2 comments about Street Scene: An American Opera.

1. I list this in both my Musicals and Opera.. I read a review , not of this production,, but of an operatic one , comparing it to "louise".. I'm amazed at how fast Weill adapted to the american idiom..I thinks his best work was with Brecht and Ira Gershwin.. that being said.. this is a good recording encouraging me to see,, if I can find one, a production..
   Anne Jefferies,, I believe was in a revival of kismet and is georgeous..



2. Larry Warren in his book :"Anna Sokolow The Rebellious Spirit" writes: "In "Oklahoma!" and "On the town",Agnes de Mille and Jerome Robbins had pioneered in the use of dance to further the plot of a musical, but their language was based on a ballet vocabulary. In Street Scene Anna proved that Social-dance forms have an inherent dramatic powers when they are artfully used as an expression of the society that created them. Ten years later Robbins used his genius to bring this concept to its fullest expression on Broadway in West Side Story".

2 comments about The Early Minstrel Show.

1. It may be baffling and embarrassing to us today, but blackface minstrelsy was one of the first genuinely American cultural creations, spectacularly popular entertainment throughout much of the 19th century (and even into the 20th), and the first successful American cultural export. It also is the foundation of much modern American popular music. You can't help but flinch at the flagrant racism, but anyone with an interest in American music needs to understand minstrelsy and its legacy. This outstanding CD is a fine place to start. The songs represent a cross-section of the most popular tunes of the pre-Civil War era. The performances are informed by the best scholarship on the practices of the period, but are lively and natural.

   What is perhaps most disturbing is that this is excellent popular music that stands the test of time much better than the benign melodramatic parlor music of the same era. That this music is so lively, entertaining and infectious, and in many ways reverential of genuine African-American music, while at the same time so casually cruel and demeaning highlights a fundamental paradox of America's cultural history.




2. Ethiopian minstrelsy was the most popular form of theatrical entertainment in the U.S. from the late 1820's until well after the Civil War, having a huge cultural impact and creating racial stereotypes that linger today. A minstrel show featured stories, songs and skits which tried to imitate (and usually parodied) the culture of blacks, as interpretted by white performers with blackened faces. In this way, through composers such as Stephen Foster, black culture entered the white mainstream, and much of this music entered the oral traditions of both whites and blacks. This CD re-creates the music based upon sheet music, instrumental instruction books, and manuscript musical materials. Yet, except for the texts, I found the music very similar to just about any traditional string band you hear at a folk festival today. So it's easy to see that this music is still influencing the culture. There are those who might feel this music should be long forgotten due to it's racist lyrics, but I think it's important to know the past in order to understand the present, and this CD provides a scholarly and entertaining trip into the past.

5 comments about King Island Christmas.

1. This was a great CD, it had good lyrics, music, and story. It is a story for everyone not just the people who celebrate christmas, because it is mostly how the date is special, because it is the date when they believe that the light begins to come back.
   I highly recomend this CD



2. Speaking as a descendant of a TRUE King Islander I am appalled at the authenticity of this play. It is cultrually and ethically wrong and our cultural rights have been torn-apart by some money hungry broadway producers who have no idea what it's like to be from King Island LET ALONE ALASKA. Some may think that this is the next Christmas classic I say do your research. King Island and their people are a dying culture. Having been literally kicked off the island in the 60's due to the school being shut down King Islander's have suffered major prejudices from the move with effects being felt generation after generation. If you have sense you would ban this CD and any other King Island Christmas paraphernalia.



3. Do you know about the real King Islanders? I wonder who they really are. Somewhere out there I know one of them is probably
   sad or something about this.



4. A delightful and inspiring piece of music. Delightful in it's music and inspiring in it's lyrics. It presents visual images of ways of viewing things that are rare in this world.



5. Having lived in Alaska for the past 10 years and knowing Jean Rogers, this is a well-written true story. From the play in 1997 to the CD in 1999, I am hoping it will be put on DVD in the next few years.

   This musical was well received by those of us that live and work in Alaska. Here in Juneau this play is done each Holiday season and as many I go to watch the new players each year.

   King Island Christmas is a fine work and I would HIGHLY recommended it..

   This is one of many plays that are written in this small town of Juneau and make the broadway stage.

3 comments about Hollywood's Best: The Thirties - '30s - Motion Picture Soundtrack Anthology.

1. Hollywood's Best: The Thirties - '30s - Motion Picture Soundtrack Anthology isn't the most complete single CD compilation; and that's a disappointment. However, what is on this album is first rate material; and that redeems this CD quite a bit. The quality of the sound is excellent and the artwork is very well done.
   
   The CD begins with an extended version of "Hooray For Hollywood;" this was always a song I liked and it makes a terrific beginning for this album. You practically hear half of Hollywood performing--there's Powell, Frances Langford, Johnny 'Scat' Davis, Gene Krupa--and even Benny Goodman And His Orchestra! "Hooray For Hollywood" is a stunning number. Listen also for a very young Ginger Rogers to sing an energetic version of "We're In The Money" with a fine chorus to bolster her performance. Ginger really throws herself into "We're In The Money" and it shows when you hear her sing this classic song.
   
   Fred Astaire sings "Night And Day;" this Cole Porter tune sounds sweet when Fred sings it so well; and the music that accompanies him fits in perfectly. The strings are used to great advantage; and Fred never skips a beat! Terrific! Louis Armstrong himself also does a fantastic job on "Jeepers Creepers." "Jeepers Creepers" is a fun tune and when Louis Armstrong sings it this number takes off like a jet!
   
   "I Only Have Eyes For You" gets the royal treatment and this ode to Ruby Keeler works well. The orchestration is grand and the few lines that the actors speak are all very well done. Similarly "Begin The Beguine" by Artie Shaw And His Orchestra sounds fresh and new when I hear it on this album; Artie Shaw and his peers should could swing! There's another great song sung by Fred Astaire as he sings "Cheek To Cheek." What a great song. In addition, listen for Jeanette MacDonald to sing a divine version of "San Francisco." Jeannette never sounded better; and her voice is as clear as a bell. AS you may suspect, "San Francisco" comes from the movie of the same name.
   
   Fred Astaire returns yet again to do a flawless interpretation of "Let's Face The Music And Dance." "Let's Face The Music And Dance" has excellent orchestration and Fred sings this without a superfluous note. I'm very impressed. The CD also offers us a recording by a very young Judy Garland as she sings her signature song, "Over The Rainbow." Judy's voice sounds more beautiful than any other voice I've ever heard; and she certainly deserved the fame she enjoyed for so long.
   
   Overall, Hollywood's Best: The Thirties - '30s - Motion Picture Soundtrack Anthology is a rather good single CD compilation--but it's not complete by any means. I give this four stars instead of three mainly because what's on this CD is excellent. I highly recommend this album for classic movie buffs.



2. I am a great collectionist of 78 rpm, disks and cd about this period and i think that it' s one of the most fascinated collection of Artists and Actors of this period at this moment. Thanks Hollywood!!



3. They don't make 'em like this anymore! Every song on here is an instant classic. The music has an infectious sense of fun, which may be surprising considering the *depressing* times in which it was written. I especially liked "Cheek to Cheek," "We're In the Money," and "The Donkey Serenade." This one really reminds you why Hollywood used to be called the Dream Factory.

2 comments about Cole Porter: Night & Day - Thomas Hampson, John McGlinn, London Symphony Orchestra, Ambrosian Chorus.

1. The glut of crossover albums that came our way in the ripe era of Pavarotti, Kiri Te Kanawa, and Domingo has abated, leaving not the best taste in the mouth. But there were some high points, and this 1991 Cole Porter collection from Thomas Hampson is a gorgeous example. Like his hero from the 30s, Lawrence Tibbett, who triumphed as much on radio as in the opera house, Hampson sings full out, applying an overtly operatic baritone to popular song. He has such a command of vocal technique that, as with Tibbett and more recently Ben Heppner, the glory of the vocalism would carry the day on its own.
   
   But Hampson adds to this a good deal of finesse, humor, and suavity--particularly the last. "Begin the Beguine" and "In the Still of the Night" convey the cosmopolitan asurance that is a Cole Porter trademark. There are also some bigger songs, such as "It Was Written in the Stars," where Hampson can unleash his voice at full force, a thrilling experience. I don't think there's been an opera star who's made a Cole Porter recording other than Kiri Te Kanawa, in forty years. This is a very enjoyable one indeed.



2. Cole Porter songs,original Broadway arrangements beautifully played by the London S.O. and superb singing by Thomas Hampson.A Total Aural Treat.

5 comments about Steppin' Out.

1. Steppin' Out is indeed a fine tribute to Fred Astaire by Tony Bennett. Tony sings these ballads with sensitivity; and that enhances the songs on this album. The quality of the sound is excellent and the artwork is very nicely done.
   
   "Steppin' Out With My Baby" has an excellent jazzy musical arrangement and Tony sounds better than ever! Tony aces this easily with his fine vocal talents; and you can just grasp that image of Fred Astaire dancing so elegantly as you hear this song. The arrangement for the piano is especially nice; and The Ralph Sharon Trio enhances the ballad even further--great! "Who Cares?" features Tony Bennett front and center as he sing this wistful ballad; and this sounds like classic music to me--it's excellent for lounge music as well. In addition, "They Can't Take That Away From Me" is easily a major highlight of this entire album; Tony delivers this with panache and Fred Astaire would certainly have felt very honored! Tony sings "They Can't Take That Away From Me" without a single superfluous note--and that's very impressive.
   
   "Shine On Your Shoes" is a bouncy little tune you're bound to enjoy; Fred sang this brilliantly and Tony Bennett pays a great tribute to this classic song as he sings this flawlessly. "He Loves And She Loves" is yet another wonderful number on this CD; and when Tony goes into the main lyrics of the song this number really takes flight! "He Loves And She Loves" gets a very tender interpretation by Tony and the musicians and it all works very well. There's also "They All Laughed;" this triumphant tune really shines bright and I love it!
   
   "All Of You" is a marvelous, classic love song that could never be forgotten; and I always smile whenever I hear this beautiful ballad. "Nice Work If You Can Get It" gets the royal treatment from Tony Bennett and The Ralph Sharon Trio; and I really like "Nice Work If You Can Get It." Similarly, "It Only Happens When I Dance With You" is a gorgeous love song that will touch you with its beauty and its message of true love for another--how wonderful!
   
   There's even a superb medley of "You're Easy To Dance With/ Change Partners/ Cheek to Cheek;" and this is another major highlight of this album. Tony handles complicated tempo and key changes like the pro he was and still remains; and "That's Entertainment" is a number I could never tire of hearing--great number! The CD ends strong with Tony Bennett performing "By Myself;" this last song is a very sensitive number that Tony delivers with great feeling and "By Myself" also leaves you wanting more.
   
   Tony Bennett is a living legend and he's practically a part of Americana--he's that big an artist. I highly recommend this CD for his fans; and people who enjoyed the songs from all those Fred Astaire movies will cherish this CD for quite some while to come.



2. Unlike some of Tony Bennett's numerous other "tribute" records, there is little about the packaging of STEPPIN' OUT that screams "dedicated to Fred Astaire!" In fact, not having glanced at the self-penned liner notes before playing this CD, it took me `til the medley that is track 15 (and which makes two overt references to the dancing legend) to realize that, hey, this must be a Fred Astaire tribute! As the kids say, d'oh!
   
   But as I say, the packaging doesn't exactly have Tony tipping his (top) hat here. The Sinatra tribute PERFECTLY FRANK had a mature Tony sitting in the audience watching a young Frankie. It screamed "tribute." On the cover here, we have Tony tripping the light fantastic with an exuberant and gravity defying young lady, in her own white tie and tails, who is quite striking but isn't exactly a Ginger Rogers clone. And while the song roster includes the numerous Great American Songbook titles, you'd have to be of an even older generation than I am to instantly recognize them all as having been intimately associated with Astaire. They've been covered numerous times since, and it's hard to say that any one recording artist "owns" them.
   
   Now I've always enjoyed the old Fred Astaire movies, and I rather liked him as a singer. It surprised me nonetheless to learn that the classic songwriters of the day loved having him perform their tunes--because he performed them AS WRITTEN. But maybe it shouldn't be so surprising, when you think about it,s, that an artist who was primarily a dancer would sing the songs straight and exercise his more interpretive instincts via the dance.
   
   So now you've got Tony Bennett, who--conversely--may be the ultimate interpretive singer, tackling the same tunes that Astaire sang so straightforwardly and serviceably for his films. Is there an irony there? Well, at the very least, there's a stylistic gap that is certainly interesting. Tony's patented warm, husky vocals, elegant as they can be in their own way, are certainly a world apart from Astaire's classic smoothness. And isn't that point? Bringing something new to the equation? Putting a new spin on these old classics?
   
   It's hard to pick a favorite track here. Unlike Amazon reviewer David Horiuchi above who champions the track "You're All the World To Me," I'd have a hard time picking a favorite tune here. The album works brilliantly as a whole. But I do have do have to admit that while I like some of the breezier numbers (the title track, "That's Entertainment, "Shine on My Shoes" and several other fun outings), I am particularly drawn to the slightly melancholy deliveries Bennett offers on such tracks as "They Can't Take That Away From Me," "Dancing In the Dark," "I Guess I'll Have to Change My Plan," and the wistful closer "By Myself." This is where Tony brings his own distinctive interpretive skills to this tribute project. And it works brilliantly.



3. This cd is down right cool. While his voice doesn't match what it was in the 50's and 60's... who really wants that? People grow older and their voices change. His voice is in fine shape on this cd however. This cd really swings. He comes across as the epitome of cool. The Fred Astaire songs are fantastic. The Ralph Sharon Trio a wonderful choice to accompany him. Like the best of his cd's which honor others (Perfectly Frank), he doesn't try to copy the singer, he doesn't copy the arrangements, he just comes across as Tony Bennett being Tony Bennett.



4. I have rarely heard performances swing like this. Tony Bennett and the Ralph Sharon Trio click perfectly. I want more like this. You don't have to have the chops of a 20 year old to swing and swingin's the thing as these guys show. I have an embarassingly large and varied CD collection and I count this among my favorites.



5. Fred Astaire will never be remembered for the songs he sang. These songs were only great while he was dancing to them! I am a huge Tony Bennet fan and felt so disappointed by this CD. The songs gave him nothing to "wrap his voice around" or put his heart into. I listened to it many times, hoping it would grow on me, but after six months I'm still disappointed. His other tributes (to Sinatra and Billie Holliday)are so much better. Sink your money into those!

5 comments about Pacific Overtures (2004 Broadway Revival Cast).

1. Sometimes composers have great ideas. Sometimes they aren't really that great. This is one of those times. The Sondheim name might make you think of Company, Into the Woods, Sweeny Todd, but this should not be thought of in the same way. The singers are bad. The lyrics are bad. The thought that this is a great CD is wrong. Maybe seeing the show would make listening to it differently, but that's not what I'm reviewing. I have enjoyed much of Sondheim and was eager to enjoy this, but found myself embarrassed at how awful it was. I forced myself to finish it, but it wasn't worth it. Don't make the mistake of buying this CD unless you are a collector. Sorry Sondheim, but this is sad. Favorite Song: "Pretty Lady" (but the singers are awful!)



2. I guess there's a benefit to all this pared-down Sondheim stuff, but I just really don't think this can come close to shaking at stick at the English National Opera cast. And I'm sorry, but B.D. Wong's voice is just too Charlie Brown. Buy the original London cast if you don't know the show; it is so much better. Pacific Overtures (1987 English National Opera Cast)



3. This is one of Sondheim's best, and I continue to be baffled that is is so seldom performed. I was delighted to see the revival in NYC last year, and the entire cast was excellent, led by the amazing B.D. Wong, who showcased his musical theater chops in a very demanding role. If you love Sondheim, you must own this CD -- the cast brings new nuances to the beautiful music.



4. The recent Broadway revival of "Pacific Overtures" had a relatively short 3-month run. A few months later, this wonderful CD was inexplicably released to the surprise of enthusiastic Sondheim fans, but it's really a must have for anyone interested in musical theater. The show's reviews were mixed, which makes one wonder how much that has impacted the reception of this recording, which was nominated for a Grammy as best cast recording and deserved to win.
   
   Alright, let's dispense with the main objections. No, the orchestrations aren't nearly as fleshed out as the originals. And yes, there's a lot more dialog on this recording. Both of these, however, ultimately make this CD a more modern and listenable recording than the original. To begin with, as has been acknowledged in the past, it was difficult to get enough Asian actors for the original production with the vocal skills to do the score justice. Because of that, some of the songs did not soar the way they were meant to. "Overtures" is one of Sondheim's best but most delicate scores and the stirringly lush and burnished Jonathan Tunick orchestrations of the original tended to make them the focal point of the recording. No problem here. On this recording, much of the orchestration uses authentic Asian instruments, adding a lighter but more exotic flavor. The fact that the orchestrations are leaner means the vocals are more up front, and that is the blessing of this recording.
   
   BD Wong may not have the gravitas of Maku, but his singing is significantly better and his interpretation is more of a genial escort than an angry overlord - a different interpretation, but no less valid. He also nails "Floating in the Middle of the Sea," "Next" and his part in the quartet of "Someone in a Tree." Has anyone noticed that Mr. Wong is a musical theater performer of the first degree?
   
   Telly Leung shines in three different numbers as three different characters. His "There is No Other Way" is exquisite, but is topped by his euphoric and youthful "Someome in a Tree." That quartet has been problematic for some performers, but Leung and his companions, including Wong and Alvin Lee, run with it and it's exhilirating. His lead on "Pretty Lady" is both youthful and oblivious, giving the character the correct vacuous hole to leap in to. Mr. Leung is an exquisitely flexible tenor who is able to embue his characterizations with soul and heart. Let's hope he will find more, and more fully realized, opportunities in his future on Broadway.
   
   Alvin Ing is again cast as the Shogun's Mother, and he gives another quitessential performance during "Chrysanthemum Tea", which is at times sardonic, ironic and hysterically funny. He is also a force to be reckoned with in "Someone in a Tree". Whoever's idea it was to recast him deserves a special Tony. In addition, Sab Shimono makes a return appearance from the original cast and, while his contributions are less apparent, the history and clarity he brings to his moments are deservedly cherished.
   
   Finally, a word must be said for Michael K. Lee. He brings machismo, doubt and sensitivity to his role as Kayama, and his singing is almost comparable to Telly Leung. "A Bowler Hat" is his showcase and his performance is both nuanced and ironic, with his singing very well placed.
   
   It's inexplicable that this revival did not run longer than its three short months, and this recording attests to the fact that there were many talented Asian - Phillipino - American actors at the height of their game during this glorious production. Thankfully, we have this gourgeous CD to return to time and again, if only as a testiment to a time when Broadway got it right, but the critics got it wrong. There is no other way.



5. Pacific Overtures, is one of Sondheim's most delicately beautiful and entrancing pieces. The poetry of the culture, being penetrated by an outsider, is portrayed so beautifully and richly in this score.
   That is why I advise you to get the original 1976 Broadway Soundtrack. It is far more superior, in almost every aspect. Especially evident, is the sized-down orchestra in this recording. Jonathan Tunich's and subsequently Sondheim's music, deserve a better and larger orchestra than the one featured on this cd. The performances in the original are far more intriguing and involving.
   If you don't yet know this piece, and are thinking of buying this recording as an introduction- don't! It's such a waste. A first impression cannot be returned, and you should have the best first impression of this amazingly beautiful and piercing piece of musical theater.
   If you have the original and still are considering to buy this one, I wouldn't buy it, but that's already personal taste. But I think that everyone would agree there is no comparison between the two recordings.

5 comments about Jesus Christ Superstar: The Album - 1992 Australian Cast Recording Highlights.

1. This is really very bad. Jesus Christ Superstar is one Andrew Lloyd Webber's best scores, and this recording really ruins it. The orchestrations remind me of some really bad '80s music. I do not recommend this to anyone, those new to JCS will not understand how amazing this score really is, and old fans will just be confused as to why something so great was ruined.



2. terrible...what the heck did they do to this soundtrack...the dance routine stuff is awful. I just don't understand how they could take such a great piece of music and ruin it...but well...they did. I don't want visions of the "fly girls" dancing when I listen to Simon's song.
   
   Awful and nothing is better than the original London version and the 1973 movie version.......



3. Easily the most alive and exciting Jesus Christ Superstar ever. The music and vocals are absolutely astounding and both were updated in a completely fresh and non-offensive manner. My only regret is that there is not a complete version of this cast anywhere. We used this version as a temlpate for a production my Alma Matter put on 4 years ago. Order this disc if you are a fan of musicals, Jesus, or rock music in general.



4. I went to see the production that this recording comes from in 1992, at the age of twelve. I still have the memory of King Herod's song with tap dancers in shimmering silver sequined mini dresses with bright green lights and strobes. I loved it so much that my parents bought me this CD. I still have it now, at the age of 25, and I'm still impressed with it. I've heard other versions of JCS and seen several performances both amateur and professional, and none come up to it's standard in my opinion. The performers involved, John Farnham, Kate Cebrano, Russell Morris, John Waters, et al may not be widely known outside of Australia, but they're very highly regarded here, and that's the rest of the world's loss. This is a highlights album, so it doesn't have everything from the show, notably missing is This Jesus Must Die, which has David Gould, as Caiaphas. He has the deepest voice I've ever heard and really makes his presence felt in Hosanna. Now I wouldn't necessarily proclaim this to be the definitive version, as I've not heard every version that's around, its certainly a very good version and well worth a listen.



5. I saw a regional theatre performance of Jesus Christ Superstar the other night and was pretty impressed with the music and the fact that it's a real "rock opera" with screaming high notes and rock drums and guitars and everything. My friend had a few recordings of JCC so I decided to sample some of them. First I tried the original concept album which was a little hippie-ish for me and then I listened to the movie version which I wasn't terribly impressed with.
   
   I then put in the Australian Cast Highlights album and was completely mesmerized from the first note on. The job they did re-orchestrating the score is nothing short of amazing. You can really hear the Australian influence in the songs. It has this celtic/aboriginal flavor to it which makes the whole recording sound primal and majestic.
   
   I used to have this opinion that Australia was a little backward when it came to music, not to mention Andrew Lloyd Webber was overrated. This recording has completely changed my opinion on both. It sounds incredibly fresh, exciting and emotional and NEW despite the fact that JCC came out in the 70's and this album came out in 1992.
   
   The leads are the best I've heard so far. Judas does have a little bit of "LOOK AT ME I'M A ROCK SINGER" syndrome but he's so impassioned and he sings rock so well that you're willing to overlook it....or I am anyway since apparently I would sever ties to my homeland to move down-under because of one recording.
   
   I'm a singer, and Jesus is a little depressing to listen to because you know only a select few on earth are possesed of a voice like the one he has. Pretty damn flawless. I really don't think you'll find a musical theatre rock tenor like this guy. If he isn't at least quasi-famous there's something wrong with the music industry.
   
   Mary's delivery is a little "clipped" at times but she's still the best I've heard. Haven't quite heard that perfect Mary yet but she comes very close.
   
   But really, the "best" JCC recording just depends on one's personal tastes. Still I defy you to say this recording isn't at least one of the best.

5 comments about Lovable & Sweet: 25 Vintage Hits.

1. Brilliant....just brilliant!!! Perfect for a rainy day....or any day....it'll simply cheer you up~!!!! Perfect to the point of tears......It's *that* good!!!



2. I picked up this cd on a lark and was stunned at how wonderful it was. My favorite tracks are "Ain't He Sweet" and "You Wouldn't Fool Me, Would Ya?", but to tell you the truth there are so many wonderful songs. One of the few cd's I can listen to from start to finish.
   
   This is my favorite cd to listen to while I'm driving - it is fun to sing along with and the light mood keeps me smiling during the entire trip.



3. Annette Hanshaw was a singer whose voice encapsulates the Jazz Age, not least due to its bell-like quality. That ensured that she comes across clearly despite the age and, in some cases, the inferior quality of the original recording process. She was also a very relaxed singer, who never sounded as though she was straining for a note. Add to that the quality of her accompaniments, which included some of New York's best studio musicians, and the result is sheer delight. This compilation spans the period of her recording career, from 1926 (aged 15) until her premature retirement in 1936, and is enhanced by discographical details and Peter Dempsey's liner notes.



4. This is a brilliant album - there are songs from her first
   recordings ("Black Bottom", "Six Feet of Papa") to her later
   recordings ("Let's Fall in Love"). Even though she isn't that
   well known, she had a much better voice than many of her
   contemporaries. "Pagan Love Song" is a beautiful - complete
   with hawaiian guitars. "You Wouldn't Fool Me, Would You" is
   sung ala Helen Kane. There is almost 80 minutes of sheer bliss.



5. This ist the first time that I am hearing Annette Hanshaw.I guess she was the most beautiful voice in the roarings 20's and 30's.Good days those days! The people in America was the happiest in the world because they had a nice girl with a marvelous voice. Annette, I love you!

5 comments about Quidam.

1. A long time ago I was visiting a very nice art website and they had "Atmadja" playing in the background. I was in love with the song, it was beautiful but creepy. I don't know how, but I happened to remember the name of the song. Soon it was taken off the website and I wanted to find it SO bad. At that time I barely knew Cirque du Soleil even existed. My search ended quickly, as I couldn't find it anywhere.
   
   A while later they were showing Quidam at my city, but unfortunately I didn't have enough time to go by the time I figured out it was here. One reason was that my mom wanted to go too, but I don't think she wanted to go nearly as badly as I did. Why did I want to go so bad? I really really liked that one song.
   
   I recently decided to look again, I have no idea what brought it on, but I was DESPERATE to download the song, though if I ever saw the CD I would have picked it up immediatly. Then I got a credit card. Oh Joy. I was so happy. I bought the album and have been listening to it non-stop so far. =). I can't complain that there are parts missing as people have said, because I haven't seen it. As a real first timer to the whole Quidam and even Cirque Soleil thing, I am delighted. The music is gorgeous.
   
   I think almost anyone can enjoy this music, it's absolutely lovely. I just wish that it were a bit longer. Oh well, we can't have it all. =)



2. OH MY GOD!!! Right now I'm doing to things: writing this review, and listening to the song "Rivage". I am playing "Quidam" 24/7!!! At home, at work while jogging ANYWHERE!!! I love it. It's that simple.
   
   Atmadja- Spooky, creepy, soft, and fantastic
   
   Incantation- Energetic and upbeat
   
   Marelle- Soft and soothing
   
   Rivage- Extremly high energy, Loud and Booming*
   
   Zydeko- Short and powerful
   
   Let me Fall- Soft and Beautiful*
   
   Innocence- A bit more classical
   
   Carrousel-An exelellent song with a nice beat
   
   Steel Dream- A nice song starting out slow and then geting funky
   
   Seisouso- An good yet slow song
   
   Reviil- A nice song quick at some parts and slow at others
   
   Quidam- A FANTASTIC way to end the CD*
   
   
   
   * My personal favorite



3. "Quidam" is a hard album to classify. It's not as stylish and flamboyant as "Saltimbanco," not as grand and echoing as "Mystere," not as atmospheric as "Varekai." What it is is...well...wierd. The music hops merrily from genre to genre, blindsiding the listener with unexpected twists and turns. Between them, the twelve tracks incorporate orchestral strings, vocal chants, bayou accordions, old-fashioned calliopes, middle eastern pipes, and steel drums -- and more. The album is a perfect echo of the show itself, which definitely represents the creative peak of Cirque du Soleil.

   "Quidam" has only two flaws that I can see. One: at forty-six minutes, it's the shortest of all the Cirque albums. Two: a lot of music from the show is missing, and a lot of the tracks in the second half are completely unfamiliar. The trick is to forget all this and just enjoy what there is to enjoy. My favorite tracks include "Incantation" (exotic and fun to dance to), "Zydeko" (short but full of energy), "Steel Dream" (pulse-pounding percussion), and the fantastic closing track, "Quidam," which is wonderfully uplifting. The songs benefit greatly from the gorgeous singing of Audrey Brisson-Jutras and Mathieu Lavoie, and even the background singers sound nice and enthusiastic.

   On the whole, I'd say that no Cirque fan should miss "Quidam." Once you get over its length and disconnection from the actual live music, you'll flip.




4. I love this cd! It's the best thing I've ever heard. I hope everyone enjoys it like I do!!!!!!!!!! I have to go, because my stupid brother wants to get on! But, I still could listen to this ALL DAY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!



5. This CD gives a glimpse into the experience of Quidam, a quite inspirational cd- that I can listen to over and over and still feel touched by it's intensity, as if I just left the show. An artistic masterpeice.