A Strong First Showing
346632
Post apopolyptic comes to mind when reviewing Eisbrecher's self titled first CD.  Many of the tracks have a style that feels very cold and creates a sonal landscape of something like Terminator or Blade Runner, dark and futuristic.  This is a very solid album, and a must own for any German industrial fan, or any industrial fan in general.

The album has a flow to it that feels very natural, mixing "slower" songs in between more upbeat and guitar heavy tracks.  This trend is even seen in some of the tracks, starting off slowly with keyboard driven style and moving into power rock.  Eisbrecher is one of those albums that never gets old, as I find something new every time I take a listen.  The variety of songs is impressive as well as the amount that they packed onto this disc.  Sixteen seems to be pretty high now a days.  Normally I would put a track rating section about here, but all the songs are in the 9/10 to 10/10 range.

So, how does this CD relate to Rammstein and Megaherz?  Well, compared to Rammstein's new album, Reise Reise, there is no contest, as Eisbrecher is far superior to that CD.  Eisbrecher is right on par with all the other great albums that both Rammstein and Megaherz put out over the years, and by buying this album, you won't be dissappointed.
2766176
This show isn't as well known as some of the others from '74 but don't let that fool you as this one's also a heavy hitter. It isn't quite as long as some of the others from the same period and the set list is fairly standard as well. They were even able to fit Seastones on the the release. Fortunately, the performances are generally very strong and the jams get pretty far out there.
3391222
Chandos has recorded Gade's first symphony before, in a very good performance conducted by Kitaenko. While I think this one, with the Danish National Radio Symphony Orchestra led by Christopher Hogwood, doesn't quite surpass the older release it is still a very satisfying conclusion to Hogwood's cycle. An interesting thing about Gade's compositional career is that the older works are fresher and more imaginative than the music he wrote later in life, and the first is probably the best of his eight symphonies - there is a certain spirit and energy to it that he never seems to have recaptured. Hogwood's approach is lively and quite fast, and the orchestral players respond magnificently, but it might, perhaps, lack just a little bit in atmosphere.

The fifth is still a pretty good work, although the inclusion of a piano obbligato is a little questionable (it works extremely well in the finale, but in the remainder the piano seems a little out of place); I have no concerns regarding Brautigam's brilliant, virtuosic playing, however, and the orchestra whips up lots of energy and spirit. Stylistically, both works are rather Mendelssohnian, but Gade had a knack for coming up with a good tune and develop it with imagination and skill. Presented in very good sound, this is a very attractive release if perhaps not an essential addition - you'll need a performance of the first symphony, but here Hogwood doesn't overshadow his competitors. Nevertheless, a firm recommendation.
3393659
The first in a series yields a promising start. Having a young detective and relative of Ike's investigating crime in a time of war is a fine premise. Boyle comes from a family who has a history of both war and police service. The year is 1942 and Boyle finds himself in London shortly after joining the army. Soon as he arrives he is investigating the death of an official of the Norwegian government in exile. This first installment is somewhat simple and cartoonish but entertaining. I wonder if the author is striving for the period's melodrama or if he is just finding his legs (the book's cover art is excellent but summons up a Hardy Boys type of flavor). I plan to find out where Benn takes Boyle by reading the subsequent works. I hope the series and Boyle grow a little more gritty along the lines of Kerr's Bernie Gunther and more nuanced like Airth's Madden.
2588084
This a wonderful first album by a clearly talented new artist. There's some jazz, some country, some blues... all of it, high quality stuff.
Most of the songs were written by either guitar player Jesse Harris or bassist Lee Alexander. There are also a couple of classics like Hoagy Carmichael and Ned Washington's "The Nearness Of You". There are no bad songs, even though Norah's own have been underestimated by critics.
Her piano playing is also very good. You can notice that especially (but not at all exclusively) on the last track.
Norah Jones is great. In case you're wondering, she is also what Jane Monheit has been pretending to be: a young woman who is ready to deliver good music with indispensible maturity.
1655850
The standard "Promised Land" launches the show high, as Weir enthusiastically delivers the lyrics with that energetic good humor and twinkle in the eye; Kieth's piano  very audibly sparkles and it becomes apparent this is another fine recording by Owsley Stanley: good bass/treble balance; instruments well spaced; audience and band coupled well; overall clear vocals and Bill's drums sounding very wholesome, giving the low-end a good helping of oomph. Bob's guitar cuts, slices and flourishes are a bit buried here and there, but this improves as the show goes on.

The "Sugaree" following is really well paced in contrast here, and it carries a good chunky weight, with a nicely sludgy and loose feel.
Phil issues a little friendly advice to the excited crowd about not getting pushy and then we're given a standard "Black-Throated Wind".
"Friend of the Devil" walks confidently in its full-electric incarnation and is quickly over before "El Paso" brings things back to earth, making way for a nice "Bird Song" with relaxed band improvisation and solid lead from Jerry.
"Big River" is quite bluesy here and is played at an interesting pace- something's running on the back-beat a little more than usual..or something...I'd be interested to know what you think about it. Anyway, always good to hear a particularly unique first-set standard.

"Tennessee Jed" is joyfully rendered and is a hoot, as usual.
"Mexicali Blues" is fired-up by Jerry's jaunty runs before "China Cat Sunflower>I Know You Rider" first meanders to existence at an easy gait, but becomes more compelling as the temperature builds, gently melting into an easy "Rider".
So far a solid, if sometimes relatively unremarkable, first set.

Disc 2:
Ah, "Playing In The Band": concise and tight, short but sweet in its '72 form; this version brings the highlights and is excellent- a quantum leap in intensity.
"Casey Jones" is in classic '72 style and..."We're gonna take a break and we'll be back in just a couple minutes, so hang loose."
"Truckin'"- starts soft, gradually becoming its fine, funky and boogieing self as it leaks into some good jamming.
"Loser" broods tight, and Bob Weir's guitar is turned up now, as his great rhythm strokes and complimentary licks really make this version.
"Jack Straw" starts quite fast, which gives it an unusually rushed feel, but it rounds out okay and brings forth a fine "Mississippi Half-Step" which, though only in its precocious infancy, and despite some wavering vocals at its end, is a good one and we burn through the sails into the sharp sunlight of "Me And My Uncle".

Disc 3:
"He's Gone" swaggers, glides and gracefully limps its way unsuspectingly into a very large beast indeed...One of the two monsters that were to take turns melting minds at shows during '72, "Dark Star" stays in the cave on this night in Baltimore, whilst "The Other One" spends just under forty minutes (longest on an official release) breathing varying degrees of fire into the ether...And this is without doubt, at least from my tiny view, one of the greatest Other Ones of any year, not just '72. The drum solo seems to have Bill channeling the absent Mickey Hart to join him; Jerry, Phil and Bob are phenomenal; Keith adds really fine, seamless piano, and...well, the dragon has many heads here. Stunning.
An exhausted, but elated psychedelic sigh is breathed out with a really sweet "Sing Me Back Home", but before stumbling into bed, "Sugar Magnolia" finds some quality energy in the vaults and "Uncle John's Band" finishes the Pick with head held high.
Highly recommended.

Note: an encore of "One More Saturday Night" was played but is the only part of the concert not included here.
1106354
The first half hour of Zack Braffs debut as a writer and director establishes him as a filmmaker of immense talent, and I hope hell get to make more films soon.  It's opening act high captures a youthful sense of upper-middle class depression, alienation and ennui as well as Ive seen, with comedy that makes you hurt inside, and inventive visual story telling.

After that the film comes down to earth somewhat, but its still full of goodies. Peter Saarsgaurd in particular creates an unforgettable supporting character while being complexly understated.

This story of an depressed actor in his late 20s returning home after 9 years has a lovely mix of quirky humor, and well-earned sadness. Braff satirizes small town America without putting it down, and pokes fun at depression and family tragedy without it feeling shallow - neither very easy feats.  Great use of music as well.

Where the film falters for me is in the love story, which feels bizarrely familiar and unimaginative compared to the storytelling  all around it.  Also, while both fine actors, I never really felt any great chemistry between Braff and Natalie Portman.  In some ways Braff's relationship with Saarsguard feels more nuanced. Last, Portmans character feels so young, so unformed next to Braff that its hard to believe shes ready for a serious relationship.

The very end has received some justifiable carping from critics as a bit of a cop out, but it didn't bother me nearly as much as such things usually do.

But all that said, this is a terrific debut film, and a terrific film about being young and lost.
2469893
I recalled vividly when this recording was first issued (on LPs) that Eva Marton was hailed as THE Turandot.  Her performance is stunning, and her voice was really suited to this difficult role at this phase of her career.  Her In questa Reggia has remarkable control I saw her in the role much later when her voice was no longer as sturdy.  Katia Ricciarelli, who recorded the role of Turandot herself, does pretty well as Liu but she has trouble with her high notes in Signore, ascolta.  By the third act, her voice warms up so she sings her death scene very well.  Jose Carreras makes a good Calaf.  His Nesum dorma is quite good.  He sustains a truly excellent performance for the entire opera.  However, it was not long after this performance that he was diagnosed with leukemia, from which he successfully recovered.  The supporting cast is very good with some excellent singing.  Ping, Pang and Pong are wonderful.  The Vienna State Opera Chorus is first rate throughout the Opera.
For Lorin Maazel this performance marked his first as music director of the Vienna State Opera, so he was anxious to turn in a glittering occasion, and he succeeded. Turandot can be a visual feast for the eyes as much as an aural treat. This being a live performance some places in the score may be a bit slower, for dramatic effect perhaps, but the overall recording is warm and well balanced.  The riddle scene in the second act is very dramatic and the closing scene is very moving.
The overall noise is minimal with some stage noise and applause at the start and finish of each act.  Liu's aria in the first act got a warm round of applause despite Ricciarelli's thin upper notes.  The booklet nicely documents the writing of this opera and Puccini's untimely death.  The only unsetting thing about this set is that it is not indexed.  If one wants to skip to a particular aria or point in the opera it is exceptionally difficult.  This is the only opera that I have that is like this and if Sony ever reissues this Turandot, I hope they will correct the problem.  However, if you want to have a dramatically powerful Turandot don't wait.
1215137
I saw the new version of the show a few months back, having virtually no prior experience with it (except maybe years ago when I was little).  I thought it was enjoyable, but not great; a bit disjointed (a bunch of  random skits).  I came across the CD a few weeks later at the Virgin  MegaStore listening station, and purchased it.  I'd say it is one of the  better-executed recordings in my (fairly) extensive cast recording  collection.  I think the orchestrations are awsome, particularly the new  arrangement of "Happiness" at the end.  I returned to see the  show the first evening performance after the Tony's.  The audience went  absolutely wild upon Kristen's and Roger's initial entrances.  Actually,  the audience was pretty wild throughout (the closing had already been  announced).  Needless to say, I enjoyed the show a thousand times more this  time.  The cast was extremely friendly and gracious (especially Roger and  Kristen) at the stage door afterward.  I would have loved to see the final  performance but (i) it wasn't at the TKTS booth, and (ii) I hadn't seen the  Civil War yet, which was closing the same day.  I highly recommend this  recording.
485746
The staging is amusing. In fact, I was slightly shocked at the beginning where the depths of the Rhine is represented by a hydro-electric dam and those Rhine-maidens become "call-girls". Yet, in some strange way, the production works. And it grows on you with each successive viewing.
The direction of Patrice Chereau is fluent. Indeed, it's so fluent that one feels that the 2.5 hour work lasts only for slightly more than an hour. Maybe it's because Chereau's clever direction (and Brian Large's wonderful video direction) made viewers focus on the dramatic strengths of this opera. Or maybe the staging is so full of interesting (and dramatically valid) strokes that one is totally engrossed by the viewing experience. The performances of the singers are fine, too.
Despite initial reservations, I must say I like it a lot now.
3247943
An opera with a casting from strength to strength with a very young Nicolai Ghiaurov and Mirella Freni among the highlights.  Conducted in the massive grand opera tradition by Klemperer.  The biggest surprise for me was the glassy, bass light digital remastering of the early stereophonic release provided by EMI.  I had at one time owned a copy of the original vinyl lp release and didn't remember the lack of warmth displayed by the cds.  But this is a simple problem to remedy, the bass portion is still there-- it just needs a boost in balance.  I'm also surprised that earlier reviewers here ignored the issue entirely.  Otherwise, a wonderfully traditional rendition somewhat lacking in the numerous comedic strands found in the mostly dark score sung and played gloriously.
4125308
A terrific debut for a detective series that continues to grow stronger and deserves to be better known (it is not hard to imagine DC Smith on Masterpiece Theater). I have now read from this first book through to Luck and Judgement, and agree with other reviewers that Grainger has an exceptional story-telling ability. His handling of dialogue is superb and his light touch with the narrative moves the story forward with just the right amount of author-supplied detail, leaving the reader to imagine the rest.

I particularly enjoyed the relative lack of gore and the focus on procedure, notably the interviews, formal and informal, where DC's skills come through in subtle ways. DC is not a flash character, nor is he a loud-mouthed maverick riding on his exceptional prowess as an investigator. Grainger gradually builds our affection for a man who many of us would not notice in a crowd and does so without the all-too-common domestic melodrama used to round out law enforcement characters. And then there is the wit, sharp and on target, and rarely gratuitous.

Frankly, there have been many British detective series writers debuting in recent years, some of whom I really like (e.g. Sharon Bolton, Jane Casey, and Elly Griffiths). But there have also been some not-so-good efforts, that I won't name, debuting on Kindle and possibly bypassing editorial oversight (as an author I would not put a book-length work out there without some form of editorial review).

I don't know exactly how Graigner is doing it, but he's produced three delightful novels in a row and I'm eagerly awaiting the next.
60302
This movie gets off to a slow start, taking a lengthy sideroad to showcase young Anna Maria Alberghetti's singing chops.  While she definitely shines in her big debut, the scene has absolutely nothing to do with the movie and should have been left out.  Some further 'tightening up' would have helped, too--leaving about 20 minutes of this movie on the cutting room floor would have elevated its status as a Capra movie.
Even so, it's not a flop by any means.  Franchot Tone almost steals the show with his affable, aplomb portrayal as Wilbur Stanley, and Alexis Smith makes a hilarious transformation from dour, pent-up 'kissing cousin' to vampy seductress.  And, even though neither Bing Crosby nor Jane Wyman can call this the best film in their oeuvre, they deliver solid performances and fans of either will find this an enjoyable movie.
2937422
A very strong first CD. Her vocal range is deceptively wide, especially her top range. She has a pure tonal quality and her pitch is incredible. None of the vocals sounded over produced or auto-tuned. While she did not write any of the songs, there aren't any that are inappropriate for her age or life experience. There are several songs that will definitely chart well. Room for growth on the nuances of delivery, but a pleasure to listen to such a talented young singer.
1125008
Yes, it is nice to to see and hear this rarity; though not Massenet's best score, it certainly has its marvelous moments. Of course, the title role is a great vehicle for any fine bass (one thinks of Sam Ramey, who is now the right age for it), and the other two principals, Dulcinee and Sancho are given ample opportunities to shine.

All three singers give a competent perfomance in what is at times a rather static (and sometimes cryptic) staging. Alessandro Corbelli's Sancho livens things up considerably when the going gets slow and, as usual, gives his character dimension and depth, particularly in the final scenes of both acts. In the title role, Giacomo Prestia displays dignified, if somewhat wooly, tone. Laura Polverelli is a dusky Dulcinee, not the most beautiful mezzo voice, but perhaps the audio has something to do with it.

The audio quality is somewhat disappointing: I found myself turning up the volume one minute to better hear the singers, and the next minute frantically turning it back down when my ears were suddenly assaulted by piercing piccolos and pounding percussion. This happened more times than was comfortable for enjoyable listening. It might have been my equipment, but other opera DVDs sound fine, so I assume it was the fault of poor mic placement and subpar sound engineering.

All in all, it's a nice addition to a truly avid opera devotee's comprehensive DVD collection, but perhaps not for those just starting theirs.
1135470
This recording dated from 1966, the year after Caballe's debut recording of "Traviata" with Bergonzi and Milnes, and she is in splendid voice here.  As far as I know, it was the first recording of this opera. The casting is very strong: the excellent Shirley Verrett takes the trousers role of the ill-fated Maffeo Orsini, and Alfredo Kraus is Gennaro, the son of Lucrezia, but he does not know that she is his mother.  Most surprisingly effective, perhaps, is Ezio Flagello as Lucrezia's husband, who suspects his wife of having an affair with Gennaro, whose true identity he does not know either.  All the supporting singers -- Gennaro's youthful friends as well as the Borgia operatives -- have fine clear firm voices.  The opera itself is less musically engaging than, say, "Lucia" or "Anna Bolena," with its melodic material being a bit squarer and perhaps not affording the singers quite as much opportunity of expressive singing, but the quality of the singing is first rate.  Why wasn't Kraus recorded more often in the 1960s?  Why didn't we hear more of Flagello (though he was a fine Silva on the Bergonzi/Price "Ernani")?

I hesitate to give the fifth star because Perlea's conducting is undramatic.  It's tidy and clear -- but given the squareness of the music, he needs to inject it with a bit more passion.  And both voices and orchestra could be a bit more present -- all of these voices have more warmth and character than this recording allows to come through.  With these reservations, though, it's still a fine set.  I doubt that the cast had much (if any) experience with it on stage, and that too might explain its relative restraint.  But Caballe, Kraus, and Flagello in their primes shouldn't be missed!
2674535
If you've never seen a production at the Globe, this DVD is worth the price just for the chance to see this unique playing space in action.  The audience interaction is wonderful, and the gathering darkness reinforces the tone and mood of the final scenes in ways that I hadn't anticipated.  It's easy for modern-day readers to forget that Shakespeare wrote his plays with outdoor performance in mind, and that early modern audiences were only inches from the actors, and this production makes inventive use of these staging conditions.  The play is performed with very few cuts -- it's a rare chance to see often-cut material like the Clown scenes, and this makes it an excellent version to use in the classroom.

Unfortunately, Tim McInnerney's Iago is not wholly convincing, especially in his soliloquys and his big scene with Othello (3.3).  While his scenes with Roderigo are entertaining, he comes across as too angry throughout this production, and it's hard to see why Othello and the other characters trust him.  I found it difficult to imagine an Iago with so little control over his own emotions as a plausible manipulator.  Zoe Tapper's Desdemona, on the other hand, is pitch-perfect.  She's too often played as a shrinking violet, but Desdemona is the descendant of Shakespeare's earlier comic heroines like Rosalind and Beatrice.  Tapper's Desdemona is genuinely innocent, and bewildered at the change in Othello's behavior, but at the same time, she's a bold young woman who defies her father to marry for love, banters with Iago, and pleads Cassio's case at the risk of further antagonizing her husband.  Her final scene with Emilia and her murder work particularly well, but so do her earlier scenes; her affection for Walker's Othello is real and tangible, and this production feels like a comedy that has missed its way.

I enjoyed this video very much, and I look forward to sharing it with my students.  I hope there will be more Globe performances released on video in the future.