Roger Waters: Ca ira 'There Is Hope' An Opera in Three Acts
仕様 | 価格 | 新品 | 中古品 |
CD, 限定版, 2006/1/25
"もう一度試してください。" | 限定版 |
—
| — | ¥1,208 |
CD, CD+DVD, Hybrid SACD, 2005/10/11
"もう一度試してください。" | CD+DVD, Hybrid SACD |
—
| — | ¥1,668 |
CD, CD, インポート, 2005/9/26
"もう一度試してください。" | CD, インポート | — | ¥14,495 |
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曲目リスト
ディスク: 1
1 | The Gathering Storm |
2 | Overture |
3 | A Garden In Vienna 1765 |
4 | 'Madame Antoine, Madame Antoine...' |
5 | Kings, Sticks And Birds |
6 | 'Honest Bird, Simple Bird...' |
7 | 'I Want To Be King...' |
8 | 'Let Us Break All The Shields...' |
9 | The Grievences Of People |
10 | France In Disarray |
11 | 'To Laugh Is To Know How To Live...' |
12 | 'Slavers, Landlords, Bigots At Your Door...' |
13 | The Fall Of The Bastille |
14 | 'To Freeze In The Dead Of Night...' |
15 | 'So To The Streets In The Pouring Rain...' |
16 | Dances And Marches |
17 | 'Now Hear Ye!...' |
18 | 'Flushed With Wine...' |
19 | The Letter |
20 | 'My Dear Cousin Bourbon Of Spain...' |
21 | 'The Ship Of State Is All At Sea...' |
22 | Silver, Sugar And Indigo |
23 | 'To The Windward Isles...' |
24 | The Papal Edict |
25 | 'In Paris There's A Rumble Under The Ground...' |
ディスク: 2
1 | The Fugitive King |
2 | 'But The Marquis Of Boulli Has A Trump Card Up His Sleeve...' |
3 | 'To Take Your Hat off...' |
4 | 'The Echoes Never Fade From That Fusillade...' |
5 | The Commune De Paris |
6 | 'Vive La Commune De Paris...' |
7 | 'The National Assembly Is Confused...' |
8 | The Execution Of Louis Capet |
9 | 'Adieu Louis For You It's Over...' |
10 | Marie Antoinette - The Last Night On Earth |
11 | 'Adieu My Good And Tender Sister...' |
12 | Liberty |
13 | 'And In The Bushes Where They Survive...' |
商品の説明
Amazonレビュー
Roger Waters has long been known for his musical ambition. The bassist and leader of Pink Floyd made that band famous in the 1970s and 1980s with concept-heavy albums as well as a certain self-aggrandizing image--attributes he maintained in his solo career. No wonder, then, to see that he's written what he calls as an opera. But don't be fooled: Waters's work has little to do with contemporary operas by the likes of John Adams or John Corigliano--even if the latter's 1991 The Ghosts of Versailles is set in Marie-Antoinette's Versailles, just as Waters's Ça Ira takes place during the French queen's last years, as the French Revolution unfurls. Based on a clunky libretto by Etienne and Nadine Roda-Gil, the show could have been a successful musical theater-opera hybrid in the vein of Sweeney Todd but it falls closer to Andrew Lloyd Webber's historical pageants, without their recognizable melodies. Thankfully the cast holds the material aloft, especially Welsh baritone Bryn Terfel (no stranger to the world of musical theater, as shown on albums such as his tribute to Rodgers & Hammerstein) and Chinese soprano Ying Huang. Note that this version comes as a double SACD set that includes a making-of DVD and a 60-page booklet. --Elisabeth Vincentelli
More Stage Shows from Rock Artists
We Will Rock You: Rock Theatrical
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.27 x 12.6 x 1.02 cm; 122.47 g
- メーカー : Sony Classical
- EAN : 0827969643921
- レーベル : Sony Classical
- ASIN : B000B2YQFM
- ディスク枚数 : 2
- カスタマーレビュー:
カスタマーレビュー
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
つまり、本作を聴く場合、「2時間以上に及ぶ、21世紀における、伝統的なスタイルの新作オペラ」を聴く姿勢が要求されるわけである。より分かり易く言うならば、前置き無しに本作を聴いたならば、「オーソドックスなスタイルの新作オペラ」と感じられるであろう。
それで、本作をどう評価すべきかという問題に成るのだが、これは、本作を「ロックミュージシャンが作った伝統的なスタイルの新作オペラ」と考えるか、それとも、「一人の優秀な作曲が挑んだ伝統的なスタイルの新作オペラ」と考えるか。即ち、「ロックオペラの発展形としての伝統的なオペラ」か「前置き無しの新作オペラ」かと考えるかにより、考え方が全く異なると思うわけである。
最も厳しい見方、つまり「(有名なロックミュージシャンによるなどという前置き無しの)新作オペラ」と見るならば、「19世紀以前的伝統に忠実な破綻のない聴きやすいオペラ」と筆者は感じた。オペラは好きなので、英語によるものである点を除いては、違和感なく聴くことが出来たし、通常の新作オペラの様な分かり難さもない。むしろ、古典的なオペラに匹敵する優秀な作品だと感じられるのだ。
彼が自分の音楽の発展の結果この様な音楽に至った気持ちは十分理解できるが、彼でなければ作り得ない何かが見えてこないのが、現時点では残念である。ちなみに、本作では立川直樹の御立派な解説はない。こういう問題作にこそ解説を載せるのが評論家の責任であると思う次第である。
他の国からのトップレビュー
Ironies linger. A previous reviewer has remarked, perhaps defensively, about Roger Waters' disdain for Andrew Lloyd Webber, made so wonderfully overt in Amused To Death. But there is no fine distinction between musical and opera that I know of - and I have no doubt Lloyd Webber too would like to be taken more seriously as a classical composer than he is. The opera set are a hellishly snobbish crowd, and not just any Johnny-Come-Lately will be feted as a genuine composer. Undoubtedly Roger Waters - who is, after all, a ROCK MUSICIAN, will find himself in exactly the same spot as Lloyd Webber, though on the strength of past comments, I doubt he will get much sympathy from him.
That said, this is a very presentable, listenable, outing, and it sounds cracking in 5.1 surround sound on the SACD. I dare say Puccini won't be rocking in his box - nor would Waters be expecting him to - but while it doesn't forge any new ground in orchestral music what Ca Ira does do is help contextualise much of Waters earlier, more overtly rock, oeuvre. There is something undeniably symphonic about Waters use of themes and motifs through his music and I think this might explain Water's much talked about lack of melody (though how anyone could accuse "The Gunner's Dream", or "Nobody Home", or "Southampton Dock" of lacking melody is beyond me): rather than writing three minute pop songs, Waters is more interested in focussing on making a broader musical statement.
Certainly, and just as with his earlier rock records, familiar themes - on grand scales and small ones - abound. The opening riff from The Wall's "In The Flesh" - as transliterated into "Dunroamin, Duncarin, Dunlivin" on The Pros and Cons of Hitchhiking - is further adjusted and used as a recurring motif on the first side of Ca Ira. The shrieking, fade out voice from the end of "One of My Turns" is reprised - admittedly by a powerful tenor, but the similarity is unmistakeable. The happy sounds of summer from "Goodbye Blue Sky" are back, and I thought I heard the chord progression resembling the one from "The Gunner's Dream" also. Waters does make several cameo appearances, ordering the firing squads in the manner of Pink in The Wall. In one piece, the cellos are, I'm sure, playing the riff to the Bee Gee's Tragedy. Not sure if that was a deliberate reference, though.
Nevertheless, the old boy has definitely mellowed. An accompanying DVD shows him lounging around during the writing of the opera on the lawn of his stately mansion in Hampshire with his French librettists, showing more of the leg and chest of a stately gentleman than a commoner really ought to see. But the control-freakery hasn't entirely abated: during vocal recording sessions he would sit right on the soloist' shoulder and comment on the performance of takes, sometimes even singing along. Bryn Terfel didn't look altogether thrilled to be told how to sing by a man who famously sounds like a cat being strangled.
The result, however, is undeniably an audiophile masterpiece. I don't know much about classical music apart from what I like, but this sounds positively peachy. Some particularly super guillotine effects sweep across the soundstage from time to time (perhaps in lieu of the missile from Get Your Filthy Hands Off My Desert).
It's early days. A new piece by Roger Waters takes months to fully get itself inside your head. Give it time. But don't mourn the missing electric guitar.
Olly Buxton
Echt ganz große Klasse, dickes Lob an RW. Wir sehen uns sowieso am 17. Mai 23 in Berlin!!!
We all have favourites, but in the end it's all eggs, isn't it. And so it is with Ca Ira; it's still Roger Waters.
Like many I came to this not as an opera fan, rather a fan of the man's work. I have been moved by it for over 25 years and was very curious to learn what this piece, a significant chunk of Water's creative life, is all about.
Fortunately my time has been rewarded. I enjoy it to the point where, several days of regular listening on, I'm haunted by and humming some of it. That subconscious process, more than direct listening, reveals the common thread that links this with other work such as The Wall, The Final Cut and Waters' solo albums. That's not to say this is chunks of old music put to new words, but as you might expect, the voice of the writer can be clearly heard. The curious thing is that in some ways Ca Ira makes me see things in the older work I had missed, blinded perhaps by those guitar solos.
So yes, I like it. No, it is not an instant sing-a-long (or should that be air guitar-a-long) rock classic, but it has great emotional depth. I found watching the dvd invaluable - it's a South Bank Show-style documentary and worth buying the edition with it included - followed by listening while reading the libretto a very useful way to get in to the piece. It covers long periods, big ideas and huge events (The French Revolution) and so is not likely to make you giggle and laugh, but then what Waters' material does? What it does do is make you think and, more importantly, make you feel.
25 years ago I repeatedly played The Wall while running a mental movie in my head, inspired by the music. Today I'm doing the same with Ca Ira. I can think of no better compliment.