A Passion Play

a passion play

Editorial Reviews
Amazon.com essential recording
Having previously challenged their audience with the lengthy opus Thick as a Brick, Jethro Tull went back to the concept-album for the even more difficult A Passion Play. The sometimes impenetrable work is part biblical allegory, part postmodern epic poem, and part psychedelic fairy tale. Such were the machinations of 1970s prog rock. The music mixes rock, English folk, and neoclassical material, an amalgamation that somehow hangs together. Reviled by critics when it was first released, A Passion Play has been redeemed over time thanks to the devotion of Tull fans, for whom it has always been an essential work. --Daniel Durchholz

Product Description
Digitally remastered reissue of 1973 album includes the enhanced bonus track 'The Story Of The Hare Who Lost His Spectacles' & theatre programme (enhanced section taken from the album 25 Years Of Jethro Tull Longform VHS video release). Includes liner notes written by Ian Anderson. Chrysalis. 2003. --This text refers to the Audio CD edition.

A Passion Play

A Passion Play,Jethro Tull,Capitol,Album Rock,Flute,Hard Rock,Pop,Prog-Rock/Art Rock,Rock,Rock/Pop

A Passion Play

Average customer rating:

terrible tull!
The most underappreciated album in Tull's career up to 1973
Seminal work
"Invest your life in the memory bank."
Pleasant Romp Through Heaven @ Hell..Neither Am I Good Nor Bad

A Passion Play
Jethro Tull
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Thick As A Brick
Minstrel in the Gallery
Warchild
Songs from the Wood
Heavy Horses

ASIN: B00008G9JM
Release Date: 2003-05-20

Tracks:

A Passion Play - Part 1
A Passion Play - Part 2

Amazon.com essential recording

Having previously challenged their audience with the lengthy opus Thick as a Brick, Jethro Tull went back to the concept-album for the even more difficult A Passion Play. The sometimes impenetrable work is part biblical allegory, part postmodern epic poem, and part psychedelic fairy tale. Such were the machinations of 1970s prog rock. The music mixes rock, English folk, and neoclassical material, an amalgamation that somehow hangs together. Reviled by critics when it was first released, A Passion Play has been redeemed over time thanks to the devotion of Tull fans, for whom it has always been an essential work. --Daniel Durchholz

Amazon.com

Following quickly on the heels of their career-defining Aqualung and Thick as a Brick, Ian Anderson's Jethro Tull demonstrated that their musical and thematic ambitions were as muscular as ever on 1973's Passion Play. But if Thick was a bit tongue in cheek about its conceptual conceits, Passion was a dizzying example of the prog-rock era's overweening musical aspirations at their zenith. Anderson now sums up it its obtuse, theater-as-metaphor libretto as "the theme of post-death meanderings in another world," but the sheer propulsive tension of Tull's sprawling musical interplay insures its folk-rooted baroque and roll a tight orbit around this mortal coil for nearly the album's entirety. This digitally remastered, enhanced CD edition features the complete video for the album's Lewis Carroll-esque interlude "The Hare Who Lost His Spectacles," a theatrical program and typically self-effacing new introduction by Ian Anderson. --Jerry McCulley

Album Description

Digitally remastered reissue of 1973 album includes the enhanced bonus track 'The Story Of The Hare Who Lost His Spectacles' & theatre programme (enhanced section taken from the album 25 Years Of Jethro Tull Longform VHS video release). Includes liner notes written by Ian Anderson. Chrysalis. 2003.

Album Details

Remastered Reissue of their 1973 Classic. Includes Enhanced Bonus Video Track of "The Story of the Hare who Lost his Spectacles".

Customer Reviews:

terrible tull!.......2007-05-11

This is the most disjointed record I have ever heard. No cohesivness whatsoever. Just when you think It can't get any worse, they throw in a nursery ryme to make things really entertaining. A big Tull throwaway!

The most underappreciated album in Tull's career up to 1973.......2007-04-12

Jethro Tull's sixth studio album entitled A Passion Play was released in July of 1973.
1973 was seen as the peak of prog commercially as ELP released Brain Salad Surgery, Genesis gave us Selling England By the Pound, Yes gave us both the classic live Yessongs and the derided Tales From Topographic Oceans and Pink Floyd unleashed their arguable classic Dark Side of the Moon.
Also that year, Jethro Tull gave us A Passion Play. The album came to be by accident. You see, initially they were to record an album full of shorter songs at Chateau D'Herouville in France but the band was not happy with the sound so the aborted the sessions (three of those tracks would appear on 1974's War Child whilst the rest of the album would emerge as disc one of the rarities set Nightcap).
Then lead singer/songwriter/flute player Ian Anderson, guitarist Martin Barre, keyboard player John Evan, bass player Jeffrey Hammond and drummer Barriemore Barlow went to Morgan Studios in London to begin work on the proper follow-up to their 1972 album Thick As a Brick (which consisted of ONE 43 minue song which was split into two halves to accomodate the record format).
Like TAAB, A Passion Play was an album length song but unlike its predecessor was mainly a dark album with some humor (or as the British call it "light and shade") throughout.
The album was the jazziest in musical terms that Tull had recorded up until 1973. The piece was more of a jazzy hard rock than its predecessor. The album saw Ian Anderson utilize more saxophones to his arsenal of instruments (in addition to his usual flute and acoustic guitar and had used some saxophones on Thick as a Brick). Also, John Evan added more synthesizers to the mix. There are plenty of great musical and lyrical passages. The lyrics were some of the darkest Ian Anderson had written to date save for the song's middle section.
The section in particular is called The Story of the Hare Who Lost His Spectacles. This is hilarious, especially if you watch the accompanying film on the enhanced part of the CD and/or the concert footage. All I can think of when I hear this is a lost Looney Tunes cartoon with Monty Python-esque humor.
Then the rest of the piece is just as good, if not better, than the first half.
A Passion Play, like TAAB, hit #1 on the Billboard album chart. However, its success was short-lived as opposed to TAAB (and even Aqualung and successors War Child, Minstrel in the Gallery, Songs From the Wood and even Crest of a Knave) and was what led the way for punk to become the rage according to rock critics in the mid-1970s (although punk would not hit commercial popularity here in the US until the 1990s, long after critics raved about it).
In 2003, the album was re-released as a remastered CD and sounds excellent.
RECOMMENDED!

Seminal work.......2007-04-03

A Passion Play is , by far , the best album the Tull ever recorded , and would have been the best album I have listened to in my life , had it not been for the Soft machine's " Third" ( although sometimes I'm still in doubt which one is the best ) .
The complexity of rhythms and textures , the incredible technique of the band's members , the immaginative , yet somehow obscure lyrics , the wittiness and the elegance of the arrangements have indeed no parallel in the "rock" universe. Closer to Bach than rock , it may appear a bit difficult at first , but is allways rewarding and revealing with repeated listenings. I , at least , have been listening to it , continuously over the past 34 years and still am amazed at the genious of Ian Anderson. I even enjoy the "Story of the Hare who lost his spectacles" as the orchestration is clever and leans more to the classical side of things .

"Invest your life in the memory bank.".......2007-03-23

Jethro Tull decided to contiune the idea of the concept album by following 1972's Thick As A Brick with the equally complex A Passion Play. Released in the summer of 1973, it was just behind the arrival of Pink Floyd's classic Dark Side of the Moon LP, and was striving for the same kind of innovative style that most progressive rock groups were trying to experiment with at the time. Pink Floyd's release faired much better in the long run and turned out to be a much stronger album. A Passion Play rose to #1 on the album charts, but soon became forgotten. The album sort of strectched the imagination with thoughts of life, death, and the afterlife with some references to the second coming of God("Man of passion rise again we won't cross you out"). Much of the lyrics are of a poetic and biblical nature, while questioning the purpose of God's existence in one of the story's best parts as is posed, "Tell us is it you who are here for our good cheer, or are we here for the story, for the glory, for the gory satisfaction of telling you how absolutely awful you really are?" Where as Pink Floyd fused rock with the blues, Jethro Tull were likely attempting a softened jazz sound as they blended the harder progressive rock with the folk rock style they always played with from the early days. The musical tones and melodies change throughout the album, leaving the listener never knowing what to expect next. Ian Anderson's flute solos are as dynamic as ever and always helped to give Jethro Tull it's uniqueness. But is this also a confusing piece of rock history? Many listeners who first purchased this album back then felt so, and had many fans questioning at the time what the group was trying to accomplish with an album they found to be much weaker than Thick As A Brick. I'd say this is one of those releases were each person is going to form their own individual opinion. Consider this an album you will either love or hate because Jethro Tull made it clear that sometimes life has no in between.

Pleasant Romp Through Heaven @ Hell..Neither Am I Good Nor Bad.......2007-03-11

There comes a time when artistic favours are granted selling artists by their record companies and by fans who savor with patience the great expectations they anticipate by some of their musical heroes.
a Passion Play, an extremely sophisticated rock musical statement for it's day was one of those albums that critics despised but fans loved.
There is no excess as each note flows seamlessly into the next..taken as a whole, as intended to be, The Passion Play, coming after thick As A Brick Ian Anderson explains in this really great remaster was to be an "similarly upbeat concept album" that turned he explains into a "darker set of tunes".
The darkness fuses into lightness, as does lightness into dark throughout the CD,as the seriousness of the subject matter of repentance hearkens back to the unconscious fantasy world (see the attached video selection) meanderings as in the "story Of The Hare Who Lost His Spectacles" that then pushes forward into familiar Tull styles of jazzy soundscapes, brilliant accoustic sections of guitar and flute,as well as fierce (and to my ears) some of the most tuneful hard hitting music Tull recorded as evident as on the "Summoned by name I am/the overseer section on Part 2.
Intellectual musings aside, one is advised if interested to research for historical background purposes the original Passion Play and it's controveries that graced European playhouses at the time and for a more serious study look into the poetry of Goethe and Schiller as to their takes on the introvert and extrovert, the basic theme of The Passion Play and the reconciliation and balance of the two....anyway, this "Faustian" as ever Passion Play goes on and the steady mix of classical folk, gorgeous melody, fierce rock hooks makes this concept one song album, one eclectic piece of music that seams together into a whole quite nicely. A rare gem.

Average customer rating:

didn't play
Love Without Reason
I have got two defective Passion CD!!
Goregous Operetta
Original and Powerful Stuff

Passion (1994 Original Broadway Cast)
Stephen Sondheim , Donna Murphy , and Marin Mazzie
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Stephen Sondheim's Passion (Original Broadway Cast)
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ASIN: B000002SLC
Release Date: 2002-11-19

Tracks:

Happiness
First Letter
Second Letter
Third Letter
Fourth Letter
I Read
Transition
Garden Sequence
Transition
Trio
Transition
I Wish I Could Forget You
Soldiers' Gossip
Flashback
Sunrise Letter
Is This What You Call Love?
Soldiers' Gossip
Transition
Forty Days
Loving You
Transition
Soldiers' Gossip
Farewell Letter
No One Has Ever Loved Me
Finale

Amazon.com

Based on the Italian movie Passione d'amore, Stephen Sondheim's Passion is a story of obsessive love. Giorgio (Jere Shea), a soldier, and Clara (Marin Mazzie), a woman with a husband and child, are deeply in love, but their idyllic happiness is disrupted when Giorgio is transferred to another post. Here, he meets Signora Fosca (Donna Murphy), a homely and ill woman who is the cousin of the regiment's commanding officer. Fosca soon falls in love with Giorgio and pursues him relentlessly, saying "Loving you is not a choice / It's who I am." He is repulsed and resists her advances, but eventually, he succumbs to the power of her love.

Rather than a succession of individual songs strung together by dialogue, Sondheim's score is a constant flow of gorgeous music. (The original theater program listed no individual songs.) The plot is conveyed by song, some dialogue, letters between the characters, and a group of soldiers that serves as a Greek chorus. The result is more of a chamber opera than a conventional musical. Passion won Tonys for Best Musical, Best Score, and Best Book of 1994, and Murphy also won a Tony for her powerful performance as Fosca. Mazzie is in glorious voice as Clara, and Shea brings a pretty voice and a wooden personality to Giorgio. --David Horiuchi

Customer Reviews:

didn't play.......2007-02-21

received the cd in a cracked case which is always irritating. But when the cd didn't play, it was time to start shopping locally again.

Love Without Reason.......2006-12-16

This is my favorite Sondheim musical. For me that's a big statement, but this musical is beyond brilliant. Based on a 19th century Italian novel that was later made into a film, the dark nature of this story might alienate some listeners at first. We open on a scene where Giorgio, a handsome young soldier is bidding farewell to his beautiful mistress, Clara- he has been sent to a remote outpost. They are young and in love but Clara is married. Still they are hopeful for their future. When Giorgio arrives at his new location he finds a remote, provincial town where his Colonel lives with his cousin Fosca, a repulsive, terminally ill woman. Fosca falls hopelessly in love with Giorgio and the love triange makes up the crux of the plot.

Many listeners may have a hard time understanding why Giorgio's affections turn from the beautiful young (albeit married) Clara to the sickly Fosca, but the lyrics and the score weave such a spell that you are caught up in it. Love here is not necessarily a happy thing. Yes, the opening song, a duet sung by Giorgio and Clara, is an ode to the joy of being in love, but Giorgio's idea of love progresses to something darker and deeper as he comes to know Fosca more and more. As Clara attempts to schedule her affair with Giorgio around her husband, Giorgio arrives at a conclusion that his feelings were something else:

Love isn't something scheduled in advance
Not something guarenteed
You need
For for fear it may pass you by
You have to take a chance
You can't just try it out
What's love unless it's unconditional?
Love doesn't give a damn about tomorrow and neither do I!

He comes to know his feelings for Clara as "Love within reason/ that isn't love". At the same time Fosca is literally staking him, which at first he resents and later relents to an idea of:

Love without reason
Love without mercy
Love without pride or shame
Love unconcerned with being returned
No wisedom, no judgement, no caution no blame

It is Fosca that loves him with this completeness, and he can't help but return it.

Many of the songs are letters written from one character to another and that stucture takes some getting used to. In fact it's hard to isolate individual songs here. Each one flows into the next to create the effect of a unified whole. At the end all the characters sing bits of each song in the show as Giorgio reads Fosca's final letter to him they come together in a musical climax before fading out, leaving only Giorgio and Fosca softly singing "your love will live in me"

Marin Mazzie is a gorgeous Clara who's voice shimmers in a luminious way. As Giorgio Jere Shea sounds fine but falls rather short emotionally. He hits all the notes but with little feeling (Michael Ball of the London cast is far better, I think). However as the doomed, dark Fosca Donna Murphy gives one of the most stunning performances I've ever heard. Her understated performance is devistating. Her voice is perfectly suited to the scare and we have one of those all too rare perfect combinations of actor and material.

I have got two defective Passion CD!!.......2006-07-10

I ordered a Passion CD but when I tried to play on all my players (Computer, Bose) it would "screw-up" on the first 8 or 9 tracks. I returned and Amazon quickly replaced. But when I the second CD it also did the same thing. I returned the CD and Amazon would not send a replacement due the fact that all may be defective. They did refund my money. Hopefully the manufacturer will get this fixed.

Goregous Operetta.......2006-03-26

If you're a fan of regular book musicals, this one is not for you!!! Passion is an operetta style love triangle that is complex, poignant, and beautiful. Stephen Sondheim's brillaint score ties the entrie musical together, which again helps him keep his genius status. The clever weaving of songs, scenes, and, most interestingly, letters, make for a great cast album.

As for performances, it's the females who own this show. Marin Mazzie is as glorious as ever as Clara (she's even better in Ragtime), and Tony-winner Donna Murphy brings all of the emotion forward in her portrayal of Fosca.

For those who are used to the usual Sondheim, this one may dissapoint. Others, however, will love this opera of love.

Original and Powerful Stuff.......2005-11-20

I saw "Passion" on Broadway and was angry and at the time disappointed. There aren't any set pieces. It's one act and told with a seeming simplicity that is deeper than the deep, blue sea.
As a collector of Broadway Cast recordings, I made myself buy the OBC of "Passion" and only by listening to the score did I finally get what Sondheim was striving to accomplish. Every time he takes on a new show Sondheim goes where other composers fear to tread. And, because he is the foremost world-class composer of this generation, everything he writes causes quite a stir. And "Passion" is no exception. There is nothing like it, just like there is nothing like "Follies," "Company," "Pacific Overtures," "Merrily We Roll Along," "A Little Night Music," "Assassins," "The Frogs," and "Bounce." And there never will be because as long as he continues to write Sondheim will always expand the envelope of the American Musical form.

Thank God he does.

Average customer rating:

Delightful
A Master Class in Singing
Bryn is swell, but the bombast is annoying
Surprisingly Fine Crossover from Fleming and Terfel
BREATHTAKING VOCAL MAGNIFICENCE~BRAVO!!!

Renee and Bryn: Under the Stars
John Harold Kander , Andrew Lloyd Webber , Claude-Michel Schoenberg , Richard Rodgers , Gerard Presgurvic , Jason Robert Brown , Meredith Willson , Lucy Simon , Cole Porter , Stephen Flaherty , Ralph Salmins , and David Hartley
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000088E7D
Release Date: 2003-02-11

Tracks:

"Not While I'm Around" (from Sweeney Todd by Stephen Sondheim)
"Moonfall" (from The Mystery of Edwin Drood by R. Holmes)
"I Don't Remember You The Happy Tim" and "Sometimes a Day Goes By" (from Woman of the Year by Kander & Ebb)
"All the Love I Have" (from The Beautiful Game by Ben Elton & Andrew Lloyd Webber)
"I Wish I Could Forget You / Loving You" (from Passion by Stephen Sondheim)
"Stars" (from Les Misirables by Boublil & Schvnberg)
"All I Ask of You" (from The Phantom of the Opera by Andrew Lloyd Webber)
"Hello, Young Lovers" (from The King and I by Rodgers & Hammerstein)
"Pretty Women" (from Sweeney Todd by Stephen Sondheim)
"Aimer" (from Romio et Juliette by Presgurvic)
"All the Wasted Time" (from Parade by J. Brown)
"Seventy-Six Trombones" (from The Music Man by Willson)
"How Could I Ever Know" (from The Secret Garden by Simon and Norman)
"So In Love" (from Kiss Me Kate by Cole Porter)
"Wheels Of a Dream" (from Ragtime by Ahrens & Flaherty)

Amazon.com

In these days of the crossover, it is hardly surprising to find two great opera singers making a foray into numbers from Broadway musicals by such composers as Cole Porter, Stephen Sondheim, and Andrew Lloyd Webber. What's remarkable is that they seem completely at home in this music. Both say they grew up listening to it, and indeed they approach these songs with no less care and seriousness than they'd give the most demanding operatic arias, and without a trace of condescension. However, their vocal, expressive, and interpretive styles are very different, both in the solos and the duets. Terfel projects assertive manliness, tender, intimate affection, and rollicking humor without external effects, using only his incomparably sonorous voice and powerful personality. His diction is impeccably clear, and though he has sometimes let his theatrical flair spill over into Schubert songs, he is the soul of simplicity here. This is in stark contrast to Fleming's tendency to exaggerate colors and dynamics and to turn sentiment into sentimentality. Moreover, though she claims a background as a jazz singer, her "crooning" sounds artificial and unnatural. However, her top notes, culminating in a triumphant high C at the end of the final number, ring gloriously. Her voice glows and shimmers with irresistible luster, soaring from seductive whispers to thrilling climaxes. The program features a great variety of love songs, and includes an antiwar protest (from Beautiful Game), a celebration of the American dream (from Ragtime), and a rousing fun piece (from The Music Man). Unfortunately, even the best songs are marred by thoroughly corny arrangements. Listeners will find their own favorites, but the real "stars" on this record are the two singers. --Edith Eisler

Customer Reviews:

Delightful .......2006-07-24

I truly enjoy Terfel's vocal talent and found it to be well suited for this genre. Fleming's impeccable soprano voice is a bit overpowering for this style of music. (I own this CD)

A Master Class in Singing.......2006-06-20

This CD is a must-have for any person interested in the singing art. Ms. Fleming and Mr. Terfel gives new light to these Musical Theatre classics. Their fine vocalism in the musical theatre genre coupled with the depth of musicality and dramatic phrasing in each of the selections is truly a breath of fresh air. This recording is indeed a Master Class!

Bryn is swell, but the bombast is annoying.......2006-05-03

Love Bryn Terfel, the finest bass-baritone in Opera. Love Renee Fleming's luscious soprano. But the arrangements! Kettle drums and bombast and bang, bang, bang! Once Renee starts swooping, things go downhill, with little redemption.

It starts out beautifully. "Not While I'm Around" has never sounded more intimate to me than Terfel's caressing pianissimo. Fleming's "Moonglow" is stunningly good. Terfel makes a medley out of "I Don't Remember You and Sometimes a Day Goes By" that makes you want to cheer, and Fleming does a lovely Sondheim medley as well. Bryn sings "Stars" and makes me long for him in Les Mis. And then...things tend to go downhill. The bombast takes over and gets to you - it overwhelms two of the biggest voices now recording. Then Fleming begins to swoop and scoop, over-coloring and often coming off as simply self-indulgent, reminding one of a kid who makes a point of putting his face in a camera shot.

I don't mind Bryn as Prof. Harold Hill - I frankly think the Welsh accent is kinda cute - and it doesn't bother me on "Wheels of Dream," either, but Fleming seems to have lost her mind on that great song, and rather than indulging her, it would have simply been better left off the album. Ditto "All that Wasted Time" which is pretty much unlistenable. Ms. Fleming needs to stop thinking she is a jazz singer.

The four stars are because this album does contain some truly GLORIOUS moments, particularly in the duets, and in Terfel's solo's which are warm and memorable. Without him, the kettle drums and Fleming's self-indulgence would have made the whole endeavor unbearable.

Surprisingly Fine Crossover from Fleming and Terfel.......2006-04-18

Bryn Terfel and Renee Fleming are two of the most acclaimed opera singers of our day. But the musical theatre fan who puts on their Broadway CD, RENEE AND BRYN: UNDER THE STARS, expecting to hear a carelessly compiled hodgepodge of songs sung by voices ill-suited to them is in for a big surprise, beginning with the first phrases of the duo's warmly sung "Not While I'm Around" from SWEENEY TODD. True, these singers' beautiful voices have greater power and range than even the best of the Broadway stars', but this is an asset in these songs, most of which are either semi-operatic in nature or call (like THE MUSIC MAN's "Seventy-Six Trombones") for such an outsize personality as Terfel's. Fleming's sensuous and tonally gorgeous rendition of "Moonfall" from THE MYSTERY OF EDWIN DROOD can be placed among her very finest recordings, operatic and otherwise. And Terfel is ideally suited to both "Pretty Women" from SWEENEY TODD and "Stars" from LES MISERABLES; few if any Broadway Javerts could match the impact of his "This I swear by the stars!" Kander and Ebb's "I Don't Remember You" and "Sometimes a Day Goes By" make a perfect medley here, as do Sondheim's "I Wish I Could Forget You" and "Loving You" from PASSION. And though I don't care for the Andrew Lloyd Webber selections (ersatz Puccini) or the Jason Robert Brown one (which sounds too much like a pop song), Terfel and Fleming's singing of them is beyond reproach. The program ends with a bang: a rendition of "Wheels of a Dream" worthy to stand beside the now-classic one by Brian Stokes Mitchell and Audra McDonald on the original cast album of RAGTIME. Welshman Terfel's natural accent is noticeable here; but if one imagines him as, say, an Irish immigrant married to an African-American woman (as Fleming here sounds uncannily like McDonald or like Leontyne Price) his accent is appropriate and his voicing of the "bridge" section ("Oh Sarah, it's more than promises/Sarah, it must be true...") especially moving. Fleming's ecstatic final high note makes one want to applaud and cheer, both for the song and for the successful "crossover" effort.

BREATHTAKING VOCAL MAGNIFICENCE~BRAVO!!!.......2004-10-11

So captivating are these incredible singers in the glorious live concert "Under The Stars" creating an unforgettable musical masterpiece of epic proportions that is so moving and great to watch that I ran out and purchased this studio recorded Compact Disc the next day!! The brilliance of the live broadcast carried over into the recording studio capturing Renee and Bryn at the peak of their incredible powers emotionally and vocally making them the most effective crossover artists since the great Barbara Cook who like Miss Cook sing with emotion that is accurate for this type of material which is usually not the case with classical voices. Renee Fleming sings with genuine passion and stirring emotions and her timing is absolutely flawless and this lady has alot of soul and the Torrie Zito arranged "Moonfall" is a stunning masterpiece that clearly illustrates this. A dazzling medley each show both singers in glorious peak form with Bryn splendid in the enchanting "I Don't Remember You/Sometimes A Day Goes By" and Renee spellbinding and haunting in the gorgeous "I Wish I Could Forget You/Loving You" which will make anyone who loves a great voice fall in love with this amazingly gifted singer. "Stars" features a commanding performance from Bryn that raises the roof and this is so refreshing and inspired in these musically tired times!!! This superb showcase is full of wonderfully exciting performances which are capable of making people feel again and this is what is sorely needed in music today and BRAVO to Bryn Terfel and the gorgeous Renee Fleming for achieving this with complete artistic brilliance. Captivating duets fill this wonderous collection and never have classics such as "Not While I'm Around" or "All I Ask Of You" been sung more brilliantly than here. Renee is magical with "Hello, Young Lovers" while Bryn is commanding and winning with "Pretty Women". Renee's stunning "All The Wasted Time" is a vocal and emotional tour-de-force that is like a wild roller-coaster ride that you won't want to end as this is one of the most riveting songs that I have ever heard from a Broadway score and this certainly must be the definitive performance of this great song. This lady can really really sing and this is some deeply serious singing~WOW!!! Gorgeous together again in the beautiful "How Could I Ever Know" which is hair-raising and wonderfully soulful and sophisicated together in Cole Porter's "So In Love". A grand finale by these two awesome vocal wonders lives up to expectations being a complete blowout vocal festival and they definitely do not disappoint here!!! "Wheels Of A Dream" is mesmerizing and soars to magnificent heights with Bryn and Renee in peak form singing to the skies and hitting notes that I swear I have never heard before~BRAVO!!!!!!! You are both magically inspired and simply put as good as it gets!!!! Highly recommended if you love two awesome vocal wonders at their absolute peak in a magnificent beautifully orchestrated setting!!! Thank you Bryn & Renee...

Barbara Cook Sings Mostly Sondheim (Live at Carnegie Hall 2001)

Average customer rating:

Wow!
Everyone Should Whistle
An amazing intro to the body of work of a true master
Beautiful, moving concert
... and I love Barbara Cook

Barbara Cook Sings Mostly Sondheim (Live at Carnegie Hall 2001)

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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Barbara Cook's Broadway!
Barbara Cook at the Met with Special Guests
Tribute
It's Better with a Band
The Champion Season: Live at the Cafe Carlyle

ASIN: B000059LFF
Release Date: 2001-05-08

Tracks:

Everybody Says Don't
I Wonder What Became of Me?
The Eagle and Me
I Had Myself a True Love
Into the Woods / Giants in the Sky (Malcolm Gets)
Another Hundred People / So Many People (Malcolm Gets)
Let's Face the Music and Dance / The Song Is You (duet with Malcolm Gets)
Happiness
Loving You
You Could Drive a Person Crazy
Not A Day Goes By / Losing My Mind

Tracks:

Buds Won't Bud
I Got Lost in His Arms
West Side Story Segment: Something's Coming / Tonight (Malcolm Gets)
Move On (duet with Malcolm Gets)
Medley: Hard Hearted Hannah / Waiting for the Robert E. Lee / San Francisco
Ice Cream
Send in the Clowns
The Trolley Song
Not While I'm Around (duet with Malcolm Gets)
Anyone Can Whistle

Amazon.com's Best of 2001

Barbara Cook is one of today's most accomplished song stylists, and if you don't believe us, just listen to this live album. It's a master class in the art of singing. It documents an evening at Carnegie Hall during which Cook proved that she can dissect and extract the substance out of the simplest of lyrics. One of the best surprises is "You Could Drive a Person Crazy" (from Company), which is taken at an amiable trot and allows the singer to display its humor. Cook is not a swinging singer and uptempo is not her pace; give her a ballad, though, and she'll wring the last drop of emotion out of it. Her version of "Losing My Mind" (here paired with "Not a Day Goes By") is simply astonishing. The singer also performs songs that Sondheim has said he wished he had written, an awful lot of them by Harold Arlen. No complaints here. Guest Malcolm Gets solos on a few songs and duets with Cook on others, including "Let's Face the Music and Dance." This is classic material done masterfully by a classic singer. --Elisabeth Vincentelli

Customer Reviews:

Wow!.......2004-02-20

Having read the other reviews there is little more for me to add. I have been a Barbara Cook fan for a longtime and for me, this is one of her best concerts ever. I do, however, prefer the DVD. As with some other reviewers, I do not want to hear Malcolm Gets (as much as I like him) when I want to listen to Barbara. Her flawless interpretation of music is a hard act to follow for any singer! I managed to see this concert 4 times over a year and a half. Each time I saw her the voice was stronger and more assured (I would not have thought that possible). I can't help but think we will have the pleasure of hearing Ms Cook for many years to come. For those people who enjoyed his CD I strongly recommend purchasing the DVD. Barabara's rendition of So Many People is breathtaking (literally, I don't think I breathed once during the entire song). If you ever have opportunity to see her live - go! She has an ability to make you feel as if every song she sings and every word she speaks is directed to you alone. She can take a large venue and make it feel as intimate as your own living room. Having had the pleasure of meeting her I can say she is as youthful and pleasurable in person as she is in her performance.

Everyone Should Whistle.......2003-10-11

After being privileged to attend this concert, I had to own the CD. Once a lyric coloratura and the original Cunegonde in Bernstein's Candide, Ms. Cook has become (in her 70s) a true diva, blessed with a velvety, warm sound. Every note has meaning. Her high B-flat on "Ice Cream" is still the envy of any soprano today. Everyone should whistle after hearing the superb performances on this CD. Even better, though, is the experience of having been in the concert hall for the live performance. Brava, Ms. Cook!

An amazing intro to the body of work of a true master.......2003-06-16

When I first bought tickets for the 'Mostly Sondheim' show on tour (in San Francisco) I figured it couldn't be too bad. Besides, I had only been exposed to a few of his songs (Anyone Can Whistle, Losing My Mind...) and had only seen "A Little Night Music". On the way out of the theater I immediately picked up this recording of the program. It is truly amazing. I immediately began listening to it and have barely put it down in the last few months. Furthermore, my Sondheim CD collection increased in size from an unflattering zero to five (and it's still growing)! This is an amazing introduction to the works of Stephen Sondheim, who is now my favorite modern musical composer). Buy this now if you don't already have it!

Beautiful, moving concert.......2003-04-13

This is a wonderful CD set with a great selection of songs. I do want to express a slight reservation, however. Barbara Cook has been one of my favorite singers for a number of years and the way her voice defies time is extraordinary -- for her to be singing with such bright, beautiful tone in her mid-70s with no wobble or beat in the voice is an amazing achievment.

I do have to say that by 2001, when this concert was recorded, Cook seemed to have a lost a little bit of power and intensity in her singing. This is only natural for someone of her age. Her voice is still lovely, but you can sense her keeping it in reserve a bit. She's as expressive as ever, but compare the rendition of "I got lost in his arms" on this album to the one on her previous album recorded in 1999, "The Champion Season", and there's less urgency and vocal depth in her singing here. That said, the high B at the end of "Ice Cream" is sensational.

So, despite that caveat, this is, again, a wonderful album, a must for Cook fans, especially for the gorgeous renditions of songs I'd never thought I'd get to hear her perform: "Not a Day Goes By", "Happiness/Loving You", "San Francisco", etc. Buy it!

... and I love Barbara Cook.......2003-02-11

This recording is a disappointment for me. It is not her best work, and Malcolm Gets is uninspired. My biggest complaint however is the engineering of the recording. Throughout the speaking was to soft, the singing volumes uneven, and the applause deafening. I will be passing this CD on to friends, and will later donate it to my local library.

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Review of Flute Passion CD

Flute Passion

Manufacturer: EMI Classics Imports
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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ASIN: B00008PW65
Release Date: 2003-11-04

Tracks:

IV. Bourrees 1 & 2 - Elaine Schaffer
V. Polonaise & Double - Elaine Schaffer
VI. Menuet - Elaine Schaffer
VII. Badinerie - Elaine Schaffer
II. Siciliano - Michel Debost
Ouverture - David Munrow
Les Plaisirs - David Munrow
Sonate Pour 2 Flutes En Sol Majeur, Op.2 No.1: II. Andante - Allegro - James Galway
I. Largo - Bruno Cavallo
II. 'Fantasmi' Presto - Bruno Cavallo
III. Largo - Bruno Cavallo
IV. Presto - Bruno Cavallo
V. Largo 'II Sonno' - Bruno Cavallo
VI. Allegro - Bruno Cavallo
I. Allegro - Michel Sanvoisin
Concerto Pour Flute, Harpe & Orchestra En Ut Majeur, K.299: II. Andantino - James Galway
Romance Pour Flute & Piano En La Majeur, Op.94 No.1 - Jean-Pierre Rampal
L'Arlesienne: Menuet - Michel Debost
Carmen: Entracte (Acte III) - Michel Debost
L'Oiseau Des Bois, Idylle Pour Flute & 4 Cors, Op.21 - John Solum
Casse-Noisette: Danse Des Mirlitons - Royal Philharmonic Orchestra
Adagio - London Symphony Orchestra
L'Oiseau Bleu Et La Princess Florine - London Symphony Orchestra
Le Carnaval Des Animaux: Voliere - Francois Laurent
Pelleas Et Melisande: Sicilienne - Patricia Nagle
Daphnis Et Chloe: Pantomime - Michel Debost

Tracks:

Syrinx Pour Flute Seule - Michel Debost
Danse De La Chevre Pour Flute Seule - Jonathan Snowden
Entr'acte - Roger Bourdin
I. Allegro Malinconico - Eric Le Sage
II. Cantilene - Eric Le Sage
III. Presto Giocoso - Eric Le Sage
Density 21/5 Pour Flute Seule - Michel Debost
I. Pan - Raymund Havenith
Ballade Pour Flute, Orchestre A Cordes & Piano - Aurele Nicolet
Le Merle Noir - Karlheinz Zoller
Vermont Counterpoint - Ransom Wilson
I. Allegretto - Kathleen Chastain
II. Andante - Kathleen Chastain
III. Anime - Kathleen Chastain
Sequenza Pour Flute Seule - Karlheinz Zoller
Chant De Linos, Pour Flute & Piano - Eric Le Sage

Customer Reviews:

Review of Flute Passion CD.......2004-08-08

I came across this CD while looking for recordings of music that I could play to Flute Students. This CD is a winner, as it contains music at the Grade -7 level (Australia) and makes a wonderful purchase for both teachers and students. The various artists represented on the CD's are amongst the best flautists in the world. An excellent choice for anyone passionate about the flute.

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Passion Play
Gino D'Auri
Manufacturer: Sonic Atmospheres
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000E89B
Release Date: 1990-10-25

Tracks:

Moorish Fantasy
Ronde
Granadinas
Palace

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Musical Art
Jethro Tull's second "oratorical" comes up a tad short
Wonderful!
It's amazing this went to #1!
A Walk On The Dark Side of Tull

A passion Play
Jethro Tull
Manufacturer: Mobile Fidelity
ProductGroup: Music
Binding: Audio CD

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Songs From The Wood

ASIN: B000005ZFN
Release Date: 1998-03-17

Tracks:

Lifebeats
Prelude
The Silver Cord
Re-Assuring Tune
Memory Bank
Best Friends
Critique Oblique
Forest Dance #1
The Story Of the Hare Who Lost His Spectacles
Forest Dance #2
The Foot Of Our Stairs
Overseer Overture
Flight From Lucifer
10.08 To Paddington
Magus Perde
Epilogue

Amazon.com

Customer Reviews:

Musical Art.......2005-04-26

This album was initially reviled by many critics when it first appeared in 1973, though Tull fans loved it so much that it went to number one on the charts. With time the music has been better explained, and music has evolved to the point where "A Passion Play" can be put into better perspective. However, the music and the composition, confusing as it may initially appear, allows you to recognize that this was an attempt to create an epic work. In some ways the work is unfinished, because the original studio sessions were cut short before the original concept was completed, and thus three albums sides of material had to be cut back to two. Some of the music originally intended for this album appeared on later albums; one example is "Skating Away on the Thin Ice of a New Day."

The album was intended to tell the story of a recently-deceased man seeing his own funeral, and his journey in the afterlife, including purgatory and hell, and eventual reincarnation. In addition to this primary story was the inclusion of "The Story of the Hare Who Lost His Spectacles," a story likened to stories from Winnie the Pooh to Peter and the Wolf.

"A Passion Play" combines ten tracks into a single work (according to the official Jethro Tull web site). As in "Thick as a Brick," there is an occasional uneven spot in the transition from one track to the next. However, as in the former album, the transitions and concept works nearly as well. The music is certainly well refined, with hard-driving rock riffs, drums and synthesizers keeping Jethro Tull at the more experimental, progressive edge of rock. I warn you, though, that the music requires a good sound system to be able to listen to music that extends from very quiet to very loud. I compare this music to classical music, which similarly has sounds that extend from soft to loud, and also requires a good sound system. I also warn you to attempt to understand the lyrics at your own peril. The lyrics verge on the incomprehensible, even for those who have studied them at length. The lyrics are poetic and symbolic, and attempt to describe events and concepts barely attainable by the human mind, much less by a human language.

Music such as this does not attempt to pander to a "style" or to commercial success. This music is art. Thus, its meaning, significance and relevance are to be interpreted by each listener. I will not pretend to tell you that I understand this work in its entirety. Perhaps it was never meant to be understood, in the manner of Yes's "Tales from Topographic Oceans." However, while I may not be able to define or understand progressive rock, I know it when I hear it, and this music is definitely progressive rock. Listen to this music only if you are prepared to be open-minded and to accept it for what it attempted to do, and not for the misguided interpretations of those who think they have been given the divine ability to judge the work of an artist as trash.

Jethro Tull's second "oratorical" comes up a tad short.......2001-10-14

On the one hand "A Passion Play" is clearly attempt by Jethro Tull's eccentric leader Ian Anderson to recapture the heights the group reached with their "Thick as a Brick" album. While the final judgment would have to be close but no cigar, this is still one of the better Tull albums. I have always found the parallels between the "story" and the Passion of Christ to be somewhat forced at best, but Anderson likes to be pretentious and enigmatic whenever possible when it comes to his lyrics. The album was conceived for live performance, which included a short film of the album cover ballerina in action and the strange little interlude of "The Hair Who Lost His Spectacles." As always, there is the hodge-podge of musical influences with flamenco thrown in with the classical, blues, jazz, folk and rock we came to expect from Tull. This is certainly the most pretentious album from Anderson's fertile mind, which is why it ends up being less of a success than "Thick as a Brick." The less you listen to the lyrics and try to work out the message, the more you will enjoy the music and the album. The problem, of course, is that Anderson does not really want you tuning out the lyrics and the "plot" of the album.

Wonderful!.......2001-08-09

This is a great album! And, before I say anything else, there's one subject I must brooch! The Hare Who Lost His Spectacles. I've seen way too many people rip on this piece. I love it! You have to understand its purpose. It's an intermission, to lighten the mood between the heavy music and meaningful lyrics. Yes, others have noted that, but they missed a point. Remember the title? A PASSION PLAY. Midievil passion plays could take a week to perform, and would always have a light-hearted interval, unconnected with the rest of the story. Almost exclusively dealing with a simple moral with animal characters. If you take that, and the obvious anti-establishment (for lack of a better term) satire involved, you'll get much more out of this story. (And by the way, Ian doesn't do the vocals for The Hare, Jeffrey Hammond-Hammond does.) The rest of the album's great, too, but any other review can tell you that. Check this piece out, it's worth it!

It's amazing this went to #1!.......2000-01-25

This disc, Jethro Tull's most difficult and progressive work, is a Top 40 listener's nightmare. The density of it is comparable to Captain Beefheart's Trout Mask Replica or Frank Zappa's Uncle Meat. Many Tull fans prefer to overlook this album that follows Thick As A Brick, and dash directly to Warchild, a great album for sure, but one that is not nearly as challenging as A Passion Play. The fact that Passion topped the US charts shows how much clout Tull had in the early 70's, but music critics were less than impressed and Tull has remained a critical dartboard ever since. The album starts out with the progressive rock cliche of heartbeats then becomes something completely original. The opening section is along the basic framework of "Tiger Toon" from Nightcap, but this version buzzes with electricty. The sound is bizarre (it resembles what extra-terrestrial folk music must sound like) but is quite catchy! Then things quiet down to what is Tull's most eerie music; Ian sings with a pleading tone, sounding more like a mournful sage than a wildman-minstrel. John Evan's contribution to this album is essential. His piano playing has never sounded lovelier, and his use of the synthesizer is much more restrained and tasteful than later Tull keyboard players (Peter Vettesse hops to mind). After this interlude, things pick up as Ian dispenses lyrics that seem to be full of biblical allusions, but I haven't any real idea what's he getting at. Still, the lyrics are ripe with insightful tidbits and interesting poetry, and Ian's vocals are excellent! After a long, interesting instrumental passage, Tull heads into "Critique Oblique", with threatening vocals from Ian, and meandering riffs that exit in a blur of sound. Then follows "Forest Dance", which could easily be a soundtrack for a pagan ritual, then "The Story Of The Hare Who Lost His Spectacles", which sounds like Monty Python on drugs. I think it's funny, but I know lots of Tull fans think it's pointless. Next, a reprise of "Forest Dance" then to "The Foot Of Our Stairs", which is just beautiful! Pure as the truth, tight at both ends! Again, IA's vocals are something, then the band injects an instrumental section that features Ian's best sax playing on record, and awesome guitar from Martin Barre! The gloomy "Overseer Overture" is very different from most of their work; the synthesizer is extremely effective as it blips on the barren landscape, while drummer Barrie Barlow defines what a drummer should be: adding interesting percussion parts that aren't pointless but essential. More excellent sax from Mr. Anderson that sounds almost Eastern. "Flight From Lucifer" starts out with Gothic organ, becomes almost bouncy (by Tull standards), then changes into what sounds like a manic electric Scots jig. Then a breather with lovely "10.08 To Paddington" which takes off its mask to reveal itself as "Magus Perde", passion play writer. The band rocks out with one of their greatest performances, the odd jig resumes, and Ian's vocals are yet again wonderful. The piano returns briefly as the album ends as if descending into a bottomless pit. I hope my ineffectual description of this great work doesn't put fellow Tull fans off, but I'm only trying to convey what a unique disc this is. Certainly one of the greatest in rock history.

A Walk On The Dark Side of Tull.......1999-12-21

The second of consecutive "ultimate concept" albums consisting of [essentially] one continuous piece of music. The music of Passion Play is very different from Thick As A Brick -- in structure as well as in tone. However, the outward attempt at pulling off the "trick" of forming an album without individual songs brought on tremendous critical scorn from the literary powers-that-be. Apparently though, the fans were less disturbed with Tull dipping back into this bag of tricks: Passion Play sold strongly enough to supplant Pink Floyd's Dark Side of the Moon in the #1 spot on the rock album charts in 1973.

Not that Passion Play doesn't merit some criticism: Even though music this slick and stylish would not again be produced by the band until Songs From the Wood four years later (1975's Minstrel in the Gallery was a superior work, but was a raw, austere album). In this work, the transition between individual elements, unlike Thick As A Brick, is often clumsy and glaring. At times one is left thinking that maybe it would've been best to just work up endings to the various elements and present them as individual songs. It certainly would have denied much fodder for abuse to the rock critics of the day. The central connection between the two halves, The Story of the Hare Who Lost His Spectacles, a modestly humorous piece, can most generously be termed a failed experiment.

These problems aside, the very dark yet fanciful story of a young man's tortuous trip through the afterlife, replete with a vist to Hell, wasn't designed to elicit thoughts of merriment and good cheer. And to top off everything, the beating-heart opening was viewed as a cliche rather than the inside joke on Pink Floyd, which it undoubtedly was. Of course, in this case the beating heart was stopping not starting up -- thus opening the album with the death of our protagonist. Not exactly mom's good-time-rock-and-roll.

The music itself has a whimsical and melodious quality -- almost dance-like -- at least until you arrive at the very powerful, and pushing the edge of discordant, ending element. Oddly enough, it is the actual visit to Hell (beginning of the second half - The Foot Of Our Stairs/Overseer Overture/Flight From Lucifer) that provides the best example of the noted Tull humor, of which there was so much in Thick As A Brick. It is this portion of the album that wears the best over the years and provides the most compelling music, although they may be the least inventive elements in the set. The best known portion is the robust, syncopated ending (Magus Perde), heavily ornamented by Martin Barre's strident guitar riffs, and blessed with some astounding vocal work by Ian Anderson. In fact, Mr. Anderson's vocals are absolutely gorgeous throughout this album -- perhaps his best vocal work ever recorded. For those of you familiar only with Aqualung or his later, post-illness, diminished vocal range, Passion Play will be a revelation.

Ironically enough, Passion Play begain life (in France, while the band was in tax exile from Britain) as a much lighter and happier set of compositions. The compilation album Nightcap from 1991 includes the original Paris recordings of the music which would later become Passion Play, following re-structuring and re-recording in England. Although unfinished (some of the recordings were only at the rehearsal stage), with only rudimentary compositions, it is fascinating to see how easily Passion Play could have been something very different in tone from the final product. In fact, the capricious album War Child, which followed Passion Play, contained some reworked and expanded versions of the waggish music found in the French recordings. (Of special note is the hilarious Look At All The Animals -- why on Earth didn't they use that instead of The Story of the Hare Who Lost His Spectacles?)

Tracks:

Opening Remarks
'Aus Liebe'- St. Mathew Passion
'Domine Deus'- Mass In b
Sym No.3
Sym No.4
Leonore No.3
Entr'acte From Carmen
Menuet From L'Arlesienne
Sym No.1
Sym No.4
Afternoon Of A Faun
Sym No.8
Menuet & Dance From Orpheus
Sym Metamorphoses
Midsummer Night's Dream
Classical Sym
Peter And The Wolf
Bolero
Daphnis Et Chloe'
Russian Easter Ov
Capriccio Espagnol
William Tell Ov
Carnival Of The Animals
Salome
Petrouchka
Chant Du Rossignol
Sym No.4
Closing Remarks

Customer Reviews:

A great companion to the book.......2000-10-28

I own the book of the same title of excerpts, though expensive it was worth it. I was considering not buying this CD since I have recording of the pieces anyway but I am glad I did. Not only is it convienient to have all the excerpts on once CD but Jeanne has a wonderful clear sound makes this a joy to listen to. Having it isolated to better hear what she is talking about is immensely helpful. It's not a fun to listen to recording, it is meant for study, but if you are a flutist learning your major orchestral solos it is just as good as having your teacher walk you through the piece. Perhaps more helpful as a second view is always good to know.

Average customer rating:

Loving You

Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YNGQ
Release Date: 2002-03-05

Tracks:

Loving You - Sean McDermott
All I Ask of You - Gary Mauer and Laurie Gayle Stephenson
Hopelessly Devoted to You - Shona Lindsay
The Way You Look Tonight - George Dvorsky
Till There Was You - Alice Ripley
With You - Ethan Freeman
Can You Feel the Love Tonight - John Barrowman
I Will Always Love You - Salena Jones
Only You - Grania Renihan
They Were You - Catherine Porter and Alexander Hanson
I'll Never Say No to You - Ron Raines
I Love You - Valerie Masterson

Average customer rating:

A Grade-A recording

Passion Play
Papas Fritas
Manufacturer: Minty Fresh
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003KWX
Release Date: 1996-04-23

Tracks:

Passion Play
Means
Howl
Radio Days

Customer Reviews:

A Grade-A recording.......2000-06-18

If you've heard the new Papa Fritas album Buildings And Grounds and enjoyed it, this is a must have. The second track has an infectuous groove that will knock your socks off.

Rock Music:

Rock Music

rock music