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Release Date February 11, 2003
You really have to be a Prisoner afficianado to want to buy this. Of the three soundtrack albums it is perhaps the most interesting because it covers the episode in which music played, I would say, the largest part in creating atmosphere - "The Girl Who Was Death". You get to hear all the peices of music from which snippets were used in this (and other later) episodes. But as with so many soundtracks, it is a collection of individual peices of music, not really a cohesive whole. It is not easy listening if you try to play it as music at home. Still, for a Prisoner fan (such as myself) it provides a valuable record of the series.
Release Date February 01, 1994
You really have to be a Prisoner afficianado to want to buy this. Of the three soundtrack albums it is perhaps the most interesting because it covers the episode in which music played, I would say, the largest part in creating atmosphere - "The Girl Who Was Death". You get to hear all the peices of music from which snippets were used in this (and other later) episodes. But as with so many soundtracks, it is a collection of individual peices of music, not really a cohesive whole. It is not easy listening if you try to play it as music at home. Still, for a Prisoner fan (such as myself) it provides a valuable record of the series.
Release Date January 22, 2007
Completed in early 2006 and released in March 2007 as the artist's catalogue continued to grow.
One of John Howard's great inspirations is the past. So on the opening track "My Girl By the Temptations" we hark back to the glorious days of soul with mentions for John Lennnon and Shirley Temple to name but two. "Oh Midnight" is a beautifully complex song that is a real grower. Similarly "Sacred Heart" has an epic feel about it both from the musical and lyrical point of view.
"Laura Coming Home" is another of those songs that hits the spot in so many ways with its mention of milk and honey mornings (beautiful imagery as always. Same Bed, Different Dreams once again shows John Howard to be a genuine poet as well as artist. ... Read More:
Release Date August 09, 2004
It does take a while to get used to the English singing, but it also really helps to get the jokes across. I was splitting my sides when I first listened to it, there are some real gems in this translation (A prime example being in the middle of Susanna and Marcellina's duet as they exchange insults: 'Your quality/ Your quantity').
The conducting is wonderful, always taken at a brilliant pace by that great Mozartian David Parry. The cast are spot on, the only real exception being Yvonne Kenny's Countess (a good voice, just a bit too much vibrato here). I especially love Christopher Purves' Figaro, William Dazeley's Count, Jonathan Veira's Bartolo, John Graham Hall's Basilio and Sarah Tynan's Barbarina. Purves is perfect in his role; ... Read More:
Release Date May 02, 1995
It does take a while to get used to the English singing, but it also really helps to get the jokes across. I was splitting my sides when I first listened to it, there are some real gems in this translation (A prime example being in the middle of Susanna and Marcellina's duet as they exchange insults: 'Your quality/ Your quantity').
The conducting is wonderful, always taken at a brilliant pace by that great Mozartian David Parry. The cast are spot on, the only real exception being Yvonne Kenny's Countess (a good voice, just a bit too much vibrato here). I especially love Christopher Purves' Figaro, William Dazeley's Count, Jonathan Veira's Bartolo, John Graham Hall's Basilio and Sarah Tynan's Barbarina. Purves is perfect in his role; ... Read More:
Release Date August 24, 2004
It does take a while to get used to the English singing, but it also really helps to get the jokes across. I was splitting my sides when I first listened to it, there are some real gems in this translation (A prime example being in the middle of Susanna and Marcellina's duet as they exchange insults: 'Your quality/ Your quantity').
The conducting is wonderful, always taken at a brilliant pace by that great Mozartian David Parry. The cast are spot on, the only real exception being Yvonne Kenny's Countess (a good voice, just a bit too much vibrato here). I especially love Christopher Purves' Figaro, William Dazeley's Count, Jonathan Veira's Bartolo, John Graham Hall's Basilio and Sarah Tynan's Barbarina. Purves is perfect in his role; ... Read More:
Release Date August 05, 2003
It does take a while to get used to the English singing, but it also really helps to get the jokes across. I was splitting my sides when I first listened to it, there are some real gems in this translation (A prime example being in the middle of Susanna and Marcellina's duet as they exchange insults: 'Your quality/ Your quantity').
The conducting is wonderful, always taken at a brilliant pace by that great Mozartian David Parry. The cast are spot on, the only real exception being Yvonne Kenny's Countess (a good voice, just a bit too much vibrato here). I especially love Christopher Purves' Figaro, William Dazeley's Count, Jonathan Veira's Bartolo, John Graham Hall's Basilio and Sarah Tynan's Barbarina. Purves is perfect in his role; ... Read More:
Release Date April 05, 2005
It does take a while to get used to the English singing, but it also really helps to get the jokes across. I was splitting my sides when I first listened to it, there are some real gems in this translation (A prime example being in the middle of Susanna and Marcellina's duet as they exchange insults: 'Your quality/ Your quantity').
The conducting is wonderful, always taken at a brilliant pace by that great Mozartian David Parry. The cast are spot on, the only real exception being Yvonne Kenny's Countess (a good voice, just a bit too much vibrato here). I especially love Christopher Purves' Figaro, William Dazeley's Count, Jonathan Veira's Bartolo, John Graham Hall's Basilio and Sarah Tynan's Barbarina. Purves is perfect in his role; ... Read More:
Release Date November 25, 2003
It does take a while to get used to the English singing, but it also really helps to get the jokes across. I was splitting my sides when I first listened to it, there are some real gems in this translation (A prime example being in the middle of Susanna and Marcellina's duet as they exchange insults: 'Your quality/ Your quantity').
The conducting is wonderful, always taken at a brilliant pace by that great Mozartian David Parry. The cast are spot on, the only real exception being Yvonne Kenny's Countess (a good voice, just a bit too much vibrato here). I especially love Christopher Purves' Figaro, William Dazeley's Count, Jonathan Veira's Bartolo, John Graham Hall's Basilio and Sarah Tynan's Barbarina. Purves is perfect in his role; ... Read More:
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