Paris

Track Listings

1. I Love Paris

2. Can Can

3. Musetta's Waltz

4. Parisians

5. Reverie

6. Last Time I Saw Paris

7. Paris in the Spring

8. Allez-Vous En

9. Clair de Lune

Tracks:

Rhapsody in Blue
An American in Paris

Customer Reviews:

Gershwin/Bernstein: Rhapsody In Blue and American In Paris.......2007-01-16

In my opinion you just can't go wrong with Leonard Bernstein and the New York Philharmonic Orchestra. I have many of their recordings in addition to many recordings of other orchestras; some great, some not so much...but the New York Phil is cosistently great. This recording is a superb example of Gershwin's writing, thoughtfully reproduced by a fine orchestra. Both the brashness of the pieces and the subtleties are interpreted well by Mr. Bernstein and the orchestra. The soloists are nothing other than excellent. The brass section is easily as strong as the Chicago symphony's famous section, and the strings intonation is superb. The pathos and the humor of both pieces are readily projected by this sensitive orchestra and conductor. I couldn't recommend this recording higher!

A glorious tribute!.......2006-11-22

To play Gershwin accurately demands from the player, the absolute domain of an invisible taste, unsaid in the score. Few pianists (and Bernstein is among them) were able to convey the listener, this savoir vivre, humor, elegance, that idiomatic atmosphere that plainly justifies your effort.

To my mind, there just have been five pianists who have surmounted this peak: Oscar Levant, Jesus Maria Sanroma, Eugene List, Earl Wild and Leonard Bernstein.

So, under any pretext you should miss this invaluable musical gem.

A Truly Great Performance.......2006-08-19

I originally found this record in a used record store and purchased it for $1. This was not too long ago. After listening, i could not believe that this record only cost me $1 and that some idiot actually sold this to a used record store without listening first. I have never heard a performace of Rhapsody In Blue that is as powerful and heartfelt as this one. Bernstain melts into the piano, resulting in a performance that outshines so many Gershwin performances that exist. On the other side of the record is An American In Paris, a textbook tone poem, and i mean this as a great compliment. The images of Paris and a partially homesick/partially jubilant American strolling along exude from every note. When i found these great performances on CD, i snatched up a copy as quickly as i could. GET THIS RECORD. It is truly a Great Performance.

GLORIOUS!.......2006-07-21

This review refers to "Great Performances: Gershwin - Rhapsody in Blue/An American In Paris"(CD)

Well, how can you go wrong when Leonard Bernstein, with the help of the Columbia Symphony Orchestra and the New York Philharmonic, conducts(and performs brilliantly on piano)these two George Gershwin greats.You just can't. Even the quality of the CD is excellent.

Rhapsody will carry you away to some other place for a while. From that very first bluesy note, Bernstein and Orchestra will have you wrapped up in all it's jazzy glory. It's music that defines the word greatness and it's THE song I would pick (if I could only pick one) that exemplifies the masterfulness of American composers.

An American In Paris is wonderful. The feeling of a tourist on the loose in Paris is expertly portrayed through this recording. The highs, the lows and all the delights. I felt a part of it all(and I'm a long way from Paris!)

Now, if you have read any of my other CD reviews, you know that right about here is where I complain ,and sometimes even take a star off of my rating, when a CD is too short(considering how easy it is to get music elsewhere these days). But I have to say, even though the total time on this CD is only about 35 minutes, what a glorious 35 minutes it is.
Rhapsody a wonderful 16:26 and American In Paris a Yummy 18:22.
It's music that never gets old. It stands the test of time, and many repeated playings.

So you may want to keep a copy of this in your car. A great way to start your day. Listen on the way to work, and you'll have that "what? me worry?" attitude. Also fabulous for destressing on the way home from a long days work.It just seems to make everything okay.

As I said the CD has a nice quality. It also has a booklet with some notes on how Gershwin came to compose these songs.

Gershwin performed by Bernstein..it was meant to be!
Enjoy it...Laurie

The Definitive Version and Good Sound Quality!.......2006-06-06

This ADD recording has surprisingly good sound quality for an older recording that hasn't been remastered. The performance by Bernstein and both the Columbia Symphonic and the NY Philharmonic on the pieces is simply breathtaking. You'd be hard pressed to find better interpretations of these Gershwin masterpieces. The only problem with this album is that it's very short and although would have been the perfect length on an lp or cassette as it was originally, it seems to be a waste of cd space here. Sony should probably remaster this and add some tracks like perhaps "Porgy and Bess" to make it a better value proposition. I hope they re-release a remastered version on mini-lp sleeve replica packaging too.

Average customer rating:

Diana Krall at her best
you know that
Very Enjoyable and that's all that matters...
Not a fan of live albums, but this one's energy shines through
terrific band

Live in Paris
Diana Krall
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006J9OT
Release Date: 2002-10-01

Tracks:

I Love Being Here With You
Let's Fall in Love
'Deed I Do
The Look of Love
East of the Sun (and West of the Moon)
I've Got You Under My Skin
Devil May Care
Maybe You'll Be There
'S Wonderful
Fly Me to the Moon
A Case of You
Just the Way You Are

Amazon.com

Recorded at the historic Olympia Theatre in Paris in November 2001, this is Diana Krall's first live album. Backed by her quicksilver combo of bassist John Clayton, drummer Jeff Hamilton, and guitarist John Pisano (on some tracks), Krall's jazz heritage comes through loud and clear on this program of standards, ballads, and bossa novas. On Peggy Lee's "I Love Being Here with You," Bob Dorough's "Devil May Care," and Frank Sinatra's "Fly Me to the Moon," Krall's snappy, postbop piano playing shows off her debt to Nat "King" Cole and Jimmy Rowles. Her cool contralto vocals are illuminated by the Orchestre Symphonique Europeen, under the direction of Alan Broadbent, as well as the London Symphony Orchestra, led by conductor Claus Ogerman. Krall's deep take on Joni Mitchell's "A Case of You" is a great choice for an encore, and the CD concludes with Billy Joel's "Just the Way You Are" (a studio track from a film called The Guru), with tenor saxophonist Michael Brecker and bassist Christian McBride. This collection only hints at what Diana Krall has to offer in the future.--Eugene Holley Jr.

Album Description

Canadian version of 2002 live release includes one exclusive bonus track, 'Charmed Life' & the U.S. bonus track, 'Just The Way You Are' (Studio Version/Billy Joel cover). The first-ever live concert recording from Grammy winning vocalist/pianist Diana Krall, recorded at the Paris Olympia Theatre winter 2002. Here finally, captured in amazing audio quality, is an album showcasing the magic of Krall's concert performances. Krall & her band - perform some of the tunes from Krall's studio recordings, such as 'East of the Sun (West of the Moon)' & 'Devil May Care'. Joined by special guests John Pisano (acoustic guitar) & Paulinho DaCosta (percussion) for several tracks, including the Gershwin's 'S'wonderful'. The Orchestre Symphonique European, conducted by Alan Broadbent with special guest conductor Claus Ogerman, is featured on the upbeat 'Let's Fall in Love' & a haunting interpretation of 'I've Got You

Album Details

Includes Two Bonus Tracks of "Charmed Life" and the Enhanced Track "Look of Love".

Customer Reviews:

Diana Krall at her best.......2007-06-20

Hoppin', jazzy live performance -- my favorite Diana Krall CD.

you know that.......2007-04-12

shush shuh shuh shuh sound that new cordoroy pants make? Well that's what Krall sounds like wiht her sibilant "s". Is she singing through false teeth?

Very Enjoyable and that's all that matters..........2007-02-24

For those reviewers trying to compare Diana Krall to people like Sarah Vaughn... forget it!!! She's not Vladamir Horowitz or the Pope either!!! To give her a low rating based on that is absurd.

This is a very very good Jazz band and Diana Krall swings. She plays well and she does an incredible amount with the voice that the maker gave here. The album is very enjoyable to me and it's a good place to start if you want to hear Diana Krall.

Is she great? That question is so subjective and who cares anyway. One reviewer suggested that calling her great was disrespectful to the great Jazz singers. Popular singers like Diana bring attention to Ella Fitzgerald and Sarah Vaughn and Sinatra etc... People start with Diana and move backward from there... 5 stars from this reviewer!!!

Not a fan of live albums, but this one's energy shines through.......2007-01-19

Diana Krall is amazing no matter whether she's live or in studio recording. This is her first live album and is based on a lot of jazz standards. What I like is this has the energy of a live album, but someone has engineered most of the audience sussurus out.

terrific band.......2007-01-19

I do enjoy Ms. Krall's singing but for me it's the incredible interplay between the musicians (including Krall's piano) the merits the 5 stars. I acually have the DVD which I highly recommend. Anthony Wilson not only plays brillantly but gets the best guitar tone of any other live recording I've heard. Jeff Hamilton and John Clayton are tight and telepathic - pure genuis in rhythm. Both Claus Ogerman and Allan Broadbent offer great arrangements and work the Orchestra deftly. And Diana sings. The production is perfect. This could not be any better.

Average customer rating:

Now you can always have Paris!
Paris, City for Dreamers
French Music for YOUR Home
Cool and seductive.
Great intro to La Chanson Francaise for the novice...

Putumayo Presents: Paris
Various Artists
Manufacturer: Putumayo World Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B000E6UX20
Release Date: 2006-04-18

Tracks:

Au Cafe De La Paix - Thomas Fersen
Samba De Mon Coeur Qui Bat - Coralie Clement
Dites Moi Tu - Karpatt
Quelqu'un M'a Dit - Carla Bruni
Je Reste Au Lit - Pascal Parisot
Jardin D'Hiver - Keren Ann
Serre-Moi - Tryo
Lettre A P... - Paris Combo
L'ongle - Presque Oui
Ta P'tite Flamme - Amelie-Les-Crayons
Les Pages - Myrtille
Carpe Diem - Aldebert

Product Description

Highlighting artists from the Nouvelle Scene (New Scene), Paris features modern takes on classic French chanson. Thomas Fersen Au Café de la Paix Coralie Clément Samba de Mon Cur Qui Bat Karpatt Dites Moi Tu Carla Bruni Quelqu'un M'a Di

Amazon.com

Many Putumayo compilations fail to capture the essence of a specific region by focusing on music that is simply too polite for its own good. When it comes to the languid charms of French chanson, however, the label has always excelled. An indispensable companion to the previously released French Café Paris focuses on the renaissance of French popular music in the hands of artists such as the raspy voiced Thomas Fersen, supermodel-turned-songwriter Carla Bruni and the ineffable Paris Combo-- arguably, the one group that started the smoky cabaret song revival in the mid-'90s. An air of luxury and languor defines the 12 tracks here, from the breezy bossa nova of Coralie Clément's "Samba de Mon Coeur Qui Bat" ("Samba of my Beating Heart") to the accordion laced atmospherics of Amelie-Les-Crayons and the wistful "Ta P'tite Flamme" ("Your Little Flame"). Judging by this disc, contemporary French pop may very well be one of the most exciting musical movements in the world right now. --Ernesto Lechner

Customer Reviews:

Now you can always have Paris!.......2007-05-15

This is an outstanding compilation of contemporary French artists who have captured that certain "je ne sais quoi" that characterizes the French "chanson" style of entertainment. The music may be "Nouvelle Scène" but it has that timeless evocative quality from the days of Edith Piaf. Putumayo has produced a real classic for lovers of French music.

My only criticism might be that it's too bad that Putumayo does not include the lyrics to the songs!

Paris, City for Dreamers.......2007-04-11

Yowsa! This album touches a deep chord in my soul...suddenly, I am 20 and Paris is PARIS, the city of romance of my youth...bring on ennui and Francoise Sagan...[sigh]

French Music for YOUR Home.......2007-03-25

I listened to cuts from this CD and Putumya's French Cafe and selected this one! I'm So glad I did. It's the perfect French music to play in a home setting if you want to set a "French" atmosphere. I play it when I cook a fabulous French meal and have friends over for dinner. It does not come off as too cafe-like. Rather just gorgeous, melodic mostly soft French music. Some cuts are a bit more jazzy but still great background music. Some typical "cafe" music is just too much with the accordian already!!! This is not and some "older" French music of this style can drone a bit - this is just pretty with soft vocals - just right for getting you in a French mood!

Cool and seductive........2007-03-10

Why is it so easy to sound cool and seductive when singing in French? The language seems to demand a dulcet, husky singing voice that implies the song was composed, practiced and recorded in a bed.
Packed with some of the best, chilled French café songs of the moment, Paris is this summer's essential for barbeques, soirées, dinner parties or possibly just for those hot nights in.

From Coralie Clément singing seductively about the "Samba de Mon Coeur Qui Bat" to the equally seductive Carla Bruni's "Quelqu'un M'a Dit", Keren Ann's "Jardin d'Hiver" -- which she whispers rather than sings -- and Karpatt's caressed and tapped acoustic guitar, this is a compilation of class and smooth charm.

While Paris recalls the heyday of French chanson it is a thoroughly modern mix from the nouvelle scène. It's entirely easy listening -- nothing from the outer reaches of French culture here.

Part of the proceeds from each CD sold goes to Terre des Hommes, who support disadvantaged children around the world, so you can feel good about your purchase while humming along to the catchy tunes.

Great intro to La Chanson Francaise for the novice..........2007-03-06

If you enjoy music of various world traditions, this album is a fun introduction to chanson, the traditional French music style that emerged between the wars. This album gives a nice diverse palate of contemporary artists celebrating this tradition, sometimes straight up and sometimes with a modern twist.
If you like the songs on this album, definitely check out Rupa and the April Fishes. Rupa Marya is an Indian woman living in San Francisco who sings in French; the April Fishes' music is a jazzy eclectic riff off of chanson, and is definitely 5-star. If it weren't enough that she's beautiful and sings like an angel, Rupa in her "free time" is also a medical doctor. Talk about talent. Check 'em out!

Average customer rating:

movie review

Paris Je T'Aime
Original Soundtrack
Manufacturer: Umvd Import
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FS9J9A
Release Date: 2006-09-25

Tracks:

Meme Histoire
Lumieres de Paris
Gogol
Run to the Mosque/Resolution
Que Linda Manito
Interlude
French Kiss
Elephant Me Regarde
Paris S'Eveille
Katoucha
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Vampire
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Pairs Je T'Aime
We're All in the Dance
Tourbillon [*] - Miranda Richardson

Customer Reviews:

movie review.......2007-06-25

Having never been to Paris and always wanting to, this film served as a good introduction to the vast number of neighborhoods that make up the city. The only one i've known about was Montmartre, the neighborhood on the hill which is Paris' highest elevation. But with that said, this film is not really an examination of all these neighborhoods. All they really do is serve as a backdrop to the human drama and comedy that make up the 18?-is-it?, mini-stories that make up this film. Each segment begins with the name of the particular neighborhood the segment takes place in.
The entire film kept me interested throughout except for a couple of the entries. There were moments of positively enraptured elegance and mystery.....I think my favorite segment starred Juliet Binoche as a grieving mother who is visited by a ghostly cowboy played by Willem Defoe who asks her if she wants to see her son. A romantic light/drama set in the overwhelming Paris cemetary was a highlight("friends stab you in the front"-Oscar Wilde) and comic relief with Steve Buchemi set in the Paris Metropolitan(their subway system)was welcomed. A man learns that his wife has leukemia just as he was preparing to split up with her. A comical portrait of a mime takes place around the Eiffel Tower. The final segment featuring a lonely American woman vacationing by herself in the Paris she has always dreamt of reaching, I'm not sure how i feel about it. I feel sad for her despite her segment-ending revelation that Paris has made her understand and appreciate that she is alive. This will be a good purchase when it comes out on DVD. See it in your theaters is you get a chance

Average customer rating:

Cocktail Disco
"Greetings ladies and gentleman, welcome to the wonderful world of Cocktail Disco."
Welcome back to the '70s...

Cocktail Disco
Dimitri from Paris
Manufacturer: Bbe
ProductGroup: Music
Binding: Audio CD

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Baby, I Just Wanna Love You [Original 12" Version] - Jonelle Allen

Customer Reviews:

Cocktail Disco.......2007-07-07

A fantastic collection, easily the equal of Dimitri from Paris' best disco compilations. Feel good music.

"Greetings ladies and gentleman, welcome to the wonderful world of Cocktail Disco.".......2007-06-24

This 22 track, double CD showcases a special sub genre of disco music that in its heyday may have been referred to as "Slease", but now Monsieur Dimitri the king of disco has coined a new name for it in which it will forever be known now to the world as "Cocktail Disco".

Dimitri from Paris (DFP) is no stranger to disco and anyone who has been following his career knows that he is possibly the number 1 de facto leader or ambassador to this genre of music post its rise and fall in the late 1970's. Not surprisingly he continues to favor and deeply supports the genre faithfully, this album is a true testiment to that note.

"And what does Cocktail Disco refer to you may ask?... Rich orchestrations, a touch of Latin influence, the ubiquitous 4/4 Disco beat, and rather over the top vocals... Maybe some would find it Cheesy, I would rather say cheeky and glamorous, something that would be fit for a Broadway musical show."

His two album releases from the "Defected in the House" label showcase the music side he is known for spinning when he is in a live event club space. Here Dimtri returns to the major indie London based DJ label "BBE" in which he also has two prior album releases with. DFP with this record label is oriented with his disco loving side (Both prior albums have disco in the title "Disco Forever" and "The Kings of Disco"). Contrary to what all previous albums were like, this one is different in the fact that it is unmixed but rather compiled. He chose to unalter any of the music to keep them true to their original sound. All the tracks are their full-length versions however and even though they are not mixed or original compositions, they still are very much Dimitri and each song rings his name loudly.

Welcome back to the '70s..........2007-06-20

This compilation is so "Love Boat" that I'm sure it's no coincidence that the cover art features a cruise ship.

But more to the point, unlike some of Dim's previous releases, this one feels very relaxed, and even though it's not a continuous mix per se, the tracks groove together flawlessly. Whether you play it loud to shake your booty to, or soft during your next swank soiree, this music is meant to be played.

Average customer rating:

Not bad
The best from the three greatest...
Just Like the Real Thing!
Powerful and moving!
Great Compilation

The Best of the Three Tenors
Luciano Pavarotti , Placido Domingo , Jose Carerras , Zubin Mehta , and James Levine
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004UB8A
Release Date: 2002-06-11

Tracks:

'O sole mio
Funiculi, funicula
Libiamo ne' lieti calici (Brindisi)
Sous le ciel de Paris
Torero quiero ser
Parlami d'amore, Mariu
Manha de Carnaval
Lolita
Dicitencello vuie
Core 'ngrato
Because
You'll Never Walk Alone
Singin' In The Rain
Maria
Tonight
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Cielito lindo
Ochi tchorniye
Caminito
La Vie en Rose
Mattinata
Wien, Wien, nur du allein
Amapola
Lippen schweigen
Brazil
Sous les ponts de Paris
Torna a Surriento
Nessun dorma
La donna e mobile

Amazon.com

Back in 1990, three of the world's most celebrated tenors--namely, José Carreras, Plácido Domingo, and Luciano Pavarotti--combined forces to create the Three Tenors, now celebrated on a best-of CD. They gave their first concert in Rome. The event was recorded and went on to become one of the best-selling classical titles of all time.

This latest release brings together tracks from that night in Rome (including "Nessun dorma" and a competitive rendition of "O sole mio") with music performed in a 1994 concert in Los Angeles and at the 1998 event in Paris where the Three Tenors sang to an audience of thousands with the Eiffel Tower as their backdrop.

The 22 tracks making up The Best of the Three Tenors range from operatic standards, such as the joyful "Brindisi" from La Traviata, to popular songs like "Singin' in the Rain" and "You'll Never Walk Alone" (from Carousel). There are no solos on this disc; each piece is performed by all three singers. And with plenty of applause and cheering to be heard, not to mention the sense of fun in the singers' voices, the disc captures the atmosphere of these extraordinary musical events. --Rebecca Agnew

Customer Reviews:

Not bad.......2006-03-18

This is a good recording. If you don't like the 3 tenors, then look else where. It's that simple. These are recordings from concerts where they WERE supposed to show off. This ain't opera. If you want opera, go out and attend one.

The best from the three greatest..........2005-08-11

The first thing we must establish here is that this is not meant to be opera. This is three exceptionally talented tenors enjoying themselves and giving tremendous joy to those listening by singing mostly popular "evergreens" and also some operatic arias. The beauty in music lies in the diversity, in my opinion. One can better appreciate one type of music when one knows about the others. And why should we limit ourselves to listen to just one genre in music. It would be the same as having steak for dinner every day for the rest of your life, wouldn't it? So why should we limit three wonderful tenors to only sing operatic arias for the rest of their lives? If so we wouldn't have "Maria", "You'll never walk alone", "Singing in the rain" or any of the evergreens on this recording and that would be a shame.

There are no solos on the cd. I think I've read somewhere that they felt there had been enough "three tenors cd's" and if they were to release yet another one it would be one containing what the audience demands, the three of them joining forces and performing together in the songs.
The result, in my opinion is highly recommendable. The three voices blend perfectly together. I have to admit that I have a personal favourite among the tenors and that I would never buy an entire recording featuring only one of the two others, but I recognize their talents and -as stupid as it may sound- since they are performing together I can also appreciate the other two. (I like them too, but in smaller doses....)Some people have commented on their problems with mastering the english language. If anything, I think it just adds to their charm. By the way, who is perfect??

The songs on this cd is a mixture of beautiful songs, heartwrenching songs, toe-tapping songs and powerful songs. It's wonderful to just listen to the beauty in the three voices. It's fun hearing Pavarotti pushing his "high-note-button" in "O sole mio" and Carreras and Domingo copying his stunt. I have no idea what they're singing about in "Manha de Carnaval", but boy does it sound romantic...... And "Dicitencello vuie" brings tears to my eyes (even if I'm still left in the dark when it comes to understanding the meaning of the words...) In "Because" Carreras takes my breath away when singing "because God made thee mine, I'll cherish thee...through light and darkness, through all time to be, and pray his love may make our love divine...." (What woman wouldn't like to hear those words..??!?) Their rendition of "You'll never walk alone" should satisfy some of the soccer-fans since it's the anthem of a European football-club and "Nessun Dorma" will probably satisfy the rest of the soccer-fans, being the antheme of the 1998 world soccer championship. In short, there should be something for every taste on this cd.

It's a very "versatile" cd. You can play it almost everywhere. You can sing along to it in the car, you can dance around the house to it while doing your chores, you can put your feet up and unwind after a hectic week. Or you can write an Amazon review while listening to it.... (Feel free to add suggestions of your own here.....)

To make a long story short - a very enjoyable cd!

Just Like the Real Thing!.......2005-07-14

A few years ago I was lucky enough to actually see a Three Tenors concert. The experience was amazing. Later I bought this CD. I was so happy when I listened to it because the CD captures the mood of being present at the concert. I like the variety and every time I play it, I am taken back to my personal experience at the concert. Hearing the audiences on the CD really gets you excited about hearing this amazing trio.

Powerful and moving!.......2004-10-21

I got this CD as a gift and it changed my life! I was always a rocker and liked classical music, but never was much into this genre of music. This album changed all of that. Since getting the three tenors I've found a whole new world out there. Thank you guys!

Great Compilation.......2003-07-16

Definitely worth purchasing. It is not an opera CD - it is a concert CD with 3 superb tenor voices that blend together so nicely. A wonderfully entertaining music CD with lots of variety and an opportunity for opera to grow on non-opera lovers. What else can you expect from the BEST. A DVD version would be wonderful.

Average customer rating:

False emotion
dexterity unquestioned
Without soul!
Artistically Improving
The beginning of an anchorage - and Beethoven is well chosen.

Beethoven: Piano Concertos Nos. 1 & 4

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Lang Lang: Dragon Songs (Plus DVD)
Chopin, Liszt: Piano Concerto No. 1
Lang Lang Live at Carnegie Hall
Piano Quintet in F Min / Complete String Quartets (1, 2, 3)
Memory [Includes Bonus CD]

ASIN: B000OYC3FM
Release Date: 2007-05-08

Tracks:

1. Allegro Con Brio
2. Largo
3. Rondo. Allegro
1. Allegro Moderato
2. Andante Con Moto
3. Rondo. Vivace

Amazon.com

What a beautiful recording! Perhaps the most exciting thing about Lang Lang's playing is that when he plays softly and lyrically, he doesn't sound as if he's holding back; when he opts to stomp and yell, it sounds equally natural. The First Concerto is played with lightness and bounce in the outer movements and is as tuneful as imaginable in the stunning second movement's Largo. The Fourth Concerto is a whole other matter - mature Beethoven - and Lang rises easily to the occasion, playing with potency and handsome tone. The first movement makes us sit and admire his skill, and he is poetic and sensitive in the second movement. It would have been easy for him to run away with the final movement in a blaze of virtuosity, but he sticks to its classical outlines. These are superb performances, and the sonics are gloriously rich. --Robert Levine

Album Description

Lang Lang delivers his first-ever Beethoven recording, a stunning reading of the extensive Concerto no. 4 and the jubilant Concerto no. 1. Even though he has performed this repertoire extensively in concert, Lang Lang waited for the perfect moment and the perfect team to record his first pair of concertos from these milestones of piano repertoire When Lang Lang embarked on his international career, Christoph Eschenbach became one of his first and most enthusiastic proponents - and a mentor and close friend ever since, Eschenbach was the ideal collaborator for Lang Lang's first Beethoven recording. Nimbly supported by Eschenbach's superb Orchestre de Paris, with its tradition of having been the first orchestra ever in France to perform music by Beethoven, Lang Lang's performance gives further proof as to why he is one of today's most acclaimed pianists

Customer Reviews:

False emotion.......2007-07-10

Lang Lang is the worst pianist imaginable. If you want someone who can play the notes, go for it. But there's simply nothing more here. Even worse, he pretends that there is more. Every phrase is unbelievably contrived. It is like someone who apes all the moves of a great actor with none of the substance behind it. Absolutely abominable, atrocious, and offensive playing. Cannot believe that people are taken in by this charlatan.

dexterity unquestioned.......2007-07-07

He can do anything with a piano. All he needes now is to grow into these masterpieces.

Without soul!.......2007-06-10

Does he play Beethoven at all? If you like Beethoven piano concerto, please listen to Backhaus, Schnabel, Fischer or Perahia!

Artistically Improving.......2007-05-23

Lang Lang's technical abilities have overrun his artistic interpretations since the start of his recording career. While that remains a fairly accurate description, this recording shows definite progress. It seems somewhat unfair to denigrate the talents of so dextrous a musician as this young man but there you have it: when you are put on the world stage you are assessed by different standards.

And yet, Lang Lang shows signs of development that are encouraging. His performance of the First Concerto is both lively and exquisitely melodic, except for the occassionally ham-fisted showmanship he is often (and deservedly) derided for. However, the Fourth Concerto seems beyond his artistic grasp. While technically brilliant, it is a soulless and showy performance that displays none of the depth a more mature artist would be capabale of. Beethoven was not a composer known for showmanship but artistry and restraint. These are not qualities Lang Lang is exactly reknown for.

Still, Lang Lang's occassional lyricism can override his more exaggerated tendencies, which makes he and Beethoven quite compatible. This is what makes this CD as effective as it is. Perhaps this young man has received too much acclaim too soon. He needs time to mature as an artist but has so far chosen to present himself to the public at every possible turn. This recording indicates that there is something more to him than has consistently met the ear. Frustrating and encouraging at the same time, Lang Lang's latest CD shows a definite progression in his interpretive skills. It's exciting to think what may be coming in his future.

Finally, the typically exquisite DG sound and fidelity must be acknowledged. Every note and romantic passage is beautifully displayed in a pristine recording of gourgeous beauty. A wothwhile addition to any modern classical collection.

The beginning of an anchorage - and Beethoven is well chosen........2007-05-23

I could not agree more with Christoph Eschenbach's observation about Lang Lang - of the multi-repertoire that young Lang has savoured since his child prodigy days, he requires a specialty composer so as to be able to dwell deeper into the musical language, and Beethoven is probably the best choice for him.
I have listened and greatly admired the Harnoncourt Beethoven piano concertos (Harnoncourt being one of my favorite contemproary conductors since the 1970's). The orchestration in that recording was simply superb, and the character, style and soul of Harnoncourt in Beethoven's works hard to beat.
Eschenbach's conducting here is also good, but to my personal view, not as good as Harnoncourt's. This may be subjective, but I do find the authenticity in Beethoven's style some what lacking here.
Then the soloist - I must say that the soloist in Harnoncourt's set could not be compared with Lang Lang here. (Again my subjective view). That is not to say that Lang's playing is perfect, nor the best. Why compare him with Argerich? Argerich had declined Harnoncourt's invitation to record for HIM then, because she does not play the entire set of Beethoven Concertos, and would not want to learn those that she did not know.
So much for the mature pianist. The two concertos chosen here could indeed still be improved upon, though one must bear in mind that the 4th is considered to be the most introverted piano concertos of Beethoven, and Lang Lang had tuned down much of his highly inflammatory style. Lang's playing could interestingly be compared to Wilhelm Kempff's made in 1962 (when the pianist was 67 years old). Cannot imagine a young chap to be so reserved in this piece. A result of the vast criticisms he's got from negative reviewers?
The 3rd movement of the 1st concerto really should be more fiery, but Lang Lang some how missed the fireworks in this movement.
Lang Lang, so far, has NOT established himself as a virtuoso of any specialty, much unlike his compatriot Yundi Li. Well, in my humble view this is something that he should do right now. And I've heard that he is going to record more Beethoven concertos with Eschenbach. This is certainly good news.

Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra

Average customer rating:

K.Teezy
Bizet: Carmen (Callas, Gedda, et al)
Imperfect? Maybe. Worthwhile? Yes!
Throw me into solitary confinement with this CD
Callas...Callas...Callas...

Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
Georges Bizet , Maria Callas , Nicolai Gedda , Georges Prêtre , Orchestre de Théâtre National de l'Opéra de Paris , Choeurs René Duclos , Robert Massard , Jane Berbié , Andrea Guiot , and Claude Cales
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan

ASIN: B000002RXS
Release Date: 1997-08-19

Tracks:

Carmen: Prelude - (Orchestre)
Carmen: Act One: Sur la place - (Choeur/Morales/Micaela)
Carmen: Act One: Avec la garde montante - (Choeur d'enfants/Morales/Jose)
Carmen: Act One: C'est bien la, n'est-ce pas
Carmen: Act One: La cloche a sonne... Dans l'air, nous suivons des yeux la fumee - (Choeur)
Carmen: Act One: Quand je vous aimerai ?... L'amour este un oiseau rebelle - (Carmen/Choeur)
Carmen: Act One: Carmen ! sur tes pas, nous nous pressions tous ! - (Choeur/Carmen/Jose)
Carmen: Act One: Quels regards ! Quelle effrontere !
Carmen: Act One: Parle-moi de ma mere !
Carmen: Act One: Reste la, maintenant, pendant que je lirai - (Jose/Micaela)
Carmen: Act One: Que se passe-t-il donc la-bas?...Au secours! Au secours! - (Zuniga/Choeur)
Carmen: Act One: Mon officer, c'etait une querelle - (Jose/Zuniga/Carmen)
Carmen: Act One: Pres des remparts de Seville - (Carmen/Jose)
Carmen: Act One: Voico l'ordre; partez - (Zuniga/Carmen)
Carmen: Entr'acte - (Orchestre)
Carmen: Act Two: Les tringles des sistres tintaient - (Carmen)
Carmen: Act Two: Messieurs, Pastia me dit - (Frasquita/Zuniga/Carmen/Mercedes)
Carmen: Act Two: Vivat ! vivat ! le Torero ! - (Choeur/Zuniga)
Carmen: Act Two: Votre toast, je peux vous le rendre -(Escamillo/Choeur)
Carmen: Act Two: La belle, un mot - (Escamillo/Carmen/Zuniga)
Carmen: Act Two: Eh bien ! vite, Quelles nouvelles ?.. Nous avons en tete une affaire - (Frasquita/Le Dancaire/Mercedes/Le Remendado/Carmen)

Tracks:

Carmen: Act Two: Mais qui donc attends-tu? - (Le Dancaire/Carmen/Le Remendado)
Carmen: Act Two: Halte-l- (Jose/Carmen/Frasquita/Mercedes/Le Dancaire/Le Remendado)
Carmen: Act Two: Enfin c'est toi! ...Tout doux, Monsieur, tout doux
Carmen: Act Two: La fleur que tu m'avais jet...Non, tu ne m'aimes pas - (Carmen/Jose)
Carmen: Act Two: Holarmen! HolHol- (Zuniga/Jose/Carmen/Le Dancaire/Le Remendado)
Carmen: Entr'acte - (Orchestre)
Carmen: Act Three: oute, ecoute, compagnon, ecoute - (Choeur/Le Dancaire/Remendado/Jose/Carmen/Mercedes/Frasquita)
Carmen: Act Three: Reposons-nous une heure ici, mes camarades - (Le Dancaire/Carmen/Jose)
Carmen: Act Three: Mns! Coupons! - (Frasquita/Mercedes/Carmen)
Carmen: Act Three: Eh bien? - (Carmen/Le Dancaire/Frasquita)
Carmen: Act Three: Quant au douanier, c'est notre affaire - (Carmen/Mercedes/Frasquita)
Carmen: Act Three: C'est des contrebandiers le refuge ordinaire...Je dis, que rien ne m'epouvante
Carmen: Act Three: Je ne me trompe pas...c'est lui sur ce rocher - (Micaela)
Carmen: Act Three: Quelques lignes plus bas...HolholJos (Escamillo/Jose/Carmen/Le Dancaire/Micaela/Frasquita/Mercedes/Remendado/Choeur)
Carmen: Entr'acte - (Orchestre)
Carmen: Act Four: A deux cuartos! A deux cuartos! - (Choeur/Zuniga)
Carmen: Act Four: Les voici! voici la quadrille! - (Choeur/Escamillo/Carmen/Frasquita)
Carmen: Act Four: C'est toi!...Carmen, il est temps encore ...Viva! viva! la course est belle! - (Carmen/Jose/Choeur)

Amazon.com essential recording

This recording was made near the end of Maria Callas's career. It is a role she never sang onstage, but it suited her almost perfectly, and she gives a deep, compelling performance on this recording. The mezzo-soprano tessitura was comfortable for her voice, and the role did not call for a pretty sound. Nor did the recording studio require the kind of huge vocal power expected in an opera house. And furthermore, the character of a strong-willed, capricious, sexually compelling woman who thinks exclusively of herself was close to the offstage personality that made Callas so famous. --Joe McLellan

Customer Reviews:

K.Teezy.......2007-07-11

Received the product in a very timely manner....I've enjoyed listening to the CD on the way into work. It helps me relax.

Bizet: Carmen (Callas, Gedda, et al).......2007-01-10

Of the many recordings of Carmen that I've owned, this is the best. Callas has the perfect voice for it.

Imperfect? Maybe. Worthwhile? Yes!.......2006-10-11

Maria Callas' CARMEN has had at best, a checkered history. It seems to have found a permanent home in many record collections over the years, considering it has been released as an LP, cassette, and now CD, so it's loved by many if not by all the critics. It had some foes before it was released. Callas had never performed CARMEN on stage and in 1964 when the set was first issued, it was believed that a recording should only showcase an artist's best work after years of perfection. Since Maria Callas was Maria Callas, Angel records took a chance and released it, knowing she'd probably never attempt the role on stage. As soon as it was released, there was a noticeable decline in her vocal abilities, which caught many fans off guard. Still, it's stood the test of time. Maria Callas at her not so great is still better than some at their peak, and even if the voice isn't perfect, it still has an expressive quality to it that's evident to anyone who listens to it.

Maria Callas' performance for this set is interesting. One of the greatest strengths of her singing was her ability to portray a character through her voice and this may be why this set has a loyal following. We feel as if we are encountering the fiery, sensual woman that is Carmen in just about every note that Callas sings. It's hard not to forgive what some critics called an imperfect vocal performance when there is such a passion behind the singing. In the end, we have one of the most original interpretations of the role. Callas is joined by tenor Nicolai Gedda. Technically Gedda's performance cannot be faulted. He hits the notes and sings with ease. For Don Jose, this may not be enough, however. We want Jose to darken vocally as the opera progresses, and this does not happen. Gedda's strength is his beautiful voice that has suited him well in a great array of operas, but it doesn't have the robust quality that tenors such as Domingo or Corelli can bring to the role. For some of the opera's more tender moments, most notably the Don Jose/ Micaela duet in Act I "Parle-moi De Ma Mere," Gedda's light and lyrical voice is a perfect fit. I find the duet astounding and it could arguably be the best rendition of this work, which is due in no small part also to the beautiful voice of Andrea Guiot, who likewise gives a great solo performance in her aria "Je Dis, que rien ne `epouvante". Robert Messard as Escamillo does the job, but lacks the bravado of the confident lady-killer bullfighter he supposed to be. The orchestra and chorus under the direction of Georges Pretre perform beautifully and the smaller roles are all well cast.

With an opera such as CARMEN, where so many great singers have performed and recorded major roles, there is stiff competition between sets. It also seems as if there isn't one perfect set. Some great Carmens have been paired with lousy casts, and some lousy Carmens have great casts. This set isn't perfect, but overall it has a certain flow to it and for me, it feels like a CARMEN should feel.

Throw me into solitary confinement with this CD.......2006-01-25

My favorite singer singing my favorite opera. No other opera is so filled with fresh, innovative melodies... dramatic polar contrasts/opposites, and choir-multiple character interactions. No singer is as clean ( with accurate timing of gasps and rests) dramatic and prolific as Callas. In my mind this is the pinnacle of opera and most definitely of the non-Italian 19th century operatic landscape.

Callas...Callas...Callas..........2005-12-21

Even though Callas did not play "Carmen" on stage, she really saw through Carmen. AMAZING.

Average customer rating:

Upbeat Jazz
If you like Pink Martini
Highly entertaining, keeps you jumping
Cool fusion continues, but start with one of their earlier CDs
Witty, urbane, funky beats

Motifs
Paris Combo
Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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French Pop | Euro Pop | Pop | Styles | Music
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Hang on Little Tomato
Latenight Betty
Sympathique
Living Room
Hey Eugene!

ASIN: B0006SSNPA
Release Date: 2005-01-11

Tracks:

High, Low, In
Calender
Aquarium
Ennemis Siamois
Etoile Pale
Touriste D'une Vie
Baguee
Motus
Reflet
Prete A Porter
Baron De Chaise
Discordance
Aleas
Je Ne Sais Qui Fumer

Amazon.com

With a sound made up of equal parts bossa nova and classic chanson transported almost unchanged from the 1960s, plus American jazz, Argentinean Tango, bal musette and the Manouche swing made famous by Django Reinhardt, Paris Combo undeniably personifies that city's aesthetic. French music and film tend to share an elegant, humorless, surreal, coolly theatrical artificiality so ingrained that observed or remembered passion becomes more seductive than the real thing. Style-over-substance is merely a different reality, no less involving than daily life. The band's membership includes a guitarist from Madagascar, a keyboardist/trumpeter from Australia, a French drummer and a French-Algerian guitarist, each of whom contribute whimsical, cosmopolitan images from their own travels. Bandleader-singer Belle du Berry's lyrics are wry metaphors, in which estrangement, loss and desire are experienced in nightclubs under the light of pink lampshades and each carefully posed film-noir frame is wreathed in expensive perfume and cigarette smoke. --Christina Roden

Customer Reviews:

Upbeat Jazz.......2007-06-24

Paris Combo is such a great upbeat jazz group that you can listen to liven up your day. Put this cd on and it is sure to put you in a good mood. A great combination to go along with anyone who listens to Pink Martini.

If you like Pink Martini.......2006-05-29

You'll love this CD. Obviously you don't have to know a language to enjoy music sung in it. The happy tune of this jazzy CD will make you want to dance in your car, as you make up words so that you can sing along.

Highly entertaining, keeps you jumping.......2006-05-20

I bought this CD on the basis that several reviewers indicated that if a listener liked the works of Pink Martini, that they would like this CD by Paris Combo. Well, they are right.

Many of the things I like about Pink Martini are present here. The work is delightful, playful, fun, and danceable. You will hear the influence of jazz, pop, swing, tango, and sophisticated lounge music. In one song you will hear Kurt Weil's influence and then in the next you hear the nightclub music found in 1940 gangster films. The range of music keeps you on your toes - but all in fun. Great for a cocktail party or to get yourself going on a Saturday morning.

Belle Du Barry, the vocalist, has great presentation. All the lyrics are in French.

Cool fusion continues, but start with one of their earlier CDs.......2006-03-23

They sound too satisfied and confident in their fusions here. The sharp edge of surprise I detect in their earlier work is absent here. This work is lighter, popper, loungier than earlier work, to its detriment. Still, the cool fusion continues-Hot club, boulevard, bossa nova, American swing.... Close listening reveals shifts from one style to another in almost every song, so they're still mixing it up. Maybe the edges are easier to see. Stand-outs: tr 7-Baguée (Big American driving beat subverted by quick trip-tongued French vocal, Gypsy finger-picked guitar). Très cool. tr 9- Reflet (Quick 30s Gypsy-viper instrumental). tr 14- Je ne sais qui fumer (Simple American blues with a cool, Parisian jaunt, swagger). [50:30]

Witty, urbane, funky beats.......2006-02-13

Paris Combo's latest album is a tour of another world, a forgotten era, when music moved your heart but was classy and seductive at the same time.

There is no one today producing a sound like this. Their music will stay with you; it is mesmerising.

Jacques Brel Is Alive and Well and Living in Paris (1966 Original Off-Broadway Cast)

Average customer rating:

Jaques Brel still lives
Fabulous Show
Jacques Brel lives on through English Translation of his songs
A Little Night Music....
Fine Singer / Actors Do Brel Justice

Jacques Brel Is Alive and Well and Living in Paris (1966 Original Off-Broadway Cast)
Jacques Brel , Ocr , Elly Stone , and Mort Shuman
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Brel Vol. 1 (Master Serie)
Infiniment
Jacques Brel Is Alive and Well and Living in Paris
Jacques Brel Is Alive and Well and Living in Paris
The Fantasticks (Original 1960 Off-Off Broadway Cast)

ASIN: B000067AS5
Release Date: 2002-05-28

Tracks:

Marathon
Alone
Madeleine
I Loved
Mathilde
Bachelor's Dance
Timid Frieda
My Death
Jackie
Desperate Ones
Sons Of.
Amsterdam
The Bulls
Old Folks
Marieke
Brussels
Fanette
Funeral Tango
The Middle Class
You're Not Alone
Next
Carousel
If We Only Have Love

Amazon.com

At the time of this show's 1968 Greenwich Village debut, French singer-songwriter Jacques Brel's body of theatrically insightful ballads was already an obscure but deeply influential treasure trove for many American musicians. The revue's success would go on to influence artists as diverse as Leonard Cohen, Bowie (who covered "Amsterdam" shortly thereafter), and Sinatra, and it may even be responsible for one-hit wonder Terry Jacks's revival of "Seasons in the Sun".

More important, the pioneering musical-without-a-book helped introduce Brel's oft-brooding, ever evocative art to a wider American audience--and arguably had an evolutionary influence on Broadway itself. This complete reissue of the 1968 boxed set cast album offers up a rich cross-section of Brel's songs about life, death, and love--and typically sharp-eyed observations about the human follies that season them--deftly performed by a cast that includes Elly Stone, Alice Whitfield, Shawn Elliott, and, crucially, rock pioneer, Brel associate, and co-producer Mort Shuman. This new edition fleshes out the set with the sessions' only unreleased song, a sprightly take on the deliciously cynical "The Middle Class." --Jerry McCulley

Customer Reviews:

Jaques Brel still lives.......2007-04-02

The CD of the original cast is still fresh and still gives Brel's music the most fitting rendition

Fabulous Show.......2007-02-22

This compilation of Brel's songs remains one of my favorite musicals. I would recommend it to everyone!

Jacques Brel lives on through English Translation of his songs.......2007-02-12

Although I've never heard but one Jacques Brel song in French (song by he, himself on the DVD - which is a MUST BUY), I heard this "album" shortly after it came out, in the early 70's. My dad got me turned on to this music and it's stayed with me all these 40+ years. This is very special music to me and I'm thrilled to have both the CD and the DVD.

A Little Night Music...........2007-01-23

I can't explain why I might review this...it's been a long while since listening. Yet it was a show that was transformative obviously not just for me. I'm thinking Bowie and other thoughts that way...and it shaped my hopes and dreams and now, older and not so well, I listened to this tonight at 2AM, not sleeping again, recalling how I heard it then, how I hear it now.
I had a good friend who was in the show for one summer, maybe 79 or 80. Just a sad staging in a little town in Appalachia trying on some Paris. We had a dinner theater in our town, which meant an old building , some tables, small area and a stage kind of and some curtains. Rather ambitious for the town, they staged summer shows of Brel. And other things too, finally. My girlfriend as she often did hooked me into her evenings and I made drinks there as well as gave a few musical efforts and some easily forgotten attempts at choral support. On nights someone didn't show. You actually also made the food and sang the show, in those days for your audience, who tended to tip fairly poorly and be the local lawyers and med school doctors dragged out by wives seeking a cultural night of dinner theater. It was a kind of starving kids for ten bucks sing, act, cook, serve vodka/tonics, smoke and tell you the story of Boheme life while mixing blue cheese from packets of powder and creme in a frenzy preparing to figure out who plays the piano well enough as the player won't being pissed over low wages and a remark made about his big derrière. That kind of a summer. Songs probably wasted on the young.

All that said, it was/is a lovely collection of songs. Even better an experience when you learn and sing the French and can then argue incessantly about the translations and "feel" of the shows on two continents. I loved then to sing them, and find a tune floating in my head tonight from no where-just there- when "No. Love You're Not Alone" actually woke me. The American film was awful, the show best seen in revival and smoky nights in clubs. Then, in 1980 or so, it made my life richer, it's probably a good thing Susanna was such a friend...though I didn't understand, we dragged ourselves to a lot of meaning.And that rather odious experience in the Bahamas.

I think this worthy of time and listening. And a big moon would be cool, to walk on the shore and hear it once more. Think I'll slip out awhile.

Fine Singer / Actors Do Brel Justice.......2007-01-15

In 1966, an American producer named Nat Shapiro introduced Eric Blau to Mort Shuman. Five years earlier, Mr. Shapiro had introduced Mr. Blau and his wife, Elly Stone, to the songs of Jacques Brel. After hearing a recording of one of Brel's concerts, Elly Stone informed her husband that Brel was the greatest songwriter of the 20th century, and she induced him to be the very first to translate Brel into English. Shortly thereafter, Elly Stone premiered Brel's love song, Ne me quitte pas (Don't Leave Me) to American audiences in the off-Broadway revue, O Oysters, along with the first English Brel translation, Carousel, showcasing Brel's melody for La valse a mille temps (The Waltz A Thousand Times As Fast) and loosely translated lyrics.

Unbeknownst to them, about the same time Elly Stone heard her first Brel recording, Mort Shuman was undergoing something of a revelation across the Atlantic. In the midst of a successful career writing rock and roll songs (including hits for Elvis Presley, and the ubiquitous teenage anthem, Save The last Dance For Me), Mort Shuman had been wandering restlessly around Europe, and came to settle for a time in Paris. There, he became acquainted with Brel's music, and, later, with the man himself, and the two became close friends. Shuman convinced Brel that he should be allowed to translate some of his better-known songs into English, and bring them to America. More on the strength of their friendship than Shuman's reputation as a songwriter, Brel agreed, but a problem soon emerged. Although Shuman had mastered French surprisingly well, he was finding the task of translating Brel's songs quite daunting. After several attempts, Shuman found his English versions sorely lacking. He realized that it was not only that he had become too enraptured with Brel's work to find the objectivity required to do them justice, but it also became apparent that Brel's songs reflected too much of the French philosophy and politics to appeal to an American public largely besotted on syrupy, trite love songs.

Shuman returned to America, vowing to find a way to introduce Brel's songs to an English speaking public. By this time, Nat Shapiro had heard Elly Stone perform Eric Blau's first translations of Brel, and wanted more. In November 1966, Nat Shapiro persuaded Mort Shuman to hear Elly Stone perform at Julius Monk's Plaza 9, despite Shuman's reluctance, which derived from his belief that only a male singer could do Brel justice. At a table with Shapiro and a very nervous Eric Blau, Shuman applauded politely. "She's good", he told Blau, "the translations are real good". It must have rankled him somewhat that it was Blau and not Shuman who first successfully translated Brel to English.

Nat Shapiro also had the idea for the perfect venue to introduce Brel to America - an off-Broadway show. Not exactly a revue, since that implied that the songs had been heard before, what eventually took shape was the first "libretto-less" musical, Jacques Brel Is Alive and Well and Living in Paris. In addition to Elly Stone and Eric Blau's enthusiasm for Brel's music, Elly's amazing talent had won Shuman over and convinced him to work with Blau on the translations. Two years later, their labor of love finally introduced Brel's songs to an American public that was as ready for Brel, as Brel's songs were ready for America.

I am somewhat puzzled by the negative reviews by those who insist that Brel's songs can never be appreciated in anything but the original French. When Eric Blau realized, as Mort Shuman had earlier, that Brel's songs could never be translated exactly to American English (steeped as they were in French life and politics), they agreed to go for the next best thing. They opted to translate Brel's songs as closely as they could, but, when this was not possible, they kept Brel's melodies while attempting to retain the spirit of his writing, if not his actual words. What resulted were often very good translations indeed. One only has to compare the French text of songs that became Jackie, the Old Folks, Brussels, the Middle Class, Madeleine or Amsterdam to realize that, for the most part, the narrative and spirit (and sometimes even the lyrics) closely matched Brel's originals. Two additional translations, Song For Old Lovers and My Childhood, which also resembled the originals, were recorded by Elly Stone on her (now very rare) self-titled Columbia album. Miss Stone also recorded Goodbye My Friends for her second album, which was arguably a superior version of Brel's Le Moribond than the dreadful version by Rod McKuen, Seasons In the Sun.

In other cases, the translations altered Brel's songs in such a way as to make them more palatable to American tastes, while retaining Brel's concept. Thus, Jef, a song in which a man tries to cheer up a drinking buddy who has lost a great love, becomes a love song, in which one partner attempts to bolster the melancholy spirit of their beloved. In fact, some would argue that the beautiful prose of No Love You're Not Alone not only equals the poetic imagery of Brel's original lyrics quite adequately, they are actually an improvement. Conversely, When We Only Have Love was transformed from a love song to an anthem for brotherly love, yet did not destroy Brel's concept or his "poetry", but successfully built on it. Brel, by the way, often pointed out that, in his culture, it would be unforgivably vain for a songwriter to compare himself to a poet. To the French, poetry is not only a much higher art form than songwriting, Brel did not consider songwriting an art at all, but merely "a craft". All told, there are, in fact, only a few songs in this show where the lyrics, content, spirit, tone and / or subject matter were completely altered from Brel's originals.

When the show premiered in Canada, the creators were terrified that they would be taken to task by the French Canadian press for daring to present Brel in English there, as Brel is highly prized in Canada. Instead, it was the English Canadian press who savaged the show. But the French Canadian journalist, Rudel-Tessier (a bi-lingual writer, quite familiar with Brel in French) stated flatly that, although in translating the work, some of Blau / Shuman went in and some of Brel came out, he found it marvelous to have Brel in English at all. And, he gently chided his peers by pointing out that, while Shakespeare is quite popular in French, the Bard will never be quite the same in French as he is in English. So, to those who say you cannot appreciate Brel's songs in anything but French I reply, this show was written for those who never have, and never will, understand a single word of French. Does anyone really think that those who only speak French should be deprived of Shakespeare?

Even if none of this were true, I would like to point out that Jacques Brel himself, armed with exact French translations of the English lyrics, personally approved every song that was written for the show before the decision to produce it was finalized.

Besides, the passion and reverence that these performers feel for Brel and this material is evident in every song, and to those who claim that this show is an insult to Brel, I answer that it's an insult to the efforts of this fine cast to suggest that they had anything but his best interests at heart, and, as someone who is quite familiar with Brel in French, I believe they succeeded brilliantly. And as fine a songwriter as you can argue that Brel is in French, well, Elly Stone is equally as fine a singer in any language, and I bemoan the fact that she virtually squandered the balance of her career championing Brel's work, when she could have made a major name for herself, based solely on her own talent. Having seen Elly Stone perform live many times (in and out of this show), I will attest to the fact that, in her prime, she had the most impressive voice I have ever heard in a concert hall.

And in the end, it was Brel himself who gave the supreme complement to this effort. At one point, Eric Blau fretted when, in order to more closely translate Brel's lyrics to la Mort (My Death), he and Shuman had to alter Brel's melody. When they sent the new song to Brel, he responded, "You have improved it; it's better than mine". A year after the show opened, Brel flew in to New York to see it. That night, he led a standing ovation for the performers, and modestly told Blau and Shuman repeatedly that they had not only exceeded his expectations, in many instances, they had improved his work. He also told Elly Stone that she was, "the finest lady performer" he had ever seen (including Piaf, whom she was often compared to unfairly) and he told her that he wanted to write new songs specifically for her. Unfortunately for us, he never had time, but it was a testament to her talent and artistic integrity that Brel offered.

And if Brel himself was pleased with the translations featured in this glorious production, why should anyone quarrel with that?

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