirely without words, and those words in it are spare and enigmatic. Yet, even without the staging on hand, the narrative comes through in the music and the vocalising. Her idea was simple, sincere and quite radical, and beautifully done.

   The style of the music is very much the Minimalism of Philip Glass, not as complex harmonically, but the same sound world and style. It's very beautiful, and if Minimalist works appeal to you, as well as fascinating experimentation, than you should seek out this great piece.




2. Before listening to this work, you'd be well advised unburden youself of all the expectations implied by the words "opera" and "avant garde". It's theatrical, tells a story of sorts, and there's a great deal of singing, but it's very different from the usual notion of opera. The instrumental accompaniment is sparse, and mostly serves to keep time. There are few words, and almost all of them spoken (typical for Monk's work). It's not cold, sterile or academic. That aside, this is a strangely moving and beautiful work that will grow on you. You're unlikely to see it performed live, so this recording may be the only way you'll ever experience it. The extended vocal techniques work to a dramatic purpose, and there is a meaningful musical climax with some stunning ensemble singing. Well worth the price.



3. I sadly wasted approximately 2 hours of my life listening to this sorely lacking "opera". I was not at all surprised to read in the notes that the score had never actually been written to the piece, but rather, Monk came to the studio with a few ideas and improvised much of the work. The tracks repeat endlessly without any meaningful development. Some of them contain nonsensical dialogue as well, which adds little to the opera's overall effect. Listen to the sample track "Ice Demons" for a good demonstration of ludicrous and pretentious composition. While I'm not a devoted fan of minimalism in general, I can at least enjoy it on occassion. In my opinion, some minimalist works like "Einstein on the Beach" by Philip Glass are far more sophisticated than Monk's opera and don't have the aggravating tendency to take themselves too seriously. Monk's overdramatic spiritual nonsense really gets on the nerves.



4. Don't get me wrong. I like some of Meredith Monk's stuff (when she's not on some hallucinogen), but this is going to far. Plot, musical coherence, dramatism, take your pick--unfortunately, none of it is there. Experimentation is all well and good if you can pull it off at least with some minor hint of artistic expression, but Atlas is utterly nonsensical and way too repetitive to be considered a work of art. If, after hearing this, you are still brave enough to give Meredith Monk another try, check out Book of Days. It's much more musically coherent and much easier to grasp. It also, in my opinion, is a much better expression of Monk's continuing search to expand the capabilities of the human voice.



5. As is clear below by the existence of 1 and 5 star reviews only, Meredith Monk is like most 'modern classical' composers. You're either going to love this or hate it. For my part, on first listen, I wasn't sure which category I would fall.

   First, I must confess that my bias has always been against opera. Composers of opera tend to butcher both the melody and libretto all in the name of an elusive drama that usually falls quite flat. That being said, if you are a fan of traditional opera a la Gluck, Verdi and Wagner, you will never like 'Atlas' which consists mostly of wordless vocalise over repeating patterns played by a 10 peice orchestra. The cast mimics animal noises, claps, screams, shrieks and orrates occasional gibberish.

   In a strange way however, this is no different than hearing Stravinsky, Babbit or Glass for the first time. It takes a lot of work and, in a sense, we need to re-learn how to listen. Normally, we are used to hearing exposition, development, recapitulation, bel canto and leitmotif. With Monk, we don't get that but instead a continual rich vocal tapestry over magically floating chamber orchestra. Yes, it takes endurance but MAN is it worth it. In fact, 'future quest' (track 4) and 'Agricultural community" (track 10)contains some of the most beautiful vocal writing I've heard in some time.

   A quick disclaimer about the comparisons below to Philip Glass. Monk's technique, especially in her syncopations and instrumental voicings using 4ths, 5ths and 9ths, I would put 'Atlas' closer to Steve Reich's 'Tehillem' and 'Different Trains.' Still, Monks vocal writing is incomparable and in a crazy way, gorgeous. Pick it up; love it, hate it, sing along if you dare. Just listen to it!!

No comments about FINDING HOME-Original Soundtrack Recording.

1 comments about The Triangle.

1. I like this soundtrack very much. I remember watching the mini series and thinking, "Wow. What great music". Very ominous and yet exciting. Good use of cello, drum, bass, piano and orchestra with electronic effects. At first I thought it was the composer from The Bourne Identity and was surprised to find out it was composed by Joseph Loduca. I have listened to it repeatedly in my truck and it makes great driving music. My only gripe is that the mini series was about 6 hours long, so I feel cheated that they only gave about 55 minutes of music, when a CD can hold 80 minutes. But I'll take what I can get. Highly recommended.

5 comments about The Adventures Of The Great Mouse Detective: Original Motion Picture Soundtrack.

1. "The Great Mouse Detective" is a film that suffers with a slight split personality. Three fourths of the movie is typical cutesy Disney fare; the last fourth, featuring the battle between the good detective and the evil Ratigan is somewhat intense, possibly a little too intense for the very young.

   Mancini's score reflects this. The main title is exciting and engaging. Vincent Price's solo turns on "The World's Greatest Criminal Mind" and "Goodbye So Soon" are hilarious and melodic, in a sinister way. As an earlier reviewer stated, the Melissa Manchester addition "Let Me Be Good to You" is quite provocative for a "G-rated" family film.

   The "Big Ben Chase" is ominous and thrilling as the two rodents are involved in a deadly battle atop London's famous landmark. Mancini's music has never been more "on the mark."

   While not up to his work on the Panther films or "Victor/Victoria," this is still a treat for his fans.




2. To be honest, I have seen the case of this movie but I have not see the tape that it's on, but I think I have seen the movei just not for a very long time. This cd has both music it self and some singing. The music parts of this cd which has more of than singing was done by Henry Mancini (he was Music Composed and he conducted the music), I can't remember when this cd was made, think I might have been under 5 years old and now I am almost 18 years old. Here are the songs and music on this cd, Tracks 6, 11, 13, and 17 has the songs on them.
   1. Main Title
   2. Dawson Finds Olivia 3. Enter Basil
   4. Enter Ratigan
   5. Crushed Box
   6. The World's Greatest Criminal Mind (sung by Vicent Price).
   7. Unusual Foot Prints
   8. Here's Toby!
   9. Check Mate
   10. Reunion 11. Let Me Be Good To You (sung by Melissa Manchester)
   12. Ratigan's Plan
   13. Good Bye So Soon (sung by Vincent Price)
   14. Cat Nip
   15. Big Ben Chase
   16. Wrap-up 17. End Title: Good-bye So Soon Just in case you may have missed the songs. So this takes place in London, that's where Big Ben is. Could you think you would have a clock tower in your city or close too?



3. I think this soundtrack is the coolest because, you can
   picture the movie in your head. I've always loved the movie, and I Love the characters in the movie. The music is thrilling and exciting. Henry Mancini tried to make you think that you are in the movie. This is a fun and thrilling soundtrack. BUY IT, YOU WILL LIKE IT!



4. I've Heard Many Disney Soundtracks, But "The Adventures Of The Great Mouse Detective"Is One Of The Most Fantastic!!!! I Love This Movie So Much, And Now I Love The Soundtrack So Much!! I'm Only 12, And I Still Think This Movie And Soundtrack Is Awsome!! My Favorite Is The "Big Ben Chase", This One Is When Ratigan And Basil Are On The Big Ben Clock Tower And They're Battling!! Half Of Why I Like This Film Is Because Of The Music.This Is A Very "Great" Soundtrack,And If Your A Fan Of "The Great Mouse Detective",You Should Buy This Soundtrack!!! YOU ARE GOING TO LOVE IT!!!!!!!!



5. I have always been into London's history and I LOVE the Great Mouse Detective because it's in London in the 1890's. I've have always pretended to be a second mouse assitant of Basil's to go on cases with he and Dr. Dawson. Now the soundtrack made it even more fun. I LOVE the Big Ben Chase on the soundtrack when Basil is in a life or death battle with Ratigan on Big Ben's hour hand. I still LOVE the movie and the soundtrack today and I'm proud to say that I'm 13 years old and I still pretended to do cases with two imaginary mice.(P.S. I'm watching the movie right now!)

5 comments about Bach: St. Matthew Passion.

1. The true test of this recording is comparing the last chorus with other versions by Klemperer, Gardiner, Ritcher, Koopman, et al. Why?
   Because Bach was wrenching all the drama he could from that last
   expression of the sorrow of life of Jesus. "Wir setzen uns mit Tranen nieder" says it all. And Bernstein's version comes in at the slowest.
   Over nine minutes! Koopman at six. And the cold, heartless Gardiner
   even faster. Gardiner has no concept of the meaning and glorious
   passion in this music. Don't buy his Bach recordings. Listen only to
   this last chorus' first phrase and how gut-wrenching it is! Bernstein
   understood this great masterpiece, and his version is worth buying
   just for this chorus.



2. I've waited 20 years to find this re-release of a 60's recording that I'd worn out 2 sets of LPs playing. In my view this is one of Bernstein's finest- every tempo, every dynamic, every nuance flows from his soul to his baton and to the orchestra, chorus, and soloists. Certainly not for the purists given the cuts and modern orchestral treatment, but for pure listening bliss this is the recording to own. His (all too) brief explanation of this work at the end exposes his emotional involvement with this masterful music and is a delightful bonus that was originally included as a 7" LP in the set. Bravo to Sony for their Bernstein re-release program!



3. Lutheran tradition of setting the passion narrative to music reached its peak in J. S. Bach's "Saint Matthew's Passion". It recounts biblical events and tries to apply their lessons to life. This work is the most famous of Bach's five passions and it regularly alternates between different time frames. The central narrative, taken from the Gospel of Saint Matthew 26-27, but also based on several texts written by C. F. Henrici (Picander), a librettist and close friend of the composer himself, takes place in biblical times. An evangelist narrates the story of Jesus's arrest, trial and crucifixion, with different solo singers performing the parts of Jesus, Judas, Pilates, High Priests, Disciples, roman soldiers and the crowd.
   
   Another set of musical pieces regularly takes us out of the biblical time frame and into modern times with arias and duets. In these pieces, individuals contemplate the implications of biblical events for modern believers.
   
   This work was meant for use as part of church services, especially Good Friday Vespers. It is sometimes compared to an opera and sometimes to a sermon. "Saint Matthew's Passion" represents the culmination of lutheran tradition of liturgical passions and it certainly demonstrates the height of Bach's compositional mastery and the profundity of his musical expression. With this massive work, Bach claimed his throne as a genius and master of polyphonic music. He optimally uses all musical means available to him at the time: widely diverse singing voices and instrumental sonorities. Generally, the chorus express the crowd's feelings, while the chorals symbolize the christian community. Every character has his/her particular musical style in the Passion. The evangelist carries the actions forward in the form of recitative secco, accompanied by continuo alone, merely recounting events. Jesus speaks to his disciples and to Pilates in a form between recitative and aria.
   
   My personal favorite parts: "Erbarme dich, Mein Gott" (Lord, have mercy!") aria, accompanied by a somewhat wayward baroque violin, and of course, the tragic, triumphant chorus finale "Wir setzen uns mit tränen nieder" ("We sit down with tears in our eyes"), one of the most beautiful and powerful things a christian mind has ever created!



4. Wow, I picked this up used for six bucks and was not expecting much because I wasn't too exited about the thought of an english translation. I was blown away when I listened to this. Not only is this great emotional music (I didn't think they made baroque music like this!). But I can follow it in english and it makes it incredibly entertaining and simply beautiful. Great music AND it tells a story! Really, give this a try....and keep me updated! (also does anyone think its odd that he has a cigarette in his hand on the cover, you can tell that this was produced a while ago, today thats not politically correct!....just an observation)



5. After all these years of hearing this great work in an atmosphere of absolute correctness, it completely blows me away to hear Bernstein unafraid to be swept up in the immense passion of Christ's trial, crucifixion and death. Bernstein wasn't obsessed with 'what did Bach intend or want here' but instead was swept up in the drama depicted by St. Matthew. And, I think Bach would have liked that. The English version here is not the King James which would have helped the translation somewhat. Critics can have a field day with David Lloyd's almost operatic evangelist, but I saw it in context and liked it. Maybe this deeply emotional version is well worth reconsidering after all these years and many ultra proper German versions that in essence become museum works... dry and terribly calculating. It is so obvious that Bernstein considered this one of the most deeply serious works ever written. He loved the work... period. Warren Taylor