| | Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po CD Abbado / Bruckner / Vpo CDS
Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po Music | List Price | $17.98 (You save $3.33) | | Label | Deutsche Grammophon | | Orig Year | 2/1/1991 | | All Time Sales Rank |  44511  | | CD Universe Part number | 1452474 | | Catalog number | 431719 | | Discs | 1 | | Release Date | Feb 01, 1991 | | Recording Time | 1 9 |
Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po Review
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Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po Songs Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po Music Composers on Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po CD : Anton Bruckner Conductors on Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po CD : Claudio Abbado Genres on Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po CD : Romantic Period, Symphony Purchase Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po To buy, Click on price to add to cart | Karajan Gold - Beethoven: Symphonie No 9 / Berlin Po CD (1993)
Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po
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GLADIATOR was nominated for the 2001 Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media.
The combination of the prolific Hans Zimmer and Lisa Gerrard is an ingenious one. He's set lush musical backgrounds to everything from comedies (I'LL DO ANYTHING), to period pieces (DRIVING MISS DAISY), to blockbuster war flicks (THE THIN RED LINE); she's one of the duo comprising Dead Can Dance, perhaps the most singular popularizers of ancient music of the '80s and '90s.
Zimmer and Gerrard contribute a thrilling, boisterous score. These stirring, magnificent pieces are vital to such epics as GLADIATOR, which depend on them to rouse audiences into fits of passion, to suck them into the action, to involve them in every ...
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Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po
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APOCALYPTICA PLAYS METALLICA BY FOUR CELLOS features instrumental cello arrangements of Metallica songs.
The premise of a cello-playing four piece (from Finland, no less) performing the music of Metallica may seem outrageous at first, but much of the metal gods' repertoire translates surprisingly well into this "classical" reading. And while Apocalyptica chooses to concentrate on more recent hits like "Enter Sandman," "Sad But True" and "Wherever I May Roam" for obvious commercial purposes, it is Metallica's earlier, more complex compositions, like "Master of Puppets," "Creeping Death," and "Welcome Home (Sanitarium)," which actually work best in this scenario. The quartet's love and understanding of the music is ...
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Live Recording
Engineers include: Tony Sheppard, Erik Zobler, Barry Rudolph.
Personnel: Jamecia Bennett (vocals, soprano); Core Cotton, Carrie Harrington (vocals, alto); Terrence Frierson, Patricia Lacy, Kimberly Brown (vocals, tenor, tenor saxophone); James F. Wright (vocals, baritone); David B. Young, Michael L. Bowens (vocals, bass voice); Mervyn Warren (vocals, piano, keyboards, drums, programming, drum programming, background vocals); Richard Smallwood (vocals, keyboards, programming); Donna McElroy, Howard Hewett, Angela Wright, Patti Austin, Take 6, Vicki Hampton, Chris Willis, Kim Fleming, Bob Bailey (vocals, background vocals); Commissioned, Daryl Coley, Jackie Ruffin, Dianne Reeves, Janice Chandler, Melvin Warren, Dennis Sawyers, Caroline Evans, Carolene Evans, David Young, Pat Lacu, Michael Weeks, David Young, Darlene Simmons, Al Jarreau, ...
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Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po
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Bruckner: Symphonie No 4 "Romantische" / Abbado, Vienna Po
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Music composed & lyrics written by Paul Gordon, with additional Lyrics by John Caird.
JANE EYRE opened on Broadway at the Brooks Atkinson Theatre on December 3, 2000.
It is no accident that the oversized operettas which became big successes in the musical theater starting in the 1980s, notably Les Misérables (1985) and The Phantom of the Opera (1986), were based on gothic novels written or set in the 19th century, since they provided opportunities for using elements of romantic classical music in the service of complicated plots and strong, if unrealistically good and bad characters. (And it didn't hurt that the stories were out of copyright.) Though such long-running musicals seemed on the verge of dominating musical theater at the time, and were still being performed at the end of the century, the trend had receded by then. Jane Eyre, which opened on Broadway on December 10, 2000 (shortly after the release of this cast album), attempted to revive the trend. Because John Caird, the co-adapter and co-director of the English-language version of Les Misérables, was the librettist, co-lyricist, and co-director of the show, and because John Napier, who designed Les Misérables, also designed it, Jane Eyre was billed in its early advertisements as brought to you by the creators of Les Misérables, a claim that was more than a little deceptive but that revealed something of the producers' intentions. In fact, just as Charlotte Brontë's story of the life of an English governess is not written on the scale of Victor Hugo's lengthy study of French society, so composer/co-lyricist Paul Gordon's musical version of Jane Eyre is not in a league with Alain Boublil and Claude-Michel Schönberg's score for Les Misérables, though that doesn't mean he hasn't tried. His music is full of sweeping romantic passages and his lyrics are wordy, if not witty. There are occasional minor respites from the seemingly endless string of sub-operatic arias, notably the comic housekeeper's song "Perfectly Nice" and "The Finer Things," sung by Jane Eyre's wealthy rival. But they aren't enough to counter the overall impression of yet another musical in which the major characters seem to be bellowing out their overwrought feelings all evening. This is not lessened by Gordon's excessive tendency to have people sing duets with different lyrics, so that you have trouble figuring out what they're saying. (Maybe he had so much plot to get through that he decided to double up whenever he could.) Marla Schaffel seems to be attempting an impersonation of Julie Andrews (minus Andrews' charm) in the title role, while James Barbour sounds like he was brought over from one of Frank Wildhorn's similar efforts, such as Jekyll & Hyde. Maybe Jane Eyre just is not a good source for musical adaptation, or maybe it demands a more imaginative creative team than the one that mounted this version. ~ William Ruhlmann
It is no accident that the oversized operettas which became big successes in the musical theater starting in the 1980s, ...
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