Andrea Ross

Josh has an amazing voice in English or Spanish - We were so impressed with his version of You Raise Me Up that we had our soloist use it for my Dad's funeral. Each of his CD's gives me goosebumps when I listen to them for his use of classical style with modern lyrics and the soulful depth of his voice. Enjoy!

Josh groban sings so amzing. I am his biggest fan ever, and I love this cd, closer. It shows his ability to sing very well and I love his song called confession. He sings that song very well. I also love songs, in her eyes and so she dances. Becides being very cute his voice maches his looks + better. He is so amazing! I highly recamend this cd

The best things about vocal music is the instrument never lies. You cannot cover up mistakes, you cannot hide amateur style with technical flair. The same can be said for the occasional virtuoso. The virtuoso can make someone hear what they feel like they normally would not enjoy, and do it with style. Josh Groban delivers a style unlike those of his typical pop counterparts, and does it with elegance.

Suppose you take the operatic style of say, Andrea Bocelli, and mix it with pop instrumentation styles (keeping with the orchestral traditional style). Some have tried this and succeeded i.e. Boyz 2 Men, and others took it to a further extreme by lighting up the stage with a traditional operatic style mixed with popular music lyrics i.e. Il Divo. Josh Groban does the same with this album.

At only 22 years of age, this album bridges the gap between a two styles of music where both sides have been in a continuous battle since Elvis Presley first shook his hips on stage in front of a national television audience. Those who listen to classical opera often seem haughty and distainful to those who listen to pop, who look uneducated and "lower class" to those who listen to classical. This album, while it isn't the first to use both styles as one element, certainly is the one which can be used as a starting off point to come to a common ground.

Key tracks on this album are "You Raise Me Up," "Oceano," and "Mi Mancherai." With another virtuoso Joshua Bell accompanying Josh Groban, I can't help but wonder if a full collaboration will ever be considered. I certainly hope so, and look forward to hearing more.

They are calling it Neo-classical. It's the classically trained voice, singing with some "pop" quality, and singing newer compositions including modern instruments.

Josh Groban has a fabulous singing voice, and the selection of songs on this recording is nearly flawless. I love the fact that he is helping to bridge the gap between "pop" and "art" musics.

Some night long ago, I was watching television and the commercial for this cd came on - Groban was singing "Oceano" throughout and, simple as that, I was addicted. Though filled with songs that are in Italian, French, and some other languages I can't reasonably understand the lyrics in given my history with language classes, I love the cd.
Any fan of Groban's will love this CD, and songs like "Remember when it Rained" will draw in a new round of fans.

This is one of my favorite cd's. He has such a beautiful and soothing voice.

The music and songs are wonderful. I have this CD in my car and listen to it over and over. It is especially well done. I am enjoying every song the more I listen to them. "The Prayer" with Charlotte Church is one you can sing to.

I specifically purchased this album after seeing a video on Youtube. It was a song that briefly was played on the radio, I never could catch the title. The song is "To where you are." I abosolutely love the song and was happy to finally find it.

When Josh first appeared on an episode of Ally McBeal, I was mesmerized. The boy (at the time he was 16) can sing!! I love his work... he does not disappoint!

There is nothing you can say about Josh Groban except that his voice is like a piece of heaven...

Of course there should have been much more. I remember there been a Metropolian Opera series called CAST ALBUMS- 100 YEARS that was put out for a limited time only and had like five volumes.
As Peter Filichia noted they left out SHE LOVES ME, BRIGADOON and SWEENEY TODD. Also nothing from PACIFIC OVERTURES, BIG RIVER, CHESS, CRAZY FOR YOU, JEKYLL & HYDE, TITANIC, THE SCARLET
PIMPERNEL, FOOTLOOSE- THE MUSICAL, THE FULL MONTY, URINTOWN...
But they couldn't have put it all. I would have done without Lee Remick's
"Anyone Can Whistle", because the show was a flop. I guess because it was Sondheim's first "serious" show...

The first three discs were only OK. I had forgotten how much better the later Broadway musical recordings were. The last two discs were very good, maybe because I could relate better to the shows or perhaps the productions were better.

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

No other words to express this album,,,the artistry is superb. would recommend to anyone, this album makes me glad I am a music lover, it is inspiring

This was my first Josh Groban album and definitely not my last. I've never been fond of opera for the simple reason that I disliked not knowing the words. Clearly that is not really the problem because as far as I'm concerned Josh can sing to me any language he wants. He has a rich smooth sound that reaches deep inside. I initially purchased this CD for "You Raise Me Up," and discovered a wealth of inspiring music. In mi mancherai (il postino), the duet with Joshua Bell is heart rendingly beautiful. My favorite is "When You Say You Love Me." It's romantic and touching. Throughout, Josh demonstrates a remarkable capacity for variation in his taste in music and his skill in presenting it. This extended version included a DVD that clued me into his latest project AWAKE, which I'm glad I purchased as soon as it became available. I hope to see much more by Josh soon.

This album has inspired me to begin learning Italian. I learned the words to "Oceano" by heart almost immediately. Not a single song on this album do I not like. Josh is an incredible singer--one of the best voices I have heard in a long time. This is actually the second time I have purchased this album, because I wanted to get the accompanying "Making Of..." DVD.

This is the first album I bought from this artist and I loved it so much I bought all of them and then flew to Las Vegas to see the first concert I have ever been to--that sounds silly since I am over 60 and really think the music is wonderful!

I am a big fan of Josh Groban so this CD is one of my favorites. His song, "You Raise Me Up" was recently sung at a dear friend's funeral, and there was not a dry eye in the church. Josh really delivers the message of each of his songs in such a professional and musically perfected manner. Keep on recording, Josh, because we all love you!

SSH

Bach: St. Matthew Passion / Rolfe Johnson, Bonney, von Otter, Chance, Crook; Gardiner is such an amazing accomplishment that words such as amazing and stupendous come to mind. Bach has here created on of the finest religious works. Being a very devout person this verily touches my heart and soul very deeply. This is part Opera, church service and one can also talk about elements of the old Greek tragedy. The book-let is massive and very well done. It contains 124 pages. It contains 2 very well-written essays. The first on the "Bach's great passion" by Christoph Wolf and the second written by Gardiner "An Approach to Bach's Great Passion". The book-let contains the lyrics in 4 languages, latin, english, german and french. I definitely give this fine recording 5 stars.

The debate between performance styles will likely rage for the remainder of recorded/performed music.

Set all of that aside.

The Matthew Passion is one of the greatest works of Western art ever conceived in any medium. Retelling the story of Christ's passion according to the Evangelist Matthew, the colossal, epic work embraces the whole gamut of emotions and probes the very depths of religious feeling.

Gardiner, whatever cookie-cutter category he may be shoved into, meets with unmatched success in communicating the greatness, the emotion, the sorrow and the anguish of the passion story as retold by the master of them all: Johann Sebastian Bach.

The Monteverdi Choir--perhaps the "real" star of this set--is thunderously powerful in such sections as the overlapping layers of the first chorus ("Kommt, ihr Töchter"), and both the choir and orchestra can pile on the power where needed, such as the rumbling, roaring basses in "Sind Blitzen und Donner" and the shocking, furious "Laß ihn kreuzigen!" The whole dramatic thrust of the passion story is captured here--the soloists sing as though their lives depend on it, and the orchestra and chorus match them with equal intensity and commitment to this massive work.

From the glorious intricacies of the opening chorus to the great, exalted prayer of the final "Wir setzen uns," the ensemble, chorus, and soloists alike present what is probably the definitive recording of this work for many years to come.

As the conclusion to John Eliot Gardiner's "Bach pilgrimage," this three disc set of the Matthauspasion is difficult, if not impossible, to top. Hear and be overwhelmed.

Bach's Matthauspassion has no equal; this is unquestionably the most accomplished choral piece in the history of music. I prefer the Monteverdi Choir performance because of its emphasis on the choir - some would argue this is one of Gardiner's weaknesses - I however think is how Bach would have wanted his work performed given his passion for choral music.

i heard a performnce of the st matthew passion when i was 17 that steered me so far away from enjoying bach that i thought i was a lost cause. in the course of my undergraduate studies i performed and listened to various compositions by bach and finally became addicted to the monteverdi choir and all of their recordings. i still remained steadfastly against matthew, despite being told that i was crazy to not think it was simply one of the greatest pieces ever written. as a result of my love for gardiner and his choir; as well as the fact that i was singing the alto solos in my studies, i purchased this cd. wow. not only is the recording superb and the choir brilliant but the sheer genius behind the piece is unbelievable. the first six measures take the listener to a place that is not of this world. The countertenor sings so clearly and beautifully it doesn't sound human. i recommend this recording to anyone who loves bach and appreciates great choral music, but also to those who need a good place to start.

MARVELOUS MONTEVERDI CHOIR - A REASON FOR BUYING THIS DISC.

After hearing this recording, I was very happy that I chose to get the Cleobury rendition of 1994(also a DVD) mostly because of the soloists Gardiner chose to use. This must have been early in von Otter's career because her renditions were quite unemotional and dull. Fortunately Gardiner did use Michael Chance for the beautiful and very intense 'Erbarme dich, Mein Gott' for he sings it with great emotional investment as he does in the Cleobury recording. Even the Herreweghe disc has much better soloists; such as Ian Bostridge and Andreas Scholl.
BUT the Gardiner chorus is truly great!!It sings with much spirit; his tempos are very upbeat, but unfortunately one does not hear enough of the chorus on this recording, which is only highlights.
I actually bought it to compare Chance's 1988 rendition of "Erbarme" to the 1994 Cleobury disc; sounds the same; just as intense and as perfectly implemented.

Gardiner's recordings of Bach's "sacred masterworks" were considered near-definitive when they were initially released during the 1980's. Since then numerous other "period performance practice" versions of these works have appeared, yet despite competition from such early-music luminaries as Suzuki and Herreweghe (to name only two), Gardiner's have retained their benchmark status.

The earliest performance in this compilation is the *Mass in b Minor* (dating from 1982). This remains an extraordinary account of a much-recorded piece. Gardiner manages to integrate drama, exultation and contemplation in just proportion (something surprisingly few conductors achieve in this work). His tempi are often brisk, but never breathless, and his choir sings with admirably clear diction and astonishing agility. The only qualification concerns the soloists who, though good, are surpassed by those on many rival recordings; the problem is that their rather wan timbres don't fit well with Gardiner's bold, vivid conception of the work.

Next came the *St John Passion*, and it set new standards for period performance practice. Here the soloists declaim the text more expressively than in the Mass; Rolfe-Johnson, in particular, proves an oustanding Evangelist. The contribution of the choir is, once again, a great asset, and Gardiner leads an interpretation notable for its dramatic intensity. Even those who usually prefer a more traditional approach will find that Gardiner doesn't stint on excitement or inwardness.

Gardiner's *Christmas Oratorio* marks an even higher order of achievement. If you're benchmark in this work is Karl Richter's 1965 recording, you will find Gardiner even more thrilling: he lifts Bach's dance-rhythms with a heady exuberance that makes Richter (whose rendition has always been the most festive among modern-instrument versions) seem square and stolid. Compare, for instance, Richter and Gardiner in "Ehre sei Gott" (the angelic chorus in Part II) and you will see what I mean. Gardiner's soloists (Rolfe-Johnson/Bär/von Otter/Argenta) stand up remarkably well, too, in comparison with Richter's admittedly stellar team (Wunderlich/Ludwig/Crass/Janowitz). Since the *Weihnachtsoratorium* is close to the top of my short list of favorite Bach, I have heard nearly every recording (modern and period performance practice), and I can confindently say that none comes close to conveying Gardiner's sense of exultation.

The *St Matthew* was last to be recorded, in 1989. By then Gardiner had mellowed somewhat in his approach; rhythms are sprung less insistently, tempi are a wee bit more relaxed, and he favors some legato phrasing (without obscuring the all-important motivic cells) that might have seemed out of style earlier in the decade. This is the kinder, gentler Gardiner one recognizes from his *Bach Pilgrimage* cantata performances of 1999-2000 (also highly recommended). Admittedly, I rather miss the more abrasive style Gardiner favors in the *St John*, but this *St Matthew* is still a superb performance. Perhaps because the "Great Passion" is intrinsically a more expansive, less concentrated work, Gardiner emphasizes its prayerful and penitential aspects over its spectacular musico-dramatic effects. The effect is less bracing than we might have expected from him, but no less enjoyable in the long run (even if it takes a while longer to warm up to this peformance than to the others in this set).

The recordings are beautifully balanced, intimate, yet conveying a welcome ecclesiastical ambience. Gardiner would remind us that these are essentially liturgical works, for all their dramatic, even epic, splendor, and it is gratifying to hear them as if placed favorably within a medium-sized church acoustic.

Universal missed an opportunity by not including Gardiner's fine *Magnificat* and Cantata BWV 51 (featuring Emma Kirkby, unique in all the world), which Phillips recorded around the same time as the B-Minor Mass. Since Universal owns the copyright on Phillips as well as DG/Archiv, there would have been no obstacle to their inclusion. More serious is the omission of texts and tranlations. But these are minor quibbles in light of such a formidable bargain. Urgently recommended to neophytes and veteran collectors alike.

Below are the Amazon.com asin numbers for all four of the works in this box:

St. Mathew Passion - B0000057DG (1989)
St. John Passion - B0000057CW (1990)
Christmas Oratorio - B0000057D5 (1990)
Mass in b minor - B0000057CN (1990)

The numerous reviews already posted for each work say it all.

Many period instrument productions lack the interpretive element more commonly found in traditional performances. Not so with Mr. Gardiner. You don't just hear authentic music, you feel the passion and the poetry in it like never before.
I find no weaknesses to speak of in any of these recordings. The soloists are top notch, the choirs are well balanced, the orchestral playing is brilliant, the music breathes with spiritual and poetic inspiration, and the recorded sound is both detailed and atmospheric.

And you get it all in one convenient box at a price that is unbelievable.

My only quibble would be the documentation. You get decent essays on the music, but the text being sung is not included. But, these works are so mainstream that you can easily find free texts on the internet, and likely with better English translations than is commonly found in booklets that accompany CDs. I would recommend doing that even if the booklet did contain the texts.

When Andrea sings . . . my heart melts. How can it not?

I discovered Andrea Ross rather by accident. I believe Amazon recommended her album to me several months ago after I had viewed something by Hayley Westenra. Andrea's album had just been released exclusively in the UK, and the Amazon price tag was $45. I took a pass on it in spite of the intriguing samples I heard on her website. I saved a link, however.

Last week I was cleaning out my computer and ran across the link. Who is Andrea Ross? I wondered, and why had I saved her link? That took me to her website where I rediscovered her. This time, with the price of the album half of what it used to be, I couldn't pass it up.

I found her voice entirely captivating, and she has a great story to go along with her sparkling persona. Andrea played the title role in Annie at age 11; at age 14 she was "16 going on 17" in The Sound of Music. When she was 13 she sent a karaoke demo tape to Andrew Lloyd Webber. That led directly to her first record contract with Universal at age 15 and a starring role in Andrew's Whistle Down the Wind.

Listening to her sing, one can hear immediately what Andrew Lloyd Webber recognized in her. She has a very mature vocal style for her age (or any age). Her diction is perfect, her voice has depth and richness, while losing none of its innocence. She draws on her stage acting experience, giving her delivery a varied spectrum of emotion and expression.

That would be more than enough to seal the deal as a singer, but beyond all that, Andrea also happens to be a remarkably beautiful girl. Visually, her performance absolutely glows with a tender and effortless grace. It's a stunning combination that one doesn't often find.

Unfortunately, Andrea's album Moon River suffers from inconsistent recording quality and lackluster mixing and mastering. It ranges from "quite good" to "what were they thinking?"

Andrea's voice sometimes gets lost in the mix, with the orchestra or the background choir drowning her out not because her voice is too quiet or weak, but because the levels on her track have been inexplicably dropped relative to the other tracks. This is especially apparent in "You Raise Me Up."

Sometimes the processing on her vocal track is tastefully subtle, allowing the listener to hear her voice as it really is (as in "Learn To Be Lonely"), and at other times a rather ugly and artificial-sounding reverb plate DSP has been applied (as in "You Raise Me Up"), which is a shame, since her voice does not need to be covered by any processing. The most I would apply to it is perhaps a very light convolution reverb DSP just to add some "real" space.

Despite its many flaws, Moon River is a more-than-worthwhile album simply because of Andrea. It is still a UK exclusive album (even though Andrea is a Boston resident), but hopefully she'll be brought to the attention US audiences soon, especially after her US tour with Whistle Down the Wind, which finished last September.

She's got a great voice and probably a great career in musical theater to look forward to. Maybe next time she'll get a better producer. Many sappy, overdone arrangements here, unfortunately.

What's with the price? They need to release this in the states! I would pay 42 dollars for dvd audio Beach Boys masters but not for this. But when they release it stateside- yeah she has a great voice.

I found a one star singer,
When I listen to music, I listen to a CD of Andrea first,
The singing voice is splendid beautifully,
I am healed by her singing voice,
She is not yet famous in Japan,
However, it will be for the splendid singing voice to be known in Japan, if activity in U.S.A. and the U.K. continues,I pray for a day to listen to a singing voice of Andrea sometime in Japan coming.

Andrew Lloyd Webber has done it again in his discovery of Andrea Ross. Her voice has a beautifully clear tone and an amazing versatility especially for someone her age. The album has some delightful favorites that she makes her own. I'm sure we'll be hearing a great deal more about her in years to come. I highly recommended her debut recording!

does anyone realize that you're paying quadrupal the price for one extra track??? where's the deal in that? i'll take my original "josh groban" US '01 cd and listen to it for 12 bucks instead of paying 30 extra dollars to listen to ONE extra track... seriously people... im a grobanite, and a member of his "friends of josh groban" fan club, but im not stupid! even as a dedicated fan i cant see the monetary benefit of owning this "rip off" cd. sorry josh... but 42 bucks for one of your cd's is a little much... and those who have bought it already, must have that kind of money to burn on music... which most normal people dont. and yes i still gave the cd a 5-star rating because i cant, in my right mind, give a josh groban cd any less than that! if youre willing to pay for that extra song, i dont know if it will be worth it, but im sure it will be enjoyable if youre already a fan. but if this is your first time buying a jg cd, id suggest a US copy...

The collaboration of carefully crafted orchestrations, substantial content, and astonishing vocal talent have combined to produce one of the richest and most enjoyable listening experiences to arrive in many years. The music was lavish and varied, ranging from lyrical ballads sung in Italian to a sincere yet polished cover of Don McLean's Vincent. Josh Groban possesses a velvety, richly textured voice that brings each piece to life with a youthful freshness while maintaining respect for the music that is simply magic to behold in one so young. I enjoyed this CD immensely and would recommend this to music lovers of all ages and tastes.

Of all the Albums I've ever owned, Josh Groban's self-titled debut album is my all-time favorite. I love almost of all of Josh's music, but this album is totally unique. I find the wide variety of music encompassed in this album totally awe-inspiring. It is the most played album I've ever owned. My recent purchase of this album with the bonus track, "Mia Per Sempre," was like adding the perfect desert to a delicious meal.
I would highly recommend it!

This CD is a treasure trove of tracks, from the opening, "Alla Luce del Sole" to the end duet with the incredible Charlotte Church. Josh's rendering of "Jesu, Joy of Man's Desiring" is the best I've ever heard in or out of a cathedral. This is a delight to the ear and would make a wonderful gift to any classical fan, as well as an excellent intro to people who want to learn to appreciate it. My newest favorite CD! Highly recommend!

josh groban is beyond genius. if you love a great voice, he is the one to buy. i have is regular cd so i bought this cd just for the song mia per sempre. and it is definetly worth the extra money.

Scott Seigel's concerts, Broadway by the Year gather a group of the current crop of Broadway performers and turn them loose on songs from Musicals that opened during 1 year on Broadway. It helps that 1953 was a strong year musically, with Bernstein's Wonderful Town, Porter's Can Can, Kismet and Me and Juliet from Rogers and Hammerstein. Jule Styne also chimed in with Hazel Flagg which contains one almost standard "Every Street's a Boulevard in Old New York. Some great stuff on this album, wonderfully sung as almost always. I love this series and hope to acquire each and every one at some point.