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Sarah Brightman: Symphony

 A l b u m   D e t a i l s


Label: Manhattan Records
Released: 2008.01.28
Time:
 54:10
Category: Classical
Producer(s): Frank Peterson
Rating: *******... (7/10)
Media type: CD
Web address: www.sarahbrightman.com
Appears with:
Purchase date: 2013
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Gothica (Frank Peterson/Carsten Heusmann) - 1:20
[2] Fleurs du Mal (Peterson/Thomas Schwarz/Matthias Meissner/Martin Himmelsbach/Klaus Hirschburger/Brightman) - 4:10
[3] Symphony (Stefanie Kloß/Andreas Nowak/Johanns Stolle/Thomas Stolle/Grant Black/Brightman) - 4:47
[4] Canto della Terra [feat. Andrea Bocelli] (Francesco Sartori/Lucio Quarantotto) - 3:59
[5] Sanvean (Andrew Claxton/Lisa Gerrard) - 3:50
[6] I Will Be with You (Where the Lost Ones Go) [feat. Paul Stanley] (Espen Lind/Magnus Rostandmo/Amund Björklund) - 4:31
[7] Schwere Träume (Peterson/Michael Soltau/Hirschburger/Brightman) - 3:22
[8] Sarai Qui [feat. Alessandro Safina] (Diane Warren/Michelangelo La Bionda) - 3:56
[9] Storia d'Amore (Philip Cordel/Michelangelo La Bionda/Brightman) - 4:03
[10] Let It Rain (Carsten Heusmann/Hirschburger/Peterson) - 4:17
[11] Attesa (Pietro Mascagni/Chiara Ferrau) - 4:26
[12] Pasión [feat. Fernando Lima] (Jorge Avendaño Lührs) - 5:14
[13] Running (Peterson/Brightman/Hirschburger) - 6:09

 A r t i s t s ,   P e r s o n n e l


Sarah Brightman - Concept, Keyboards, Programming, Vocals, Background Vocals

Frank Peterson - Audio Engineer, Audio Production, Digital Editing, Editing, Engineer, Mixing, Producer, Background Vocals
Carsten Heusmann - Audio Production, Keyboards, Producer, Programming, Background Vocals
Kristian Draude - Keyboards, Programming
Matthias Meissner - Keyboards, Programming
Michael Soltau - Keyboards, Programming
Peter Weihe - Guitar, Guitars
Alex Grube - Bass Guitar
Curt Cress - Drums
Roland Peil - Percussion

Andrea Bocelli - Vocals
Fernando Lima - Vocals
Alessandro Safina - Vocals
Amelia Brightman - Background Vocals
Carolin Fortenbacher - Background Vocals
Klaus Hirschburger - Background Vocals
Gunther Laudahn - Background Vocals

James Fitzpatrick - Choir/Chorus
Crouch End Festival Chorus - Choir/Chorus
Metropolitan Voices - Choir/Chorus
Paul Bateman - Choir Arrangement, Conductor, Orchestral Arrangements
Stefan Pintev - Choir Arrangement, Orchestral Arrangements
Steve Sidwell - Choir Arrangement, Conductor, Orchestral Arrangements

London Symphony Orchestra - Orchestra
Mike Reed - Conductor

Dennis Preiss - Audio Engineer, Digital Editing, Editing, Engineer
Greg Collins - Audio Engineer, Engineer
Steve Price - Audio Engineer, Engineer
John Luard Timperley - Audio Engineer, Engineer
Volker Heinzen - Audio Engineer
Volker Heintzen - Engineer
Tony Pintos - Assistant
Thomas Schwarz - Digital Editing, Editing
Stefan Glaumann - Mixing
George Marino - Mastering
Daniel Dociu - Illustrations
Philip Straub - Illustrations
Simon Fowler - Photography
Jim Morey - Management
Cheeky Berndt - Assistant, Production Coordination
Toni Young - Production Coordination

 C o m m e n t s ,   N o t e s


Symphony is the ninth studio album from the English Soprano singer Sarah Brightman, released in January 2008 (see 2008 in music). This classical crossover album is a contrast to her previous collaboration with producer Frank Peterson, 2003's Harem; using more Gothic influences instead of Eastern. The single "Running" was the IAAF's Green Project Charity song, which Brightman performed at their 2007 Championships opening ceremonies in Osaka, Japan. An alternate version of the album's first single, "I Will Be with You", featuring Chris Thompson, was the theme song for the tenth Pokémon film: The Rise of Darkrai. The Spanish duet with Fernando Lima, "Pasión", was the theme song for the Mexican soap opera of the same name, and was also released as a single. The London Symphony Orchestra and Brightman's younger sister, Amelia Brightman, are featured on the album.



In den zweieinhalb Dekaden ihres künstlerischen Schaffens hat sich SARAH BRIGHTMAN in der internationalen Musikszene nicht nur als ultimative Crossover-Sängerin etabliert, sie ist in dieser Zeit auch zur weltweit erfolgreichsten Sopranistin avanciert, was imposante Verkäufe von mehr als 26 Millionen CDs und über zwei Millionen DVDs eindrucksvoll belegen. Ihre künstlerischen Verschmelzungen diverser Stilrichtungen, von edlem Pop und glänzenden Broadwaymelodien bis hin zu Evergreens aus der Welt der Oper und der Klassik sowie kundig geborgenen Schätzen der Weltmusik, haben vielen anderen Crossover-Künstlern - man denke nur an Andrea Bocelli, Il Divo oder Josh Groban - den Weg in den Mainstream geebnet und dieses Genre zu ungeahnten Höhenflügen geführt.

"Symphony", das erste neue Studioalbum von SARAH BRIGHTMAN seit vier Jahren, präsentiert eine Diva voller Leidenschaft und Inspiration. Unter der Leitung ihres langjährigen Kreativparter Frank Peterson ist "Symphony" vielleicht das kosmopolitischste Album dieses Weltstars.

Der englischsprachige Titelsong stammt ursprünglich von der deutschen Band Silbermond. Es ist faszinierend, wie SARAH BRIGHTMAN den Nummer-eins-Hit "Symphonie" in einen mondänen Klassiker von Weltformat verwandelt. Überhaupt ist das neue Album ein Werk von gelungen Transformationen und überraschenden Begegnungen. So kommt es bei "Canto Della Terra" zu einer neuerlichen Begegnung mit ihrem legendären Duettpartner Andrea Bocelli. Mit Mexikos Startenor Fernando Lima singt sie "Pasión", den Titelsong einer beliebten mexikanischen Telenovela, und mit dem italienischen Tenor Alessandro Safina interpretiert sie "Sarai Qui", die italienische Adaption von Faith Hills "There You’ll Be". Das vielleicht überraschendste Duett führt SARAH BRIGHTMAN an die Seite von Rocklegionär Paul Stanley (KISS), mit dem sie "I Will Be With You (Where The Lost Ones Go)" singt und der Kunst der klassischen Rockballade neuen Glanz verleiht. Zu den weiteren Highlights auf "Symphony" zählen die wunderschönen Balladen "Fleurs Du Mal", "Let It Rain" sowie die brillant interpretierten Arien "Storia D’Amore" und "Attesa". Musikalischen Tiefgang darf man auch bei "Schwere Träume" erwarten und als kleiner Geniestreich läuft "Running" auf, die bravourös arrangierte Adaption von Gustav Holsts "Jupiter", mit der SARAH BRIGHTMAN bei der Eröffnungsfeier der letzten Leichtathletikweltmeisterschaft in Japan auftrat.

Zweifellos wird dabei ihr jüngstes Meisterwerk im Mittelpunkt stehen: "Symphony". Mit diesem Album unterstreicht SARAH BRIGHTMAN einmal mehr ihre außerordentlichen Fähigkeiten als eine der besten Sopranstimmen unserer Zeit und ihre künstlerische Wandlungsfähigkeit, mit der sie sich unterschiedlichste Genres mit unverkennbarer Handschrift zu Eigen macht. Auf ihre Europatournee, die im Laufe des Jahres auf ihre für den Frühsommer geplante US-Tournee folgen soll, dürfen sich die Fans jetzt schon freuen.

jpc.de



Sarah Brightman took five years between 2003's pop exotica outing Harem and Symphony. The over-the-top gothic excess in the artwork here seems like a cousin to Meat Loaf's Bat Out of Hell II, so much so that it feels like legendary theatrical rock excess king Jim Steinman - a former associate of Brightman's longtime producer Frank Peterson (who wrote or co-wrote five of these tunes) - is haunting the recording. Despite the big duet presences here - Andrea Bocelli (again) on"Canto della Terra," tenor Alessandro Safina on "Sarai Qui," vocalist and actor Fernando Lima, and Kiss' Paul Stanley - there are relatively few moments of real inspiration amidst the obvious kitsch. Symphony is trademark Brightman. It sits dead center at the crossroads of classical crossover, pop, and musical theater. Despite the star power on board, this is exactly what EMI wanted from her. The reprise of her first duet appearance with Bocelli is a firm showcase for both voices, and "Sarai Qui" with Safina is among best things here - even if the arrangements threaten to do in all that vocal power. As for "Pasión," Lima's voice, with all of its high tenor acrobatics, is as lilting as her light soprano. It may work in the theater, or in the movies, but it doesn't here. "I Will Be with You (Where the Lost Ones Go)," with Stanley, is a bit of a campy cheat. Brightman originally recorded this for the Pokeman soundtrack with Chris Thompson of Manfred Mann. Stanley's vocal chops just don't equate with the former. With acoustic guitars all but drowned in strings, the emotional punch of the original is lost. Brightman simply soars, and if her ice queen vocal isn't believable emotionally, it contains enough drama to keep it from falling into the abyss.

Peterson and Carsten Heusmann's cool sound and synth loops on "Gothika" set up the meld of bombastic electric guitars and the London Symphony Orchestra in "Fleurs du Mal." It's full of sweeping textures where a lone clarinet sweeps in before the woodwinds on the third verse; strings shift, swoop, and soar; and a choir comes hammering down on the refrain like thunder trying to bury Brightman in her full but false fragility act. The title track begins as one of the most overblown things on the set, but in comparison to others, it is one of the simplest, breeziest melodies here. There is one genuine surprise: a cover of "Sanvean," written by Lisa Gerrard and Andrew Claxton. Brightman allows Gerrard's words (the English title amounts to "I Am Your Shadow") to haunt her, imbuing them with a classically delivered discipline that showcases the otherworldly and sorrowful melody in the piece. And if there were any radio programmers with brains, they'd choose either the classically tinged and passionate Cordel/LaBionda/Brightman number "Storia d'Amore" or the relatively straight-ahead melancholy pop/rock anthem "Let It Rain" as a single. The latter may be more standard radio fare, but the former would grab the attention of anyone who heard it. The album's nine-plus-minute closer, "Running," is a virtual multi-part suite disguised as a single song. There is an operatic intro that becomes fist-in-the-air uplifting rock & roll bombast in the first half - it even includes an electric guitar solo, enormous drums, and a choir hammering home the refrain with Brightman before it moves back toward opera, then silence, then more orchestral and vocal drama. This track reeks of Steinman - and his lyrics would have been far better than what is here. Symphony is stronger than Harem, yet not as adventurous as Luna, and is more self-indulgent than both.

Thom Jurek - AllMusic.com
 

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