Estelle

Love this album from top to bottom, it is very nice. I love her style and her voice, def recommend this one, dont sleep...

if you've heard american boy and come over, you've heard the best this cd has to offer.

her production team did not maximize the strengths of her voice. the instrumentals of the other songs do not compliment her soft, sweet, tone. instead she sounds like a back-up singer, singing lead most of the time. its a shame b/c the potential for enjoyment is there.

she carries lovers rock/dancehall tracks well. she needs rhythmic bass tones to contrast w/ her voice to make it stand out. e.g. her duets w/ legend are nice b/c of his darker voice (even though he slurs alot).

she is hot on track 7 of legend's new cd.

I'm so loving Estelle's CD, I bought "Shine" on the strength of just the "Pretty Please" video! I then heard "American Boy" with Kanye, and was even more intrigued with Estelle. Looking at her gorgeous brownskinned face and seriously fabulous wardrobe, I saw a kindred fashionista as well as a talented singer/rapper. I had the pleasure of looking at her "1980" video a few hours ago, and now I have to run down her first CD and buy it. I want more Estelle, and I thank John Legend and Kanye West for noticing her genius and allowing this American Girl the chance to hear her fabulousness.

I simply listened to the sample of the cd and I'm definitely feeling her vibe on EVERY track. Ok, I'm now making it a priority to get this album!

This Brit chick is on fire. I love the CD. I hate that I almost slept on her stuff, but now my ears are open to her. I can't wait to see what this singer as to offer up next! I recommend this album if you want to jam to nice beats laced with a singing/rapping style.

This is a wonderful DVD. I got this as a stop gap until the VHS came out on DVD, but now I may not. Yes, the technical aspects are not the best. But it is the filming of an actual performance at the Delacorte Theater. It's not as slick as the production with Angela Landsbury, but Patricia Routledge, later to be Hetty Wainthrop and Hyacinth Bucket, more than holds her own, and the production has those small details that usually are left out of a much-edited and rehearsed film. You really get the feeling you are there watching a live performance. If you are a G&S fan, this is a DVD you must have. It is a gem of a performance, with wonderful actors/singers.

Fantastic CDS based on the stageplay and video. I missed Angela Lansbury as Ruth but it is a fanatastic recording and interpretation of Gilbert and Sullivan's operetta.

You have to be a muscial fan to love this. This play is very fun and funny. This soundtrack has the songs from this wonderful play that you will want to hear over and over again.

The entire "Pirates" score plus much of the dialogue is found in this recording. The voices are extremely appropriate to each of the characters, and the comedy of the score is apparent. The energy is extremely high, which, in turn, excites the listener. I never tire of listening to it.

My favourite performance of this classic Gilbert & Sullivan Operetta. Kevin Kline, Linda Ronstat, and the whole cast are perfect.

from rapper/singer Estelle. This cd has been huge over in Europe and various songs are rocking on the 18th Day as well.

1980
Free
Go Gone
Dance *****es
I'm Gonna Win

Its even more impressive being that she wrote every song on her debut cd and each song has a purpose and some meaning. Along with a great beats and flow whether rapping or singing. Estelle is an artist that folks should pay attention to for real.

Check out The 18th Day and see what the fuss is all about.

Estelle is the new hip hop sensation from the UK and she's mega talented; think Lauryn Hill meets Mary J Blige, with a British accent. She flows from rapping to singing (very clever lyrics) with amazing ease, over eclectic music filled with strings, piano, hand claps and a bubbly bass line.

A delicate piano/string intro transforms into a sunny upbeat hip hop track `1980', the title refers to the year of her birth and reminisces about her years growing up with references to Dynasty, Dallas and hair plastered down her forehead.

`Change is coming' tells about people in council housing struggling to pay the rent, and you have the choice to your life, the power to determine the course of your life. Excellent harmonies and Mary J Blige like vocals in the chorus. A similar message of self belief/assertion is found in the clap-a-long retro sounding `Free' featuring Megaman ( with lyrics urging one to spread love), and the horn laden `I'm gonna win'.

`Go gone' is a fiery (faintly) rock tinged Motown style song, about doing her best and being who she is going to be despite the nay Sayers. If you've got nothing good to say, keep your mouth shut!! A highly addictive dance song.

The downtempo `I wanna love you' features acoustic guitar and tight harmonies. Still keeping the tempo down are the piano sprinkled `Maybe' (with a haunting bassline), `Crazy', the excellent string filled `Hey girl' (with a Marvin Gaye-like chorus, and a beautiful acoustic guitar/vocal outro), the retro sounding `All over again' featuring Royston, and the harmonica laden neo soul feel of `Dance with me'.

`On and on' begins with sped up vocals and again features tight harmonies and piano.

Bonus track `Freedom' is a beauty; filled with piano, strings and lyrics about being true to oneself to be truly free.

A smashing debut with a promise of even greater stuff in future.

This album is funky, fresh, hip hop, R&B, dance, pop and soul..She mixed all types of elements.I really enjoyed this album.

Best songs are

Free 10/10 classic record
1980 10/10 great meaningful hip hop track
Go Gone 8/10 great dance track

Estelle is one of the best writters around. I gotta give her props.Hope she will get big.

WRONG LISTING OF THE TRACKS!!!
Check before buying!

I ordered this CD because I wanted all the FOUR tracks listed above - which included a "no rap" version and an "instrumental version" of the song. But it seems that Amazon only sells the version with two tracks ("American Boy" explicit version AND "Life to Me" + the video of "American Boy").

I got disappointed with this CD.
I bought this from Amazon ESPECIALLY because I was afraid the sellers could mix it up.
I was wrong!
Amazon should pay more attention to these things.

From the first time I'd heard "American Boy" on Upop xm radio, the melody just CAUGHT me. The title of my review says it all. I wish Estelle much success!

I was disappointed when I purchased this cd single, which contained two songs "American Boy" - explicit verison & "Life to Me" plus the video of American Boy. I had purchased this cd to get the No Rap & Instrumental verison of American Boy.

WRONG LISTING OF THE TRACKS!!!
Check before buying!

I ordered this CD because I wanted all the FOUR tracks listed above - which included a "no rap" version and an "instrumental version" of the song. But it seems that Amazon only sells the version with two tracks ("American Boy" explicit version AND "Life to Me" + the video of "American Boy").

I got disappointed with this CD.
I bought this from Amazon ESPECIALLY because I was afraid the sellers could mix it up.
I was wrong!
Amazon should pay more attention to these things.

From the first time I'd heard "American Boy" on Upop xm radio, the melody just CAUGHT me. The title of my review says it all. I wish Estelle much success!

I was disappointed when I purchased this cd single, which contained two songs "American Boy" - explicit verison & "Life to Me" plus the video of American Boy. I had purchased this cd to get the No Rap & Instrumental verison of American Boy.

As a rule, I am not into rap or rhythm'n'blues, I listen to other kind of music, but I have to admit I LOVE this song. It's happy and catchy, like another reviewer said. It's no wonder, when Kanye West and John Legend are involved, you can only expect good songs.

I've always had a soft spot for UK singer/rapper Estelle. Her song Go Gone from her 2004 debut album The 18th Day, is one of my favourite tunes ever. Her lead single Wait a Minute featuring will.i.am, from her upcoming new album Shine (scheduled for release here in the UK at the end of March and in the US at the end of April) was never going to get pulses racing and hardly anyone noticed it. I certainly didn't.

This follow-up however is in a different league altogether. It's such a happy, catchy tune it's little wonder it barged its way straight to the #1 spot on the UK Top 40 singles chart last weekend, knocking the seemingly untouchable Duffy down to #2. Singing about her love for her American boy (and her desire to be taken places by him) over a fizzy beat by producer will.i.am, with elements of pop, funk and hip-hop, infused with a techno/disco edge, and supported by Kanye West who spits a few bars with a UK twist on the intro and in the break, I personally find the song irresistible. I very rarely buy or review singles but I am more than happy to make an exception here. The video is awesome as well - and no, it's not just because Estelle parades a collection of incredibly good-looking American boys in front of the camera; the woman herself looks absolutely stunning in it too. She's always sexy but never sleazy.

She's now signed to John Legend's new label, Homeschool Records (they worked together on Estelle's debut, even before Legend himself was signed) and I saw her with Terrence and Rocsi on "106 & Park" the other day, so doors are definitely being opened for her all over the place. I sincerely hope this translates into success for her over the pond, as with this particular song, she so absolutely deserves it.

And by the way, despite the lyrics of the song, Estelle assures us British boys that she still has nothing but love for us. I should hope so too.

Sorry, the singing is just terrible, and I'm sorry I spent the money on it. I was planing on sending it to family with little ones, but once I heard it, I changed my mind!

This isn't the first album I would suggest, but it'll do. My neice and nephew's favorite is Philadelphia Chickens, which isn't annoying to listen to as an adult. Quite catchy actually...

The songs are fun for children to learn and adults also have fun singing along. Highly recommend this CD

I enjoyed it very much, and appreciate your type of sound. Unfortunately, the children were more interested in BARNEY or ELMO.

I feel terrible because when your Dear husband was on the Ellen show, he mentioned your CD and I had been seeking an idea for 2 children's b-day gifts - age 4.

I apologize, but I ended up giving them cartoon movies.

I bought this for my new granddaughter. She has listened to it practically since birth. The songs and voice make her smile. Children like high pitched voices. I plan to purchase 2 more copies.

This version has always been one of my very great favourites. It can only be beaten by one of the best opera recordings ever made, that on EMI with Böhm/Ludwig etc. Here on Philips we have only very experienced singers, all very famous. The melt together in a wonderful way, so secure in their roles and all sounding as they really love the score. I give you the advise, if you are looking for the best Cosi, accept that there are two, this and the EMI one. Buy them both!

Este 'Cosi fan tutte' que dirige Colin Davis sorprende por lo bien que funciona globalmente a nivel general, y por eso se convierte en la mejor opcion posible (siempre despues de las de Karajan y Böhm con Schwarkopf como Fiordiligi en ambas, que a mi manera de ver, son las dos cumbres de la discografia de esta obra mozartiana.
En esta version sorprende MONTSERRAT CABALLE, que pese a que puede (y debe) parecernos poco mozartiana, canta Fiordiligi con comodidad, con todas las notas y todas las coloraturas en su sitio, y esa tecnica prodigiosa que ella ha tenido siempre, aunque quiza se le pueda pedir mas intencion en los recitativos. Tampoco se queda atras JANET BAKER como Dorabella, conocedora del estilo, este papel es tan facil para ella que lo canta con absoluta perfeccion, y bastante bien enconjuntada con la Caballe. El trio femenino lo complementa una magnifica ILEANA COTRUBAS, que une a una voz de gran belleza e inteligente tecnica, bastante picardia, lo que es de agradecer a la hora de dar vida a un personaje como el de Despina.
Menos entusiasmo causan los hombres, empezando por un NICOLAI GEDDA que esta incomodo e inseguro como Ferrando, y que es el punto mas bajo del elenco con diferencia. Pese a esto, canta su aria del segundo acto que casi siempre suele suprimirse (es decir, en esta ocasion son 3 arias para Ferrando, en vez de las 2 a las que estamos acostumbrados). Por su parte, VLADIMIRO GANZAROLLI es un Guiglielmo que, sin hacernos olvidar a ciertos mitos de este papel, ralla a gran altura. Por ultimo, RICHARD VAN ALLAN interpreta adecuadamente el papel del filosofo Don Alfonso, completando un cast de interes.
La direccion de orquesta de COLIN DAVIS es adecuadamente mozartiana (y este es el mejor elogio posible) y la ORQUESTA DEL COVENT GARDEN funciona con versatilidad. Lo mismo debe decirse del coro, que rinde a gran altura en su breve intervencion.
En definitiva, sin ser una primera opcion para esta obra (¡es que hay tantas grabaciones en el mercado!) si que podria ser perfectamente una segunda opcion, que ralla a gran altura, salvo por el pequeno (y extrano) lunar de Gedda. A nivel general, mas que notable.

Where did all the reviews for this go? Well, it's all up to me, then...
This is a wonderful recording of some of Mozart's most beautiful music. It can be sterile at times, but that is more the nature of the composition, for the most part. Caballe and Baker blend perfecty as the two sisters should--so well that I can't always distinguish the two! Their solos are exceptional, as well. I don't go out of my way to buy Gedda recordings, but he's in fine form here. He sings beautifully, though his runs are kind of...bad. In addition, you can hear a studio splice at one point during an aria of his. No big deal, though. The lower male voices are, well, good, as well--no particular comments here. For me, Cotrubas all but steals the show as Despina. I crack up every time I hear her sing in the foreign language when posing as the doctor and sing with the most nasally voice you've ever heard for portraying the notary. This recording does justice to all the beautiful and grand moments of this charming opera. Check out the Colin Davis Don Giovanni and Le Nozze di Figaro, as well--they have Freni!

As a tenor I appreciate great tenor voices in the more famous tenor roles. The role of Ferrando has most definately been played in higher esteem, by people such as Jerry Hadley (Scottish Chamber version). I have not actually explored the other voices, but Gedda does not fit my inner expression of the role of Ferrando.

I so agree with the last reviewer! As to another reviewer's dissertation on what constitues a "Mozart singer", hogwash! Montserrat Caballe failing to understand at every moment that she is singing Mozart? Hogwash! A 'Mozart singer' is like every other 'singer' - you got it or you ain't; the rest is intellectual preening and has nothing to do with genuine operatic art. And what singing this is - a Cosi to treasure! Mozart's ensemble writing in this opera surpasses that of his other operas, and Baker, Cotrubas and Caballe find an emotional perfection in the rendering that alters the earth's orbit! I've not heard another Cosi like it since Cotrubas' earlier recording with von Stade and Stratas. I also have the Harmonia Mundi recording and find it mundane by comparison. Veronique Gens has fioriture up her sleeve; she can pull it out, but she sings with the emotional depth of a teenager. Hers is a vocal aesthetic for Lully or Rameau, but not Bach, and certainly Mozart suggests that more consolidation of resources is necessary. Why not hire David Bowie for the role? -might as well. What is more 'stylish' than the musicianship these peerless singers and musicians bring to this surpassing Cosi? Please not Rene Jacobs' arcane treatment of the score, though I do admire the Cologne orchestra, particularly the weight of the strings, but that too cerebral 'informed classicism' always sticks its little notebook up into the musical air. Colin Davis rivals his own Tosca (also with Caballe) in this recording. The Covent Garden forces shine under his watch, even more, they consistently reach into themselves and deep into Mozart, deep into the opera - an attribute I would not ordinarily ascribe to this opera orchestra and chorus. Nicolai Gedda will probably die still insufficiently revered, he is one of the supreme artists of our time, or any time; he is as desirable an actor as he is miraculous singer. Even now, as things fall apart, he remains the present heart of any opera ensemble. His artistry burnishes this recording to a glow. Get this recording - it really has no rival at present.

i have to disagree somewhat with the reviewer below. baker doesn't sing badly, but there isn't a lot of separation between her and minton, a mezzo who sings sesto. even when singing the soprano's part, baker sounds too much like a mezzo. when the two are singing together, it's often hard to tell who is who. compare this with the hogwood set where a soprano, della jones, sings vitelia opposite cecilia bartoli, a mezzo with a dark and easily distiguishable, timbre. much better contrast; much easier to follow and appreciate.

the other singers here are well cast and sing well. stuart burrows, in particular, unlike many other tenors in this role, actually sounds like an emperor. lucia popp is lovely, though i prefer barbara bonney's servilia: much more sweet and innocent sounding.

a good set but not my favorite because of casting issues.

I was very surprised to see this recording get 1 star from the previous reviewer, because it is simply wonderful, and IMO the best of Davis' Mozart opera recordings. Dame Janet Baker sings Vitellia brilliantly, with glorious coloratura. She makes one believe in the development of her character, which is really ridiculous when you think about it, but we are talking about opera. Von Stade and Minton are superb as well, and Stuart Burrows is really amazing on this recording. There is not a single weak link and Davis' conducting really highlights this work, and proves to us that it is an excellent creation. Often over-looked and under-rated, if you buy this recording, you may realize (like I did) that 'La clemenza di Tito', while not on par with the DaPonte operas, is more of a masterpiece than 'Zauberflote'.

I really do not like the way Dame Janet sings Mozart, I love her Schubert and Faurè on Hyperion collections and I also love when she sings many other lieder (or songs), but to opera Dame Janet Baker is not what I excpect from a singer, I only loved the performance of Lucia Popp, her voice is quite angelicate. I prefer the recording of Sir J. E. Gardiner with Mrs. Varady as Vitelia and Anne Sophie Von Otter as Sesto. But the best Vitelia you will find in Della Jones' interpretation for this role, under Hogwood, ....I have never seen someone like her singing this role, that is one of the most exquisite and dificult roles in the universo of the Mozart operas. And, of course, Colin Davis is not a really good conductor on Mozart ... he loses himself easily in the huge universe that Mozart is.

This classic recording -- in mid-price release --is the place to start for any music lover unfamiliar with this magnificent and underrated work.

Colin Davis shows his usual flare for Mozart as evidenced in his other Mozart operas on Philips. His cast is uniformly excellent; there is not a single week link or even questionable casting choice here. This is the most satisfying ensemble on any recorded performance currently available. Yvonne Minton sings magnificently as Sesto in an extraordinary performance, the young Frederica von Stade does equally fine work in the supporting role of Annio. Lucia Popp as Servilia is heartbreakingly exquisite; her rendition of "S'alto che lagrime" is so lovely one wants to immeadiately track back and hear it once more. The rest of the cast - Janet Baker, Stuart Burrows, Robert Lloyd - all contribute fine work and are unsurpassed by any other recorded portryal. Davis guides them all (and his orchestral and charol forces) through a committed, nuanced, and emotional performance, so that this work of love, intrigue, and forgiveness builds to the cathartic finale Mozart intended.

Converts to this opera will eventually want to own at least one of the more recent, full price recordings (Hogwood on L'Oiseau-Lyre, Harnoncourt on Teldec, Gardiner on DG Archiv). All of these recordings are quite fine in their own right and boast some fine performances - particularly Ruth Zeisak on Teldec, and Anna Sophie von Otter and Julia Varady on DG - but none of these ensembles can quite compete as a whole with the 6 singers assembled by Davis.

Any lover of Mozart's music sung by great singers should have this recording.

Ms. Reiner appears to be a nice, sweet woman who sings like Edith Bunker on a good day.

Silence can be golden.