|
|
DiscountDelight - La Luna
|
List Price: $17.98
Our Price: $7.97
Your Save: $ 10.01 ( 56% )
Availability: Usually ships in 24 hours
Manufacturer: Angel Records
|
Average Customer Rating:  
|
|
Binding: Audio CD
EAN: 0724355696823
Label: Angel Records
Manufacturer: Angel Records
Number Of Discs: 1
Publisher: Angel Records
Release Date: 2000-08-29
Studio: Angel Records
|
|
|
|
|
|
Spotlight customer reviews:
|
Customer Rating:
Summary: Cosmic Experience
Comment: When "La Luna" came out, I was very skeptical because I was deeply in love with Sarah's previous album "Eden". However, I managed to get myself a copy and "La Luna" is one my prized CDs today. Sarah's voice is beautiful, as always, and the musical arrangements are just perfect hybrids of classical and contemporary. Sarah's version of "Whiter Shade of Pale" is better than the band who first played the song.
I put this CD on in the car and was immediately asked to lend it, which I didn't do ;) . I highly recommend this abulm!
Customer Rating:
Summary: One of my favorite cds.
Comment: What a treat to wake up to Sarah Brightman's angelic voice in the morning. I have several cds that I alternate to wake me up in the morning, and Sarah Brightman's is one of my favorites.
Customer Rating:
Summary: Ultrashibby
Comment: Unlike other classical-crossover artists minus Emma Shapplin, I believe Sarah Brightman works for art, not for money, or fame, or show off. Like what she said in an interview, she sees music a a whole--music is to be enjoyed (and categorization should never get in the way). That's apparent from this very endearing album La Luna.
I think this album is as a whole better than any song in it although my favourites are still the mystical Figlio Perduto, the dreamy Serenade/How Fair this Place, the gloomy Gloomy Sunday, and the sweet La Luna.
I read what a reviewer said about how any other sopranos could sing better than Sarah on La Luna/Song to the Moon. I think that's not true, at all. Just because the singing isn't wagnerish, it doesn't mean it's easy or lacking in technique or whatever he said. I think it's easier to just sing full out operatic like, say, Renee Fleming than singing with so much passion and being lilting without losing any of the voice's qualities (laid back with 'THAT' voice at the beginning and successively powerful at the end). And, duh, she sings classical properly, ffs.
And tell me a name of a soprano who could sing How Fair this Place with such grace, without sounding like a screeching steel can.
I've also listened to many other versions of Gloomy Sunday. Billie's is weird. Sarah McLachlan's is out of context. Sinead o' Connors' is shabby although the intelligence behind the singing is fine. Only Sarah Brightman's and Bjork's versions are best for my ears.
I have introduced her music (from Phantom of the Opera to Dive to Timeless to Harem) to many people, and apparently they enjoy them very much! There is this radio that's a favourite of us where Gloomy Sunday and Time To Say Goodbye are played as much as Bon Jovi's It's My Live and Sophie Ellis Bextor's Take Me Home and Offspring's Pretty Fly. They're good music and enjoyable.
Albeit I also like many other sopranos. I like Lucia Popp's interpretation of Richard Strauss' lieders, Christa Ludwig's of Schubert's, Natalie Dessay, Kiri te Kanawa, etc. :P
Customer Rating:
Summary: If something is perfect, then this is it.
Comment: It's interesting to discover that most of the low ratings that this album got was from Andrea Bocelli fans who seemed to be threatened by the cd's potential. It's not really fair to compare the two artists as honestly, they are in different leagues altogether although they did share a duet once (and a remarkable one at that...)
I first heard Sarah Brightman on the Harem tour and that was one experience unlikely to be forgotten. I thought Harem was the pinnacle, but then I discovered La Luna, and the pinnacle was eclipsed by the moon. Not one single song was out of place, and all together, they lend this mystic feeling that one round of listening isn't enough, you just have to press the replay button again and again.
I won't claim that I know all the background story surrounding each song. Apparently, most are cover and some of you have taken particular dislike just for that single fact. Except for Dido's "here with me", I've never heard of the songs before and I think Sarah's voice is more than capable of giving them justice. It's really hard to find a standout song, because all of them are exceptionally done. But if I'm gonna be pushed in a wall and forced to just pick a couple, La califfa is very haunting and heartwrenching. And of course the title track, La Luna. I wish i can hear the more-operatic version of it just to soothe my curiosity.
Eagerly awaiting her next thematic offering...
Customer Rating:
Summary: Lovely album & voice
Comment: I have only recently started listening to Sarah Brightman but her albums and voice are absolutely beautiful.
I can't understand the critics that say she is not a true operatic singer - who cares? She has never said she was and I like her music for what it is. Personally, I far prefer her way of singing to the true operatic singers anyway. Her voices goes from pop to classical so easily and she sounds wonderful. I also don't hear the breathy, weedy sound they have complained of either - her voice sounds strong to my ears and so far I love every song on the albums I have bought. I still have to try Harem and Eden and I am sure they are as good.
If you like these type of 'crossover' singers another British one to try out is Russel Watson - he is the male version of Sarah Brightman. Also Katherine Jenkins although I much prefer Sarah Brightman to Katherine.
|
|
|
Editorial Reviews:
|
Superstar crossover vocalist Sarah Brightman greets the new millennium with an even surer, bolder sense of her unique musical niche than that evident from 1999's Eden. Like Eden, La Luna is a concept album only in a vaguely free-associative sense. The selection of material here touches on images of the moon that reinforce its ambiguity as a force known to draw together "the lunatic, the lover, and the poet" (Brightman's photo shoots for the album do seem to suggest a sort of Titania-like figure out of a New Age Midsummer Night's Dream). And it's a stylistic as well as thematic voyage, coursing from such contemporary sounds as synth pop (on "This Love") through vintage jazz standards (Billie Holiday's atmospheric and haunting "Gloomy Sunday") to high opera for the title track (a version of the sublime "Song of the Moon" from Dvorák's fairy-tale opera Rusalka), and drawing elsewhere on the gorgeously sinuous melodies of Bach, Handel, and Rachmaninov--one song, "Figlio Perduto," even adapts the slow movement of Beethoven's Seventh Symphony. Throughout, producer Frank Peterson swathes Brightman's shiny small voice in luxuriant fabrics of sound. Detractors will lament the resulting sameness of tone--no matter what the style involved--but Brightman's focus on spinning an ethereal spell never gets eclipsed. This domestic release includes three tracks not available on the import version and has a special treat hidden in the final track as a bonus. --Thomas May
|
|
|
|
|
|
|
|
|
