>LISTEN< to- RADIOnuages...playing ACOUSTIC INSTRUMENTAL Newage Music All The Time
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All the vocals are by Caroline Peyton, and although you may not recognize her name, you probably have heard her voice because she has become a regular singer in Disney animated movies.
Superstar crossover vocalist Sarah Brightman greets the new millennium with an even surer, bolder
sense of her unique musical niche than that evident from 1999's Eden. Like 'Eden', La Luna
is a
concept album only in a vaguely free-associative sense. The selection of material here touches on
images of the moon that reinforce its ambiguity as a force known to draw together "the lunatic, the
lover, and the poet" (Brightman's photo shoots for the album do seem to suggest a sort of
Titania-like figure out of a New Age Midsummer Night's Dream). And it's a stylistic as well as
thematic voyage, coursing from such contemporary sounds as synth pop (on "This Love") through
vintage jazz standards (Billie Holiday's atmospheric and haunting "Gloomy Sunday") to high opera
for the title track (a version of the sublime "Song of the Moon" from Dvorák's fairy-tale opera
Rusalka), and drawing elsewhere on the gorgeously sinuous melodies of Bach, Handel, and
Rachmaninov--one song, "Figlio Perduto," even adapts the slow movement of Beethoven's Seventh
Symphony. Throughout, producer Frank Peterson swathes Brightman's shiny small voice in luxuriant
fabrics of sound. Detractors will lament the resulting sameness of tone--no matter what the style
involved--but Brightman's focus on spinning an ethereal spell never gets eclipsed. This domestic
release includes three tracks not available on the import version and has a special treat hidden in the
final track as a bonus. --Thomas May
Pianist Robin Spielberg's latest solo recording is a
COMPASS RECORDS
