Here Come the Tears [Import]

Product Description
Japanese pressing of their 2005 debut features two bonus tracks, 'Song of the Migrant Worker' and 'Southern Rain'. V2.

Tracks:

First Booke Of Songes: I. Unquiet Thoughts
First Booke Of Songes: II. Who Ever Thinks Or Hopes Of Love
First Booke Of Songes: III. My Thoughts Are Wing'd With Hopes
First Booke Of Songes: IV. If My Complaints Could Passions Move
First Booke Of Songes: V. Can She Excuse My Wrongs
First Booke Of Songes: VI. Now, O Now, I Needs Must Part
First Booke Of Songes: VII. Dear, If You Change
First Booke Of Songes: VIII. Burst Fourth My Tears
First Booke Of Songes: IX. Go Crystal Tears
First Booke Of Songes: X. Think'st Thou Then By Thy Feigning
First Booke Of Songes: XI. Come Away, Come Sweet Love
First Booke Of Songes: XII. Rest Awhile, You Cruel Cares
First Booke Of Songes: XIII. Sleep, Wayward Thoughts
First Booke Of Songes: XIV. All Ye, Whom Love Or Fortune Hath Betray'd
First Booke Of Songes: XV. Wilt Thou Unkind Thus Reave Me
First Booke Of Songes: XVI. Would My Conceit
First Booke Of Songes: XVII. Come Again: Sweet Love Doth Now Invite
First Booke Of Songes: XVIII. His Golden Locks
First Booke Of Songes: XIX. Awake, Sweet Love
First Booke Of Songes: XX. Come, Heavy Sleep
First Booke Of Songes: XXI. Away With These Self-Loving Lads

Tracks:

Second Booke Of Songs: I. I Saw My Lady Weep
Second Booke Of Songs: II. Flow My Tears
Second Booke Of Songs: III. Sorrow, Stay
Second Booke Of Songs: IV. Die Not Before Thy Day
Second Booke Of Songs: V. Mourn, Mourn, Day Is With Darkness Fled
Second Booke Of Songs: VI. Time's Eldest Son
Second Booke Of Songs: VII. Then Sit Thee Down
Second Booke Of Songs: VIII. When Others Sing Venite
Second Booke Of Songs: IX. Praise Blindness Eyes
Second Booke Of Songs: X. O Sweet Woods
Second Booke Of Songs: XI. If Floods Of Tears
Second Booke Of Songs: XII. Fine Knacks For Ladies
Second Booke Of Songs: XIII. Now Cease My Wand'ring Eyes
Second Booke Of Songs: XIV. Come Ye Heavy States Of Night
Second Booke Of Songs: XV. White As Lilies Was Her Face
Second Booke Of Songs: XVI. Woeful Heart
Second Booke Of Songs: XVII. A Shepherd In A Shade
Second Booke Of Songs: XVIII. Faction That Ever Dwells
Second Booke Of Songs: XIX. Shall I Sue
Second Booke Of Songs: XX. Toss Not My Soul
Second Booke Of Songs: XXI. Clear Or Cloudy
Second Booke Of Songs: XXII. Humour Say What Mak'st Thou Here

Tracks:

Third Booke Of Songs 1603: I. Farewell, Too Fair
Third Booke Of Songs 1603: II. Time Stands Still
Third Booke Of Songs 1603: III. Behold A Wonder Here
Third Booke Of Songs 1603: IV. Daphne Was Not So Chaste
Third Booke Of Songs 1603: V. Me, Me, And None But Me
Third Booke Of Songs 1603: VI. When Phoebus First Did Daphne Love
Third Booke Of Songs 1603: VII. Say, Love, If Ever Thou Didst Find
Third Booke Of Songs 1603: VIII. Flow Not So Fast, Ye Fountains
Third Booke Of Songs 1603: IX. What If I Never Speed?
Third Booke Of Songs 1603: X. Love Stood Amazed
Third Booke Of Songs 1603: XI. Lend Your Ears To My Sorrow
Third Booke Of Songs 1603: XII. By A Fountain Where I Lay
Third Booke Of Songs 1603: XIII. O What Hath Overwrought
Third Booke Of Songs 1603: XIV. Farewell, Unkind
Third Booke Of Songs 1603: XV. Weep You No More, Sad Fountains
Third Booke Of Songs 1603: XVI. Fie On This Feigning!
Third Booke Of Songs 1603: XVII. I Must Complain
Third Booke Of Songs 1603: XVIII. It Was A Time When Silly Bees
Third Booke Of Songs 1603: XIX. The Lowest Trees Have Tops
Third Booke Of Songs 1603: XX. What Poor Astronomers Are They
Third Booke Of Songs 1603: XXI. Come When I Call

Tracks:

A Pilgrimes Solace: I. Disdain Me Still
A Pilgrimes Solace: II. Sweet Stay Awhile
A Pilgrimes Solace: III. To Ask For All Thy Love
A Pilgrimes Solace: IV. Love, Those Beams That Breed
A Pilgrimes Solace: V. Shall I Strive Wih Words To Move?
A Pilgrimes Solace: VI. Were Every Thought An Eye
A Pilgrimes Solace: VII. Stay, Time, Awhile Thy Flying
A Pilgrimes Solace: VIII. Tell Me, True Love
A Pilgrimes Solace: IX. Go Nightly Cares
A Pilgrimes Solace: X. From Silent Night
A Pilgrimes Solace: XI. Lasso vita mia
A Pilgrimes Solace: XII. In This Trembling Shadow Cast
A Pilgrimes Solace: XIII. If That A Sinner's Sights
A Pilgrimes Solace: XIV. Thou Mighty God
A Pilgrimes Solace: XV. When David's Life
A Pilgrimes Solace: XVI. When The Poor Cripple

Tracks:

A Pilgrimes Solace: XVII. Where Sin Sore Wounding
A Pilgrimes Solace: XVIII. My Heart And Tongue Were Twins
A Pilgrimes Solace: XIX. Up Merry Mates
A Pilgrimes Solace: XX. Welcome Black Night
A Pilgrimes Solace: XXI. Cease, Cease These False Sports
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Lachrimae Pavane
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can Shee
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana
Keyboard Transcriptions Of Dowland's Music By Other Musicians: The Frogge
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Frog's Galliard
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavana And Galiarda
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana Lachrymae
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can She Excuse
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavion Solus cum sola
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Dowland's Almayne
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Piper's Paven And Galliard
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavan Lachrymae

Tracks:

Mr. Henry Noell Lamentations: I. The Lamentation Of A Sinner
Mr. Henry Noell Lamentations: II. Domine ne in furore
Mr. Henry Noell Lamentations: III. Miserere mei Deus
Mr. Henry Noell Lamentations: IV. The Humble Suit Of A Sinner
Mr. Henry Noell Lamentations: V. The Humble Complaint Of A Sinner
Mr. Henry Noell Lamentations: VI. De profundis
Mr. Henry Noell Lamentations: VII. Domine exaudi
Lachrimae: Lachrimae Antiquae
Lachrimae: Lachrimae Antiquae Novae
Lachrimae: Lachrimae Gementes
Lachrimae: Lachrimae Tristes
Lachrimae: Lachrimae Coactae
Lachrimae: Lachrimae Amantis
Lachrimae: Lachrimae Verae
Lachrimae: Mr. John Langton's Pavan
Lachrimae: Mr. Nicholas Gryffith His Galiard
Lachrimae: Sir John Souch His Galiard
Lachrimae: Semper Dowland Semper Dolens
Lachrimae: Mr. Giles Hobies Galiard
Lachrimae: The King Of Denmark's Galiard
Lachrimae: Sir Henry Umpton's Funerall
Lachrimae: Mr. Henry Noell His Galiard
Lachrimae: The Earl Of Essex Galiard
Lachrimae: Mr. Bucton His Galiard
Lachrimae: Mr. George Whitehead His Almand
Lachrimae: Captain Digorie Piper His Galiard
Lachrimae: Mr. Thomas Collier His Galiard
Lachrimae: Mrs. Nichols Almand

Tracks:

Sacred Songs: Sorrow, Come!
Sacred Songs: I Shame At Mine Unworthiness
Sacred Songs: An Heart That's Broken And Contrite
Psalms: Psalm 100: All People That On Earth Do Dwell
Psalms: Psalm 38: Put Me Not To Rebuke O Lord
Psalms: Psalm 130: Lord To Thee I Make My Moan
Psalms: Psalm 104: My Soul Praise The Lord
Psalms: Psalm 100: All People That On Earth Do Dwell
Psalms: Psalm 134: Behold And Have Regard
A Prayer For The Queen's Most Excellent Majesty
Instrumental Music: Solus cum sola pavan
Instrumental Music: Lachrimae
Instrumental Music: Galliard
Instrumental Music: Pipers Pavan
Instrumental Music: Lachrimae
Instrumental Music: Lady Rich Galliard
Instrumental Music: Earl Of Essex Galliard
Instrumental Music: If My Complaints
Instrumental Music: Lachrimae Doolande
Instrumental Music: Lord Willoughbie's Welcome Home
Instrumental Music: My Lord Chamberlaine His Galliard
Instrumental Music: Comagain
Instrumental Music: Pavan Lachrymae
Instrumental Music: Sorrow Stay

Tracks:

Lute Music: Preludium
Lute Music: Lachrimae
Lute Music: Can She Excuse
Lute Music: Dr. Case's Pavan
Lute Music: Melancholy Galliard
Lute Music: Sir John Smith, His Almain
Lute Music: Fantasia
Lute Music: A Dream
Lute Music: Almain
Lute Music: The Queen's Galliard
Lute Music: Coranto
Lute Music: Resolution
Lute Music: Mrs. Vaux Galliard
Lute Music: Almain
Lute Music: Mr. Dowland's MIdnight
Lute Music: Fantasia
Lute Music: Loth To Depart
Lute Music: The Most Sacred Queen Elizabeth, Her Galliard
Lute Music: The Earl Of Essex, His Galliard
Lute Music: Pavan
Lute Music: John Dowland's Galliard
Lute Music: Aloe
Lute Music: The Lady Clifton's Spirit
Lute Music: What If A Day
Lute Music: Mr. Giles Hobie's Galliard
Lute Music: Come Away (Song arrangement)
Lute Music: Galliard
Lute Music: Fancy (Fantasia)

Tracks:

Lute Music: Lachrimae (Basic Version)
Lute Music: Galliard To Lachrimae
Lute Music: [Jig]
Lute Music: Galliard On 'Wasingham'
Lute Music: Complaint (Ballad Setting)
Lute Music: Mignarda (Galliard)
Lute Music: Semper Dowland Semper Dolens (Pavan)
Lute Music: The Frog Galliard
Lute Music: A Fancy (Fantasia)
Lute Music: Fancy (Fantasia)
Lute Music: Piper's Pavan
Lute Music: Captain Digorie Piper's Galliard
Lute Music: Lady Laiton's Almain
Lute Music: Dowland's Galliard
Lute Music: Dowland's First Galliard
Lute Music: Tarleton's Jig
Lute Music: Walsingham (ballad Setting)
Lute Music: Lord Willoughbie's Welcome Home (Ballad Setting)
Lute Music: Sir Henry Guilforde, His Almain
Lute Music: Pavan (Related To 'Lachrimae')
Lute Music: Mr. Langton's Galliard
Lute Music: Mrs. Clifton's Almain
Lute Music: Galliard
Lute Music: Lady Hunsdon's Puffe (Almain)
Lute Music: Galliard
Lute Music: Go From My Window (Ballad Setting)
Lute Music: Fancy (Fantasia)

Tracks:

Lute Music: Pavana Johan Douland
Lute Music: Mrs. Brigide Fleetwood's Pavan (Solus sine sola)
Lute Music: La mia Barbara
Lute Music: Sir Henry Umpton's Funeral (Pavan)
Lute Music: Lachrimae
Lute Music: Farewell Fancy (Chromatic Fantasia)
Lute Music: Farewell (On The 'In Nomine' Theme)
Lute Music: The King of Denmark's Galliard
Lute Music: Mrs. Vaux's Jig
Lute Music: Mrs. Nichol's Almain
Lute Music: Galliard
Lute Music: Lord Strang's March
Lute Music: Mrs. Winter's Jump
Lute Music: Can She Excuse (Galliard)
Lute Music: The Shoemaker's Wife, A Toy
Lute Music: Mrs. Norrish's Delight
Lute Music: Galliard
Lute Music: Mrs. White's Thing (Almain)
Lute Music: Mrs. White's Nothing
Lute Music: The Frog Galliard
Lute Music: Solus cum sola
Lute Music: The Lord Viscount Lisle, His Galliard
Lute Music: Orlando Sleepeth (Ballad Setting)
Lute Music: Robin (Ballad Setting)
Lute Music: Galliard (On A Galliard By Daniel Bacheler)
Lute Music: Forlorn Hope Fancy (Chromatic Fantasia)

Tracks:

Lute Music: The Lady Russell's Pavan
Lute Music: Fancy (Fantasia)
Lute Music: Sir John Langton's Pavan
Lute Music: Earl Of Derby, His Galliard
Lute Music: A Coy Toy
Lute Music: Fortune My Foe
Lute Music: [Almain]
Lute Music: Mr. Knight's Galliard
Lute Music: Sir John Souch His Galliard
Lute Music: Tarletone's Riserrectione
Lute Music: The Lady Rich, Her Galliard
Consort Music: Lachrimae Pavan
Consort Music: Can She Excuse Galliard
Consort Music: Captain Piper's Pavan And Galliard
Consort Music: The Frog Galliard
Consort Music: Round Battell Galliard
Consort Music: Fortune My Foe
Consort Music: Dowland's First Galliard
Consort Music: Katherine Darcie's Galliard
Consort Music: Tarleton's Jigge
Consort Music: Almain a 2
Consort Music: Mistress Nichols Almain a 2
Fullsack And Hildebrandt: Auserlesener Paduanen und Galliarden: Susanna Fair (Galliard)
Haussmann: Rest von polnischen und andern Tanzen: Mistress Nichols Alman a 5
Opusculum: Mr. John Langton Pavan And Galliard
Opusculum: La mia Barbara Pavan and Galliard
Opusculum: Lachrimae Antiquae Novae Pavan and Galliard

Tracks:

Consort Music: Mistress NIchols Almain
Consort Music: Volta a 4 ('Ioh. Douland')
Consort Music: Were Every Thought an Eye
Consort Music: Lady If You So Spite Me
Consort Music: Pavan a 4
A Musicall Banquet: I. My Heavy Sprite (Anthony Holborne)
A Musicall Banquet: II. Change Thy Mind Since She Doth Change (Richard Martin)
A Musicall Banquet: III. O Eyes, Leave Off Your Weeping (Robert Hales)
A Musicall Banquet: IV. Go, My Flock, Go Get You Hence (Anon.)
A Musicall Banquet: V. O Dear Life, When Shall It Be? (Anon.)
A Musicall Banquet: VI. To Plead My Faith (Daniel Bacheler)
A Musicall Banquet: VII. In A Grove Most Rich Of Shade (Guillaume Tessier)
A Musicall Banquet: VIII. Far From Triumphing Court
A Musicall Banquet: IX. Lady, If You So Spite Me
A Musicall Banquet: X. In Darkness Let Me Dwell
A Musicall Banquet: XI. Si le parler et le silence (Pierre Guedron)
A Musicall Banquet: XII. Ce penser qui sans fin tirannise ma vie (Pierre Guedron)
A Musicall Banquet: XIII. Vous que le Bonheur rappelle (Pierre Guedron)
A Musicall Banquet: XIV. Passava Amor su arco desarmado (Anon. Spanish)
A Musicall Banquet: XV. Sta notte mi sognava (Anon. Italian)
A Musicall Banquet: XVI. Vuestros ojos tienen d'Amor (Anon. Spanish)
A Musicall Banquet: XVII. Se di farmi morire (Domenico Maria Megli)
A Musicall Banquet: XVIII. Dovro dunque morire? (Giulio Caccini)
A Musicall Banquet: XIX. Amarilli mia bella (Giulio Caccini)
A Musicall Banquet: XX. O bella piu (Anon, Italian)

Customer Reviews:

A musical treasure-box.......2006-09-10

Both the music and this actual product are masterpieces. John Dowland's collected works here - covering 12 compact discs - exhibit the depth and power of this composer, a composer who many now regard as suffering from clinical depression. I doubt that the issue of the diagnosis of Dowland's depression can ever be settled, however, it is certainly obvious from his music, so completely on display here, that he was a man with very dark depths and corners in his mind. Dowland's various manifestations and "takes" on his own tune, "Flow my tears"/"Lachrimae" are here. This tune has haunted me ever since I first heard it when I was a child. It seems to sum up Dowland's feelings - at least Dowland seems to have thought so.

The First, Second, Third and Fourth Bookes of Songes, A Musicall Banquet, the keyboard transcriptions, all the lute music, consort music are here and virtually everything else written or supposedly written by John Dowland. Anthony Rooley and The Consort of Musicke perform this music with style and feeling throughout. This 12 CD set is something of a monument to the ensemble - I only wish they'd finished their collection of Monteverdi madrigals, which was equally good (La Venexiana are currently doing a magnificent job of recording all Monteverdi's books of madrigals for the GLOSSA label).

This is an expensive set, however, you will probably never need to buy another John Dowland CD again after buying and listening to this collection.

I bought this CD set on a mild Summer evening of 1998 and listened to it while sitting in my sun room - which a glorious orange sunset in progress, and a glass of wine. It brought back so many memories.

a beautiful journey into melancholy.......2001-06-15

I'm amazed at how many people tend to associate John Dowland's music with a tragic sense of drama. While no doubt this is art highly based on sadness, the "tragic" sense of it is more a legacy from the Romantic period. During the Renaissance, however, sadness was undestood as a very aesthetic way of approaching life. That is also the reason why Shakespeare's tragedies appear more sophisticated than his comedies.

Tracks:

Refugees
Autograph
Co-Star
Imperfection
Ghost of You
Two Creatures
Lovers
Fallen Idol
Brave New Century
Beautiful Pain
Asylum
Apollo 13
Love as Strong as Death

Album Description

Album Details

After Suede's Second Brilliant Album "Dog Man Star", Bernard Butler Parted, Leaving Brett Anderson to Take the Full Reigns. He Would Keep the Band Going for Another Eight Years Til it Ran Its Course. Butler Attempted Two Other Collaborations but None Had the Spark He Did with Anderson. It was Only Natural that They Would Rekindle their Professional and Personal Partnership Because Both Knew Inherently that the Sum of Both of them Together is Much Greater Than their Individual Parts. Thus, their Highly Anticipated Debut is a Second Coming, a Regeneneration. "(Their Split) Resulted in a Great Break-up Album...and Now it Sounds Like It's Resulted in a Great Make-up Album. The Most Exciting New Band in Britain, Twice? Now that Would Be a Coup" Says the Independent. The Tears Are Brett Anderson (Vocals), Bernard Butler (Guitar), Nathan Fisher (Bass), Makoto Sakamoto (Drums) and Will Foster (Keyboards).

Customer Reviews:

Excellent albums by the heart of Suede.......2007-06-06

Bernard Butler's departure from Suede during the final stages of the recording of their flawed masterpiece DOG STAR MAN saw the effective end of one of the great bands of the nineties. They continued, led by lyricist and singer Barret Anderson, beyond Butler's abandonment (supposedly fueled by among other things a far-too-complete embracing of the rock star lifestyle by his bandmates), but Butler leaving Suede would be exactly like Keith Richards leaving the Stones, it was like ripping the musical heart out of the band. Whether that signaled the virtual end of the band depends, I suppose, on whether you rate Butler or Anderson as the more crucial of the two main members. I like Anderson, but I consider Butler to be a genius, the greatest, by far, of all the shoegazer guitarists, an absolute magician with his instrument. Given Butler's highly publicized exit and his well known disdain for Anderson, nothing in the world would have been less expected than Suede's two resident geniuses teaming up for a new album. But in 2005, with the two of them taking the name The Tears, this is precisely what happened.

So what is the verdict? Actually, this is amazingly good stuff. Is it a masterpiece along the lines of SUEDE was in fact or what DOG STAR MAN could have been? No. It is merely very good, but sometimes that is more than enough. Neither of the men has lost any performance chops. Anderson is in great voice and Butler remains one of the great guitarists of his generation. Nonetheless, the album lacks a bit of the brilliance of the first two Suede efforts. Part of it might be the result of time. While SUEDE and DOG STAR MAN were haunted, theatrical affairs, the overall tone of this album can only be described as . . . happy. These are not tortured performers. One of the nicer songs on the album, for instance, is about coming to love someone so completely that even their defects are adorable ("Imperfections"). I can imagine some missing the moodiness of the Suede albums. Heck, I miss it. But there is no question that there are some quality songs here.

The only reason I can't regard this as highly as their work with Suede is that the album begins to flag some towards the end. Not that the last half is out and out bad. On the contrary, "The Asylum" and "Brave New Century" are strong songs, but not nearly as strong as the best of the first seven cuts.

The album starts off with a string of really superb cuts, the first being "Refugees." "Co-Star" is another of the album's many happy songs, or at least one of the not-unhappy songs. Then on to the aforementioned "Imperfections." Cuts 6 and 7 bring the first half of the disc to an end in very, very strong fashion with "Two Creatures" and "Lovers." As I mentioned, Bernard Butler was the main reason I loved Suede so deeply and happily he plays brilliantly throughout this album. If I have ever had a complaint with him it is that he has had in the past a tendency to employ too much dubbing. In listening, for instance, to "Pantomime Horse" from SUEDE it is impossible to figure out just how many guitar tracks are being used. Here is uses maybe 2 or 3 tracks whereas before he might have been using 4 or 5. He still has an unrivaled genius for the invention of irresistible guitar lines, adding texture more brilliantly than any other guitarist that I know. I marvel listening to his playing on "Autograph," where he takes essentially the same guitar line and over the course of the songs turns it inside out and outside in, twisting and turning it every which directions, deconstructing it and reconstructing it. What makes him so brilliant is that he makes what is actually truly difficult sound so easy. There are times when I have wondered whether he might not have the best ear of any guitarist since Hendrix. He certainly is far more sophisticated than the guitarist he emulates, Johnny Marr. If you listen to Marr's work with the Smiths or his current work with Modest Mouse, there will be a lot of resemblence at times between Butler and Marr, but you'll quickly realize that Butler goes to places that not just Marr but no one else can really go. And what is most amazing is that Butler rarely plays the trumpet style parts that we typically think of as guitar solos. Nonetheless, he musically dominates almost every song.

In short, while not as brilliant as the first two Suede albums, it is nonetheless definitely better than any of the subsequent Suede albums. It is, in fact, a superb album on every level. It does drag a bit by the end but the first half is so marvelous that this hardly matters. If you love Suede, or if you don't know Suede and just love great music, you will love this album.

I'm addicted to this CD!!!.......2007-01-12

I'm a really big fan of Suede, so I was very excited when this album came out, Suede fans you will not be disappointed!!! This album rocks! I love all the songs on here, especially, "A Love As Strong As Death", "Brave New Century", and their single," Lovers", overall, this album is really great though, and I recommend it to any Suede fan!

Ghost Of Suede.......2005-11-20

Ako su se vec Anderson i Butler sastali, zasto ne Suede, zasto The Tears? Tu je veliki problem i velika greska. The Tears zvuce kao bleda kopija Suede ili da bude jos ironicnije ali zaista tako, kao kopija Robbie Williams.
Jos jedan problem albuma Here Come The Tears, je taj da pesme koje su Suede 100% i one koje kao da pripadaju Williamsu odlicne, a unikatne ili ti The Tears poprilicno neodredjene.
The Tears zasluzuju 3, ali zbog moje ogromne ljubavi prema Suede i gospodinu Brett Anderson ovaj album dobija 4.
The Tears? Vise srece momci sa sledecim izdanjem.
Nadam se da cete se do tada opametiti i vratiti se u Suede.

it sounds pretty much... (3.75 stars).......2005-11-10

...exactly like i thought it would -- a follow up to 'coming up.'

no one was more excited than i was upon hearing erstwhile writing partners brett anderson and bernard butler were back together and planning on releasing a new album. i knew not to expect another 'suede' or 'dog man star' as it's been over a decade since those albums were released. be that as it may, i still held some hope that 'here come the tears' would capture (perhaps unfairly) some of 'dog man star's' magic.

does it? yes. and no. brett anderson was always the perfect voice for bernards guitar heroics. brett's voice was a rare thing: he had a flawless falsetto and absolutely gripping baritone/tenor voice. perhaps only andy bell had finer natural range. no matter what brett sang, he sounded marvelous, dare i say rapturous. on 'here comes the tears' brett's voice is a shell of it's former self. perhaps 15 years of cigarettes have taken a toll. the once rich, full, lush voice now sounds as though he's been swallowing asphalt daily. it's still a good voice, maybe even an appropriate voice; yet i can't help but yearn for the old voice. similarly brett's lyrics have taken a turn downward. although it seems he's ditched the 'tiger eyes,' 'petrol and gasoline,' 'mechanical stutters' and 'concrete,' much of the album is lyrically average. having said that however, the brett anderson of 2005 does sound much more energized and vital than he has is years.

bernard butler, for his part, proves once again he's a great axeman, even if he does sound *restrained.* gone are the wide, expansive, sweeping epics and grandeur of 'dog man star' and even his best work with david mcalmont. as with brett, bernard displays a sense of urgency. the guitars are crunchy and immediate, the melodies respectable. the songs are much more compact and succint, sometimes for better, sometimes for worse. there *are* some great songs on the album, particularly 'lovers,' which wouldn't sound out place next to 'trash' and 'the beautiful ones.'

perhaps any review of 'here comes the tears' will reference the band's former work. it's almost inevitable. for the die-hard suede fans, 'here comes the tears' will probably prove a bit of a disappointment. for those new to the anderson/butler songwriting team, 'here comes the tears' is a bright, sunny pop album full of pleasant songs. it really just depends on which camp you fall into. it's certainly not essential listening, but it is worthwhile.

A Glorious Record.......2005-10-29

Here Come The Tears is an astonishingly brilliant reunion of the Anderson/Butler partnership after a decade of estrangement. We know all about Su**e, Bernard's departure, their subsequent careers, blah, blah, blah, so let's just concentrate on the music shall we? Good.

Refugees, the opening track, is an epic, sexy, uplifting love song (and not the embarrassing political tirade you might have feared) that features gorgeous strings, some sublime guitar and Brett Anderson's brilliantly idiosyncratic lyrics ("Like Bonnie and Clyde we're free/Don't say there's nothing between us"). The next track, Autograph, captures brilliantly the fall out of a relationship gone wrong. It's a biting, lyrically heartfelt ("we make fake conversation/and we pick through broken bits of glass") song that features some choppy Johnny Marr-esque guitar work from one of the greatest guitarists the UK has ever produced. And like just about everything Bernard Butler turns his hand to, it's stylish-as-hell too.

Co-star, the third track on the album, is a simple, upbeat ditty that will leave a smile on your face of Cheshire cat-like proportions. You might think it's about Brett and Bernard's rapprochement, but it's lyric about thinking of yourself and your partner as the stars of your own lives will resound universally. It's just about impossible to resist its sing-along chorus ("When we're together/The world smiles") and its swirling, teasing guitar. Like much of the album it features some glorious strings that has become the unmistakable hallmark of a Bernard Butler production. The next song, Imperfection, continues in the same vein and sweeps you along in a I-don't-want-this-to-ever-stop kind of way. Unfortunately it does, but not before declaring that it's our imperfections that make us really love one another. Ok so a few of Brett's lyrics on this song and album are a little clumsy, but as he himself sings on Imperfection, "I'm a sucker for your beautiful mistakes." In fact it genuinely makes the album that little more charming, thus neatly proving the efficacy of Brett's anti-perfectionism philosophy.

Two Creatures, the albums sixth track, kicks in with some dreamy Hawaiian-esque guitar before launching into a simple, liberating song that will make you want to cast off the shackles of the everyday and the mundane, and to escape with your lover to a place where "the crowds don't stare/and no one laughs at what we wear". Like much of the album it's another charming, uplifting track that makes this reunion such a mouth-watering prospect. Brett's voice sounds sexily terse on this song too, making the visions of sunshine, love, happiness and escape that this track conjures up a whole lot easier to envisage. The next song, Lovers, is a sexy, glam romper-stomper featuring a beautifully simple-but-sublime solo from Bernard. Remember how you felt when you first heard New Generation from the last album they made together, Dog Man Star? Well like much of the album this track is its more upbeat, happier cousin. It's vintage Anderson/Butler and catchy-as-f**k.

Perhaps the stand out track of the album is Beautiful Pain. Although a song about going cold turkey, it could equally apply to the trials and tribulations of romantic love, especially unrequited love. It's a joyous, epic song that makes you feel alive. Trust me, after hearing this song you'll want to take all your problems and in one fell swoop crush them all with your fist, such is its inspiring power. With its strings and glorious crescendo chorus, it has the lets-rise-above-it-all energy that makes music the uniquely potent force that it is. Whilst the albums closing track, A Love As Strong As Death, will make the hairs stand up on the back of your neck. It could grace the soundtrack of any great film that deals with issues of love and loss. It really is music at its best, allowing you a brief glimpse of the eternal (whatever that might mean).

There are other tracks on this album I haven't even mentioned that are equally impressive. Songs such as the haunting Ghost of You, the moving Asylum, the mesmerising Fallen Idol, the raucous Brave New Century and the crowd favourite Apollo 13. But I think you get the message. Thank God they made up, because this is an album to fall in love to, and with. It really is up there with the best if Su**e. Let's take to the streets!

Michael Feinstein with the Israel Philharmonic Orchestra

Average customer rating:

Musical Wit in an Orchestral Setting
A Cabaret Singer Grows Up
This cd is about average, it could have been better
Fabulously Fantastic!
Michael has done it again

Michael Feinstein with the Israel Philharmonic Orchestra
Michael Feinstein , and Israel Philharmonic Orchestra
Manufacturer: Concord Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | International | Styles | Music

Israel | Middle East | International | Styles | Music

General | Jazz | Styles | Music

Traditional Jazz General | Traditional Jazz & Ragtime | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Nostalgia | Miscellaneous | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Oldies | Pop | Styles | Music

Traditional Pop | Oldies | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music
Similar Items:

Romance on Film/Romance on Broadway
Isn't It Romantic
Michael & George (Feinstein Sings Gershwin)
Hopeless Romantics
Remember: Michael Feinstein Sings Irving Berlin

ASIN: B00005Q6LL
Release Date: 2002-05-07

Tracks:

The Folks Who Live On The Hill
The Best Is Yet To Come
Guess I'll Hang My Tears Out to Dry
By Myself
Spring Will Be A Little Late This Year
Stormy Weather
Laura
On A Clear Day (You Can See Forever)
Love Is Here To Stay
How Deep is The Ocean?
Somewhere
I Won't Send Roses

Amazon.com

If there's a precious tone to Michael Feinstein's interpretations of the American songbook, it probably stems from a fervent dedication to preserving the original context of his material. This is, after all, a musician who spent many of his formative years in personal service to the late Ira Gershwin. This collection further underscores that commitment, with the lush sound of the Israel Philharmonic Orchestra (augmented by the piano trio of Alan Broadbent, who also provides all but one of the arrangements here) adding considerable dramatic resonance to Feinstein's performances.

While singers from Sinatra and Streisand to Fitzgerald and Bennett have imbued many of these songs with considerable dollops of jazz, blues, and their own strong personas, Feinstein mines melancholy jewels like "Spring Will Be a Little Late This Year," "How Deep Is the Ocean," and "By Myself" for all their introspective emotion. "Somewhere" pays tribute to Bernstein with glorious, unabashed melodrama, while "Laura" (one of the most recorded songs of all time) gets recast in something approaching its original intent via an arrangement written for this recording by composer David Raksin. Feinstein himself penned the album's notes, paying careful tribute to each composer represented and noting that all were Jews, yet their music came to represent a richly American spectrum that included black and white and encompassed jazz, the theater, and even classics in its scope. There's a lesson herein, and one that spans more than mere history and musical archaeology. --Jerry McCulley

Customer Reviews:

Musical Wit in an Orchestral Setting.......2004-01-04

The one problem a record collector encounters when he has an album too many of one artist, is the tendency of the artist to sing the same songs in succeeding albums/settings. Feinstein, who I consider as the leading proponent in reviving the American Popular Song standards to its unfettered glory is backed by a philharmonic orchestra in this album with the musical direction of conductor Alan Broadbent. And yes, he sang some songs that were sung in sparse and acoustic settings in his previous albums. As usual, just like any cabaret singer who never really sings the same song twice (listen to the grand old dames of cabaret like Julie Wilson and Mabel Mercer), Feinstein delights in the varied ways he can see a song in different contexts. Having said that, I thought he was a bit overly cautious in exploring his rich bari-tenor (sorry for this oxymoron but that is the word to apply to his voice) in soaring the vocal lines of Kern's The Folks Who Live on the Hill. Other than that, he was at his wittiest and conversational (not to mention just plain beautiful) voice when singing I Won't Send Roses and he can revisit the Bernstein/Sondheim Somewhere without evoking the famous version of uber diva Barbra Streisand. If you like good crooning vocals in a grand and orchestral setting, this is the album to listen or give as a gift -- you/they won't regret it.

A Cabaret Singer Grows Up.......2003-03-14

"Extraordinary how potent cheap music is." -Noel Coward

Like Coward, Mr. Feinstein seems to understand the power of popular, romantic song when flung into the void of an apparently cold universe by an all too human, understated voice...I first heard Michael Feinstein sing and play the piano umpteen years ago in the mad, bad '80s. At that time, I found his choice of material from the great 20th Century American composers refreshing & interesting, his skills as a pianist were good, and his diction to be above average. Yet his voice at that time was a bit weak--there was too much bravura nonsense, too much vibrato and he may have been too young for some of the songs that he sang at the time.

Well, we've both matured, (I hope), and Mr. Feinstein has delivered a remarkably smooth, yet heartfelt performance on this album. I'm particularly impressed by his vocal smoothness and emotional restraint, especially on "Love is Here to Stay", "How Deep Is the Ocean", "Spring Will Be A Little Late This Year" & "I Won't Send Roses". Mr. Feinstein appears to really understand the depth of feeling that these words and music evoke in him and us. The vibrato is there when needed, but the ripeness of a mature singer is beginning to be heard on his recordings and the Israeli Philharmonic simply gives his singing wings. The only song that doesn't seem to fit is "Stormy Weather"--I kept hearing Lena Horne in my mind's ear, rather than a polished cabaret singer. I hope that Feinstein continues to grow in vocal power and subtlety as he does here. A lovely album for sophisticated romantics.

This cd is about average, it could have been better.......2002-08-18

First I would like to say i'm a Michael fan. I own all his catalog. Even though i'm a fan there are some things about this cd that I find in bad taste. Please let me explain!

I know it is hard to always be creative. There are just so many ideas to go around and then you have to start duplicating others. This is known as copying what others have done.

For this cd I felt like some of the arrangements were too long. For example, Laura as it was performed hear is a six minute song. It really should have been done in two minutes. I'm an engineer and I edited this version of Laura to run two minutes and it is just perfect. Sometimes less is really more. Also, I felt that some of the other songs didn't really have top notch arrangements attached to them. If the arrangements would have been better I whould have had no choice but to bring out the 5 star rating for this project.

To talk a little bit about the voice of Michael is my pleasure. His voice seems to be getting better with age. I have always liked Michael's voice and will continue to do so.

I will give this cd a favorable recommendation!

Fabulously Fantastic!.......2002-07-21

Feinstein has outdone himself with this collection!! He is in fine fettle with songs that only He can do justice! His interpretations and stylings are beyond compare and trust you will not be disappointed with this recording!! Feinstein is simply fabulously fantastic!

Michael has done it again.......2002-07-12

S'Wonderful, S'Marvelous.

If there is one thing you can say about Michael Feinstein it's that he knows how to put over a song. His new cd is absolutely magnificent, these are the only words to describe it.

Tracks:

The Desert Song: It
Maytime: Waltz Medley
Girl Of The Golden West: Who Are We To Say?
The New Moon: Introduction - Stout Hearted Men - Lover Come Back To Me - Girl On The Prow - Try Her Out At Dances - Wanting You - Softly As In A Morning Sunrise - One Kiss - Finale
Nina Rosa: The Gaucho March
The Desert Song: Waltz
Viennese Nights: Introduction - I Bring You A Love Song - Here We Are - You Will Remember Vienna - Regimental March
Blossom Time: Song Of Love
My Maryland: Introduction - Dixie - Boys In Grey - Mother - Silver Moon - Your Land Is My Land
Bimbo: In Old Granada
The Desert Song: Introduction - Riff Song - One Flower In Your Garden - Waltz - The Foreign Legion - Romance - One Alone
Maytime: Farewell To Dreams
Nina Rosa: Your Smiles, Your Tears
The New Moon: Marienne
The New Moon: Softly As In A Morning Sunrise
Nina Rosa: My First Love, My Last Love
Viennese Nights: I Bring A Love Song
The Night Is Young: When I Grow Too Old To Dream
The Student Prince: Intorduction - Arrival Of The Prince - Serenade - Deep In My Heart, Dear - Drinking Song - Just We Two - Students' March Song

Customer Reviews:

Great Hits from Sigmund Romberg.......2007-01-04

Excellent audio product, especially considering its age and the state of technology.

Average customer rating:

Excellent albums by the heart of Suede
The singles arent the best tracks on this one
The Brilliance and the Majestic
It's Not Suede But It's Good
sounds pretty much... (3.75 stars)

Here Come the Tears
The Tears
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Punk | Hardcore & Punk | Alternative Rock | Styles | Music

Britpop | British Alternative | Alternative Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

A New Morning
Brett Anderson
Singles
Refugee, Pt. 2
Coming Up [ENHANCED CD]

ASIN: B0007ZATIQ
Release Date: 2005-06-07

Tracks:

Refugees
Autograph
Co-Star
Imperfection
Ghost of You
Two Creatures
Lovers
Fallen Idol
Brave New Century
Beautiful Pain
Asylum
Apollo 13
Love as Strong as Death

Album Description

The Tears bring Suede's Brett Anderson and Bernard Butler back together again. 'Here Come The Tears' is dominated by pop songs; brazen and beautiful pop songs, delivered in perfectly formed packages. Opening track and first single, 'Refugees' is swaggering, instant and majestic, and just shy of three minutes it's so brief you need to blast it again as soon as it's over. Butler has been able to intricately build songs according to the grand vision in his head, and the result is an astonishing wall of sound that at times feels like Spector producing the Spiders From Mars covering 'Bridge Over Troubled Water', only bigger. V2. 2005. * Vinyl pressing also available.

Customer Reviews:

Excellent albums by the heart of Suede.......2007-06-06

Bernard Butler's departure from Suede during the final stages of the recording of their flawed masterpiece DOG STAR MAN saw the effective end of one of the great bands of the nineties. They continued, led by lyricist and singer Brett Anderson, beyond Butler's abandonment (supposedly fueled by among other things a far-too-complete embracing of the rock star lifestyle by his band mates), but Butler leaving Suede would be exactly like Keith Richards leaving the Stones, it was like ripping the musical heart out of the band. Whether that signaled the virtual end of the band depends, I suppose, on whether you rate Butler or Anderson as the more crucial of the two main members. I like Anderson, but I consider Butler to be a genius, the greatest, by far, of all the shoe gazer guitarists, an absolute magician with his instrument. Given Butler's highly publicized exit and his well known disdain for Anderson, nothing in the world would have been less expected than Suede's two resident geniuses teaming up for a new album. But in 2005, with the two of them taking the name The Tears, this is precisely what happened.

So what is the verdict? Actually, this is amazingly good stuff. Is it a masterpiece along the lines of SUEDE was in fact or what DOG STAR MAN could have been? No. It is merely very good, but sometimes that is more than enough. Neither of the men has lost any performance chops. Anderson is in great voice and Butler remains one of the great guitarists of his generation. Nonetheless, the album lacks a bit of the brilliance of the first two Suede efforts. Part of it might be the result of time. While SUEDE and DOG STAR MAN were haunted, theatrical affairs, the overall tone of this album can only be described as . . . happy. These are not tortured performers. One of the nicer songs on the album, for instance, is about coming to love someone so completely that even their defects are adorable ("Imperfections"). I can imagine some missing the moodiness of the Suede albums. Heck, I miss it. But there is no question that there are some quality songs here.

The only reason I can't regard this as highly as their work with Suede is that the album begins to flag some towards the end. Not that the last half is out and out bad. On the contrary, "The Asylum" and "Brave New Century" are strong songs, but not nearly as strong as the best of the first seven cuts.

The album starts off with a string of really superb cuts, the first being "Refugees." "Co-Star" is another of the album's many happy songs, or at least one of the not-unhappy songs. Then on to the aforementioned "Imperfections." Cuts 6 and 7 bring the first half of the disc to an end in very, very strong fashion with "Two Creatures" and "Lovers." As I mentioned, Bernard Butler was the main reason I loved Suede so deeply and happily he plays brilliantly throughout this album. If I have ever had a complaint with him it is that he has had in the past a tendency to employ too much dubbing. In listening, for instance, to "Pantomime Horse" from SUEDE it is impossible to figure out just how many guitar tracks are being used. Here he uses maybe 2 or 3 tracks whereas before he might have been using 4 or 5. He still has an unrivaled genius for the invention of irresistible guitar lines, adding texture more brilliantly than any other guitarist that I know. I marvel listening to his playing on "Autograph," where he takes essentially the same guitar line and over the course of the songs turns it inside out and outside in, twisting and turning it every which directions, deconstructing it and reconstructing it. What makes him so brilliant is that he makes what is actually truly difficult sound so easy. There are times when I have wondered whether he might not have the best ear of any guitarist since Hendrix. He certainly is far more sophisticated than the guitarist he emulates, Johnny Marr. If you listen to Marr's work with the Smiths or his current work with Modest Mouse, there will be a lot of resemblance at times between Butler and Marr, but you'll quickly realize that Butler goes to places that not just Marr but no one else can really go. And what is most amazing is that Butler rarely plays the trumpet style parts that we typically think of as guitar solos. Nonetheless, he musically dominates almost every song.

In short, while not as brilliant as the first two Suede albums, it is nonetheless definitely better than any of the subsequent Suede albums. It is, in fact, a superb album on every level. It does drag a bit by the end but the first half is so marvelous that this hardly matters. If you love Suede, or if you don't know Suede and just love great music, you will love this album.

The singles arent the best tracks on this one.......2006-03-07

Bernard Butler and Brett Anderson were great together - by themselves they lost the dynamic that made Dog Man Star what it is - a work that rivals the breadth of Diamong Dogs by Bowie. It was a defining album of the 90s.
So I expected big things from this album - made without the pressure of having to follow-up such a defining precedent.
I wasnt impressed with the singles: I thought the song 'Lovers' is actually a bit Post-butler-Suede with a chord progression we've heard too many times. Autograph is a great song - and I can actually hear Bernards trebbly chords and unique scale fiddling behind the Johnny Marr riff in the second verse.
But their choice as singles is a real pity, because some of the other tracks on the album are classics!
The tracks Beautiful Pain and Apollo 13 are progressive in terms of the lyrics, Brett's brave and honest vocals and the whole melodies. Whereas some of the other tracks haunt back to lyrics and concepts that Brett has already covered on earlier, better works.
It isnt Suede - its something new and quite impressive - im looking forward to the next album and hopefully better single choices ;)

The Brilliance and the Majestic.......2006-02-17

This is a beautiful yet majestic album with great pop songs and a wall of sound. I was happy and excited to hear that Brett and Bernard were forming a new band since their last collaboration - 'Dog Star Man'. To me, Brett and Bernard are truly one of the best songwriting teams since Morrissey and Marr. I've always been a fan of Suede and of course The Smiths. Suede's third album,'Coming Up' was a very good album, indeed. But, it wasn't Brett & Bernard. Here come the Tears is an album that just grabs you and it makes you think. It's about life. It's about love. It's about friendships. It's a soundtrack to living. All the tracks are great! I especially love 'Autograph' - it's what the Smith's would've sounded like if Morrissey and Marr reunited. 'Fallen Idol' - Grand. 'Refugees' - What a way to start off an album. 'Imperfection' - Great pop song! If you're looking for another 'Dog Star Man', this is not it. This is a collaboration between to musicians who just have that ability write great songs together. The brilliance and the majestic of The Tears.

It's Not Suede But It's Good.......2005-11-29

Like 99% of the people buying this disc I was hoping for another "Suede" or "Dog Man Star". It didn't happen. But perhaps that was hoping for too much. If Morrissey and Marr got back together I doubt that they would create another "The Queen is Dead". Whatever chemistry and symbiosis existed at a certain point in time just can't be rekindled. On "Here Come The Tears" Brett Anderson's vocals have lost much of their wonderful campiness and Bernard Butler's guitar work is puzzingly subdued (especially considering that he produced the disc). So if your sole criterium for buying "Here Come The Tears" is to get another early-era Suede CD then you'll be disappointed.

On the other hand if you're looking for good music in a time when the most popular group is the dreadful Coldplay then check out this disk. "Refugees" starts off the album smartly, striking the theme that permeates the lyrics; lovers on society's fringe trying to get through unscathed. "Autograph" sounds amazingly like a Smiths tune in the "Ask" mold with a Johhny Marr-type riffing. The disc slows down literally and figuratively after this and we're given three mediocre songs. The album picks back up with "Two Creatures" and "Lovers". Both songs are infectious power pop songs that should be played loud. From then on the album once again irritatingly slows down. However "Beautiful Pain" is a lovely ballad and "Apollo 13" is about as close to early Suede as you're going to get.

Even though the album is uneven I gave it 4 stars as there are 6 really strong songs. The rest of the disc isn't bad but I would hope next time around Butler's guitar is given more prominence in the songs.

sounds pretty much... (3.75 stars).......2005-11-10

Average customer rating:

Good coloratura work by Elizabeth Futral
At Last a Solo Recital on CD
An Interesting display

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Diana Montague Sings Great Operatic Arias, Vol. 2
Christine Brewer: Great Operatic Arias
Sweethearts
Pasión!
The Very Best of Régine Crespin

ASIN: B00009AQMF
Release Date: 2003-06-24

Tracks:

Come Take Me In Your Arms
My Soul Is Filled With Love For You
What Are These Tears And Sighs
How I Loved Him!
A Maiden Adorning
He Has Come Back
See Here, Dorabella
Ah! Let me Live In This Dream
He's The God Of Youth And Springtime
The Silver Moon Was Shining
Ain't It A Pretty Night!
Take Me Away To The One I Adore
Oh Sleep, Why Dost Thou Leave Me?

Customer Reviews:

Good coloratura work by Elizabeth Futral.......2007-05-27

This is an interesting CD from soprano Elizabeth Futral. The theme of this is a set of operatic arias sung in English, not in the original French or Italian or. . . . I'm not sure how sold I am on the concept, but, after all, it's the singing and musicality that is most important. And, by that measure, Elizabeth Futral does very nicely.

The accompanying booklet begins by noting that (page 8) "The voice of the light soprano has enchanted listeners for centuries." Futral's singing is characteristic of this type of voice.

In this era, any coloratura soprano has two challenges: first, to compare with the past generation's astonishingly talented practitioners, well exemplified by Joan Sutherland and Beverly Sill. Second, though, there are some wonderful coloratura sopranos today against whom others will be compared, with Natalie Dessay and Sumi Jo among the most adept. Thus, Futral will almost automatically be compared with such exemplars. I do not think one could say she is the equal of those four just mentioned, but she does not compare badly either.

From the Wikipedia: "In musical notation, the Italian word staccato (literally detached, plural staccatos or staccati) indicates that notes are sounded in a detached and distinctly separate manner, with silence making up the latter part of the time allocated to each note. The rhythm is not affected. Notes identified as staccato should be played or sung abruptly and short." This is worthy of comment, since the "Bell Song" from "Lakme," one of the selections on this CD, features many such notes. Futral sings them well. Her performance in this work is well done (although it is somewhat jarring, again, to hear it sung in English). She begins with a nice high note and a bang up following trill. She displays good agility and features nice technique on staccato notes. Overall, this is well done. Toward the end, which calls for great ornamentation, she seems a bit hesitant at time, but she concludes with a nicely sung high note.

Other examples of her singing. From Handel's "Alcina," she sings "Come take me in your arms." Her voice is a light, standard coloratura voice (although not all coloratura sopranos have such a voice, of course). She displays considerable agility, a decent trill, and good ornamentation. There is a bit of harshness on a high note toward the close, but hardly fatal to the overall positive effect of her singing.

From Donizetti's "Linda di Chamounix," there is "My soul is filled with love for you" (otherwise known as "O luce di quest'anima"). Her version is not too shabby when compared with such greats as Sutherland and Jo. The cabaletta shows off, again, her agile voice. Good staccato high notes. Nice trills and a well nailed final high note.

Then there is the charming "Son vergin vezzosa" from Bellini's "I Puritani," here entitled "A maiden adorning." Again, nice agility, good trills, well done florid singing technique. While there is some harshness in the penultimate high note, overall, well done.

In short, Futral adds to a currently rich supply of coloratura sopranos, and compares well with the best of them.

At Last a Solo Recital on CD.......2005-03-19

Elizabeth Futral is one of those rare sopranos who seems to put pacing of her career, care of the voice, and commitment to repertoire range ahead of the too early media blitz that can hamper a singer's career. Clearly she has it all - beauty of voice, beauty of physical presence, fine acting skills, intelligence, and interpretive insights.

Having seen her Cleopatra in LA Opera's GUILIO CESARE and in SF Opera's production of Previn's STREETCAR NAMED DESIRE put her high on the list of important new sopranos. This rather strange recording gives samples of her foray's into all styles from Handel to Previn and does a fine job in capturing the beauty of her phrasing and quality of her seamless soprano voice. It is somewhat distracting to place a first recital recording before the public being sung entirely in English, especially for those who are unfamiliar with Futral's gifts. But credit Chandos with the courage to try something different, something that may introduce new audiences to the opera field.

Surely after the recent successes of Futral performances in the opera houses more recordings will follow. Meanwhile this is a tasty sampler of just how versatile - and special - Elizabeth Futral is. Grady Harp, March 05

An Interesting display.......2003-07-23

Coloratura-soprano Elizabeth Futral is a remarkable artist with a beautiful instrument and a most impressive technique. Her appearences in record stores are mostly on lesser known and up and coming labels such as Opera Rara and CHANDOS; with a few performances on DG.

This CD has an unusual semi-personal package. Duets, trios and quartets are featured. The title of the program is called Great Operatic Arias which seems rather broad for a soprano recital disc.

Futral sings well as always, however the content seems to lack a bit of intricacy and polish. Each aria, duet etc leaves you wondering whether or not a bit more time could have been put into this. The arias range from baroque to 20th century; covering four languages.

The entire program is performed in English and this is interesting... Although some of the arias just sound plain strange in English! It is a very nice thing to actually completely and instantly understand what is being sung. I was most impressed with the CHANDOS Lucia di Lammermoor. Futral probably gave her best performance on record in that role. She is astonishingly good on that recording. Her mad scene is awesome!

Tracks:

I Invocation: Psalm 100
II In The Presence Of A Queen: Lady Laiton's Almain
II In The Presence Of A Queen: Humour, Say: A Dialogue
II In The Presence Of A Queen: The Most Sacred Queen Elizabeth, Her Galliard
II In The Presence Of A Queen: Say, Love, If Ever Thou Didst Find
III My Love Doth Wake: Galliard On 'Awake, Sweet Love'
III My Love Doth Wake: Come Away, Come Sweet Love
III My Love Doth Wake: III Sleep, Wayward Thoughts
III My Love Doth Wake: Come Heavy Sleep
IV To Die With Thee: Captain Digorie Piper's Galliard 'If My Complaints'
IV To Die With Thee: Pavan A 4
IV To Die With Thee: Can She Excuse My Wrongs
IV To Die With Thee: Lady, If You So Spite Me
IV To Die With Thee: Come Again, Sweet Love Doth Now Invite
V Go, Crystal Tears: Go, Crystal Tears
V Go, Crystal Tears: Stay, Time, Awhile Thy Flying
V Go, Crystal Tears: If That A Sinner's Sighs
V Go, Crystal Tears: Weep You No More, Sad Fountains
VI Then Farewell, O Farewell: Mr George Whitehead His Almand
VI Then Farewell, O Farewell: Wilt Thou, Unkind, Thus Reave Me
VI Then Farewell, O Farewell: Tarleton's Riserrectione
VI Then Farewell, O Farewell: Far From Triumphing Court
VI Then Farewell, O Farewell: Lasso Vita Mia
VI Then Farewell, O Farewell: The Frog Galliard
VI Then Farewell, O Farewell: Now, Oh Now I Needs Must Part
VI Then Farewell, O Farewell: Farewell, Unkind

Customer Reviews:

Patchy, with some fine moments.......2003-06-14

The lively tracks fare best here. There is a lot to like about those particular tracks and the period tongue (loov instead of love, coom instead of come, etc) is not nearly as cumbersome as it might have been, due to the convincing performances of the singers.
However, the slower numbers are often, in my opinion, rather sour.
Having heard this disc several times, it strikes me that it becomes less attractive over time, with the novelty of the approach soon wearing thin.
Still, some tracks are very lively and the artists are obviously having fun bringing a rather unique angle to these pieces, so it might well appeal to those who like something unusual.
Recording quality is fine, though the final fade-out is clumsily managed.

Brilliant and alive!.......2002-10-07

This is a fresh, vibrant recording of a cross-section of Dowland's music, and will quickly dispel any myth of Dowland always being a composer of melancholy!
The singers use Elizabethan pronunciation, which can be quite revelatory.

Average customer rating:

Secular Folk-songs from Dalecarlia

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Classical | Indie Music | Stores | Music

General | Folk | Indie Music | Stores | Music

Classical | Imports | Stores | Music
ASIN: B000001665
Release Date: 1994-09-22

Average customer rating:

Opera Highlights (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Tracks:

Overture - Budapest Philharmonic Orchestra
Pres des remparts - Krystyna Szostek-Radkowa
La garde montante - Budapest Philharmonic Orchestra
Parlez-moi de ma mere....Ma mere je ma - Andras Molnar
Habanera - Budapest Philharmonic Orchestra
Les dragons d'Alcara/Danse boheme - Budapest Philharmonic Orchestra
Votre toast - Nicolai Ghiaurov
La fleur que tu m'avais jetee - Andras Molnar
Intermezzo - Marche des contrebandiers - Budapest Philharmonic Orchestra
Je dis que rien ne - Liliana Vassileva
Aragonaise - Budapest Philharmonic Orchestra
A deux cuartos - Sofia National Opera Chorus
Ballet Music - Budapest Philharmonic Orchestra
Les voici! Voisi la Quadrille! - Sofia National Opera Chorus

Tracks:

Overture - Marcello Viotti
Hier Soll Ich Dich Denn Sehen, Konstanze - Jerrold Van Der Schaaf
Solche Hergelauf'ne Laffen - Kurt Rydl
Singt Dem Grossen Bassa Lieder - Bamberg Symphony Orchestra Chorus
Marsch, Marsch, Marsch! Trollt Euch Fort - Kurt Rydl
Durch Zartlichkeit Und Schmeicheln - Jeanine Thames
Ich Gehe, Doch Rate Ich Dir - Kurt Rydl
Martern Aller Arten - Sylvia Greenberg
Welche Wonne, Welche Lust - Jeanine Thames
Wenn Der Freuden Tranen Fliessen - Jerrold Van Der Schaaf
Ach Belmonte! Ach Mein Leben - Sylvia Greenberg
Im Mohrenland Gefangen War - Wilfried Gahmlich
O, Wie Will Ich Triumphieren, Wenn Sie Euch Zum Richtplatz Furhren - Kurt Rydl
Nie Werd' Ich Deine Huld Verkennen - Bamberg Symphony Orchestra Chorus

Tracks:

E Soffito...E Pareti - Giacomo Aragall
Dovunque Al Mondo/Quale Smania Vi Prende! - Anna Tomowa-Sintow
Viene La Sera/Bimba Dagli Occhi Pieni Di Malia - Anna Tomowa-Sintow
E Izaghi Ed Izanami - Anna Tomowa-Sintow
Un Bei Di Vedremo - Anna Tomowa-Sintow
Una Nave Da Guerra/Scuoti Quella Fronda Di Ciliegio - Anna Tomowa-Sintow
Coro A Bocca Chiusa - Sofia National Opera Chorus
Io So Che Alle Sue Pene/Addio, Fiorito Asil - Giacomo Aragall
Con Onor Muore - Anna Tomowa-Sintow

Tracks:

Overture - Chamber Orchestra Of The Hungarian State Opera
Ah, Se Intorno A Quest' Urna Funesta - Julia Hamari
Chiamo Il Mo Ben Cosi - Julia Hamari
Gli Sguardi Trattieni - Maria Zempleni
Chi Mai Dell'Erebo Fra Le Caligini/Mille Pene - Julia Hamari
Dance Of The Blessed Spirits - Ervin Lukacs
Vieni A Regni Del Riposo - Chamber Chorus Of The Hungarian State Opera
Torna, O Bella - Chamber Chorus Of The Hungarian State Opera
Vieni, Appaga Il Tuo Consorte - Veronika Kincses
Che Fiero Momento - Veronika Kincses
Che Faro Senza Euridice - Julia Hamari
Ballet Music - Ervin Lukacs
Trionfi Amore - Veronika Kincses

Tracks:

Entrance Of The Gods In Valhall - Radio Symphony Orchestra Sofia
Ride Of The Valkyries - Budapest Symphony Orchestra
Ein Schwert Verhiess Mir Der Vater - Reiner Goldberg
Der Manner Sippe - Eszter Kovacs
Wintersturme Wichem Dem Wonnemond - Reiner Goldberg
Magic Fire Music - Budapest Symphony Orchestra
Hoho! Hoho! Hohei! Schmiede Mein Hammer - Reiner Goldberg
Siegfried's Rhine Journey - Yuri Ahronovitch
Siegfried's Death And Funeral March - Radio Symphony Orchestra Sofia
Starke Scheite Schichtet Mir Auf - Eszter Kovacs

Tracks:

Long Live Boris Federovich - Warsaw National Opera Chorus
Boris's Monologue - Warsaw National Opera Chorus
Varlaam's Scene - Marek Wojciechowski
Boris's Recitative And Aria - Anatolij Kotscherga
Scene Boris/Shuisky - Kazimierz Pustelak
Boris's Mad Scene - Anatolij Kotscherga
Duet - Ryszarda Racewicz
Get Him Here - Warsaw National Chorus
Pale Moonlight - Marek Wojciechowski
Domine, Domine Salvum - Marek Wojciechowski
We, Dimitri Ivanovich - Vitalij Taraschtschenko
Flow, Flow, Hot And Bitter Tears - Krzysztof Szmyt
A Pious Servant Of The Lord - Jerzy Ostapiuk
Farewell, My Son - Anatolij Kotscherga

Tracks:

Overture - Sofia Symphony Orchestra
Se Qeul Guerriero - Celeste Aida - Jozsef Simandy
Possenthe Ftha - Bulgarian National Chorus
Ritorna Vincitor - Anna Tomowa-Sintow
Chi Mai Fra Gl'immi E I Plausi - Bulgarian National Chorus
Silenzio! Aida Verso Noi S'Avanza - Gisella Passino
O T Che Sei D'Osiride - Sofia National Opera Chorus
Qui Radames Verra - Anna Tomowa-Sintow
Gloria All' Egitto - Bulgarian National Chorus

Tracks:

Preludio - Roberto Paternostro
Libiamo Ne' Lieti Calici - Fujiwara Opera Chorus
E Strano! - Lucia Aliberti
Lunge Da Lei...../De' Miei Bollenti Spiriti - Peter Dvorsky
Annina, Donde Vieni?/O Mio Rimoroso - Peter Dvorsky
Dite Alla Giovine - Lucia Aliberti
Di Provenza Il Mar, Il Sol - Renato Bruson
Noi Siamo Zingarelle - Fujiwara Opera Chorus
Di Madride Noi Siam Mattadori - Fujiwara Opera Chorus
Di Sprezzo Degno - Fujiwara Opera Chorus
Preludio - Roberto Paternostro
Teneste La Promessa - Lucia Aliberti
Parigi, O Cara - Lucia Aliberti
Ah! Violetta!/Voi.....Signor! - Lucia Aliberti

Tracks:

Preludio - Sofia Symphony Orchestra
Che Faceste - Bulgarian National Chorus
Nel Di Della Vittoria - Sylvia Sass
Oh Noi Perduti...Schiudi, Inferno, La Bocca - Kolos Kovats
La Luce Langue - Sylvia Sass
Chi V'impose Unirvi A Noi - Bulgarian National Chorus
Studia Il Passo/Come Dal Ciel Precipita - Boris Christoff
Tre Volte Miagola La Gatta - Hungarian Radio and Television Chorus
Ballabili - Prague Festival Orchestra
Patria Oppressa! - Bulgarian National Chorus
O Figli, O Figli Miei! - Peter Kelen
Perfidi! All' Ango Contro Me - Piero Cappuccilli
Vittoria! - Peter Kelen

Tracks:

Overture - Hanns-Martin Schneidt
Gli Arredi Festivi - Manfred Schenk
Ben Io T'invenni/Anch'io Dischiuso Un Giorno - Anna Tomowa-Sintow
Vieni, O Levita/Tu Sol Labbro - Kolos Kovats
E I'Assiria Una Regina - Bulgarian National Chorus
Va Pensiero, Sull'ali Dorate - Prague National Theatre Chorus
Son Pur Queste Mie Membra!/Dio Di Giuda - Lajos Miller

Rock Music:

Rock Music