Carcinoid Movie Reviews
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His voice is still in good condition; it has lost some of the freshness of his earliest years but compensates with greater weight and depth. Outstanding selections include "Nessun dorma," "E lucevan le stells," "Recondita armonia," and "Una furtiva lagrima," filling some of the gaps left on the previous disc. Flutist Andrea Griminelli plays some excellent solos between vocal numbers, though that may not be a prime consideration for Pavarotti fans. --Joe McLellan
Here he sings Puccini, Donizetti, and Neapolotan songs. Dare I say, I have some complaining to do. Could Pavarotti survive if he sung much more Verdi? (Di quella pira, Quest o quella, or La donna e mobile) And also, perhaps, some Rossini? (Ecco rident in cielo, or something from William Tell) The conductor, Leone Magiera, was not the greatest choice ever made. Why not Zubin Mehta or James Levine?
Anyhow, here is La Grande Tenor at his best. Enjoy!
All his standard repertoire pieces are here, including an excellent "Pourquoi me reveiller" and a quite electrifying "Vesti la guibba". The encores are outstanding, and the whole programme has been put together thoughtfully. It is a shame that he couldn't have been persauded to sing "Ch'ella mi creda" or "Che gelida manina", or dare I say, a little bit more Verdi?
Anyway, this is Big Lucy at his best - and the audience love it, as will you if you invest in this DVD. When it arrived, we all settled down to watch it with a glass of wine after dinner one Saturday night. You know, my mother in law insisted that I order her a copy from amazon.com immediately. Which I duly did. Is there a better recommendation that that?
AS WELL AS IT DID IT IN FILLMORE EAST
Wynette does not have a large voice, but is a supreme country stylist. There is a subtle sadness and vulnerability to her persona, and a delicate beauty, which also add to her appeal.
The music: The songs are My Man / Another Chance / Apartment No. 9 / I Don't Want to Play House / Your Good Girl's Gonna go Bad / D-I-V-O-R-C-E / Singing My Song / 'Til I Make it on My Own / Rocky Top / Alive and Well / Turn Around / What a Difference You Made in My Life / You Light Up My Life / Makin' Love / You and Me / Take Me to Your World / Womanhood / Crying in the Rain / Fairy Tales / Amazing Grace / I'll Fly Away / Will the Circle be Unbroken / I Saw the Light / Stand by Your Man.
The musicians. Tammy is backed by an excellent band, and they are: Rick Murrell, bass and vocals; David Sloas, guitar and banjo; Mike Douchette, steel guitar and harmonica; Charlie Carter, rhythm guitar; Steve Samuels, keyboard; Ken Janson, drums; and Sue Richards and Paula Murrell, vocals.
This is straight concert footage, with no fancy camera angles and no endless cuts to the audience as in some live films; it is an hour long, and though the appreciation of this concert will be limited to Tammy's fans, they will love it, and it is a nice way to remember this great country legend, who took leave of this earth plane in 1998.
What a difference in sound quality as compared to the original A&E Live By Request aired program. The producers of this DVD removed all the phone calls and allowed the final song (No Can Do) to play until it was completed. So, it was like the phone calls never existed. The broadcast had a lot of replaying song parts for commercial breaks. These are no longer present. The DVD also includes an exclusive interview and 5 bonus songs after the show went "off the air." They included most of the phone calls in a separate section of the DVD. The only song that was not included was "Method of Modern Love," which was only played for a few seconds in between commercials.
I recommend this DVD as, hopefully, one of many to come in the future by the most successful Philly-influenced Pop/Rock duo of all times!
This CD/DVD shows them at their best. It's a great concert, based on the "A&E Live By Request" call-in show in spring 2003. This set includes an audio CD of the concert, as well as a DVD with the concert, bonus songs, and an interview.
2. This is only the third release on DVD of Korngold's film music. The PORTRAIT portion (a documentary on Korngold's life) was made in 2001 and initially shown on German television. Of special interest to film-score enthusiasts is the "Emigration to Hollywood" segment (Chapter 8, 11:46). It includes superbly sounding music from extant, "original" sound tracks (OST) (prior to being intentionally destroyed decades ago, Korngold's optical film recordings were transferred to open-reel tapes) including THE ADVENTURES OF ROBIN HOOD as well as newly-recorded performances of music from ANOTHER DAWN, ANTHONY ADVERSE, DECEPTION, ESCAPE ME NEVER, and THE PRINCE AND THE PAUPER. Even the sound (and visual footage) from film clips (going back to A MIDSUMMER NIGHT'S DREAM) is well above average. But this is not quite musical nirvana, as we shall soon see. The CONCERT portion of the DVD consists of four works (three have opus numbers) recorded in 2001. CELLO CONCERTO IN C MAJOR, Opus 37 (1946) is of special interest, since Korngold initially composed this one-movement work as the concluding center piece for the film DECEPTION (in part consisting, of course, of variations on themes from some of his previous films). The concerto in the film is about six minutes end-to-end, and Korngold doubled its length for the concert hall. It is the latter that we hear (and see) on the DVD conducted by the American conductor Hugh Wolff and performed by the Frankfurt Radio Symphony Orchestra (FRSO). In the film, Eleanor Aller Slatkin--mother of future conductor Leonard Slatkin--played the cello on the OST as well as in the world premiere of Opus 37 in 1946 (over coast-to-coast radio). On the DVD, the cello soloist is Quirine Viersen, about whom more is to come.
3. The documentary on Korngold's life is a one-of-a-kind, epoch-defining event! Regrettably (and ironically), the same can not be said for the music. PORTRAIT is needlessly bloated with gratuitous (dare I say "boring"?) repetitions of the music presented in the CONCERT portion--if you first watch PORTRAIT, you have pretty much heard (and seen) a large part of the CONCERT. The "Emigration to Hollywood" segment also suffers from a case of the bloats with the exception of the Opus 37 excerpt. But the video editing of this excerpt seriously distracts from the music. Other film-score music is mostly a frustrating collection of musical snippets and fragments (only two have complete cues). Now this could be a teaser/preview of things to come (such as future releases of full, historical OSTs from Leslie Korngold's Korngold Archive and/or new recordings of OSTs from Wolff and the FRSO); or it may be just the result of staying short of copyright infringement. Compensating for disappointments in the film-score domain, "Emigration to Hollywood" contains a plethora of on-camera insights and observations from a stellar group of Korngoldian subject matter experts (just about all who are still alive and kicking are heard from). They include: Korngold's biographer Brendan Carroll; film historian Rudy Behlmer; Korngold's daughter-in-law Helen Korngold; composer and arranger John Morgan; conductor William Stromberg; Warner Bros. VP of Music Daniel Gould; and archivist Bernd Rachold. Plus the first public showing of Korngold in color (from family home movies). A must see!
4. Opus 37 in the CONCERT portion is only the latest in a series of modern recordings (all others have been on CD). Using BMG RCA Victor GD80185, 1973 (conducted by Charles Gerhardt, and performed by Francisco Garbarro [cello] and the National Philharmonic Orchestra) as the analog-mode reference recording, the conducting on this DVD is workman like, somewhat labored, and slow in tempo; the orchestra, though, seems well rehearsed and disciplined; the sound (miking, recording, and mixing) is outstanding (no doubt due in very large part to the digital format selected--see below); and the video (camera coverage and editing direction) is repetitious, but fully professional. The cello soloist, Quirine Viersen, brings new meaning to the term "dramatic instrumentalist." Her playing is certainly competent (and, perhaps, close to outstanding), but her histrionics (seen in much too many quarter and head shots) is way over-the-top. It seriously distracts from her instrumental skills (unless you turn off the video and just listen--highly recommended!).
5. On a closing technical note, squeezing linear (uncompressed) PCM stereo onto a DVD with live-action video is not an easy audio-engineering feat. The German label Arthaus Musik has now done this for an impressive number of releases covering several musical genres. The sound leaves CDs in the dust! But to fully enjoy, you may want to turn off the effects channels. Otherwise Dolby ProLogic kicks in and spoils the ear candy.
It is however a wonderful exploration into the music of this forgotten composer, and very thoughtfully done I believe.
I feel it to be somewhat of a slight to the entire life work of this man, who could compose music of this sophistication and yet retain such a child-like heart. And 'bloated' would not be the adjective that I would associate with any his music.
If Anne Sophie Von Otter does not tear your heart out with her singing of Marietta's Song, then you have no hope.
Watch, listen and understand.
It is brilliant, quite the most involving and challenging series currently in our ken. And whilst great entertainment series like "The Sopranos", and "Sex and the City" are, well, great entertainment, they don't involve you so completely and caringly in the characters the way 6FU does.
One of the wonderful Duke Ellington numbers in the boxed anthology from France that I have, has the occasional track prefaced by the great man introducing it. Sometimes there is a little anecdote, as in the case of a particularly nice number called "The Tattoed Lady". With his usual insouciant charm, Ellington explains that the lady was tattooed all over, not with pictures or words or things but with a series of zig-zag lines, each like a W.
The letter W has four strokes, and so he transcribed those four strokes into four notes ( and here he played the four notes). These four notes of course have different timbres, and different qualities. And naturally they gain different feelings depending on the instrument that plays them of course (and here, several instruments took it in turn playing the four notes. Then DE said that they had great fun using these four notes as the basic theme for the following music. And the band played "The Tattoed Lady".
I wondered whether the same idea had hit the fellow who composed the brilliant and stunningly original 6FU theme. There are four central characters, and the calibre and timbre of the note assigned to each reflects their characters - fragile, defiant, cool, conservative... Once I remembered Duke Ellington's introduction to the origins of the "Tattooed Lady" theme lady theme, it never escaped me every time we watched an episode. Of course the tagged on two or three notes were Brenda and Keith... and father.
The footage shown would be awesome to any Queen fan. The DTS (if you have the capability) puts you right there in the crowd. But it's ONLY the last part of an entire day of music.
I was really hoping for the entire concert and if that ever comes out, that'll be the one to own.
As a HUGE Queen fan, I was disappointed there wasn't more!