For the Stars is a 2001 album by classically trained Swedish mezzo-soprano Anne Sofie von Otter, produced by Elvis Costello.
For the Stars is the kind of record rock critics tend to instinctively praise because they just aren't sure if they get it, and they're afraid to lay themselves on the line. If they pan it, well, they're just junk-addled boors. If they praise it, they risk seeming uninformed, since they don't really know if it works as a classical work or not. The thing to remember is, that these kind of rock/classical crossovers belong to neither realm. They exist outside of both worlds, which is their charm and their curse. This is what plagued The Juliet Letters, Elvis Costello's 1993 collaboration with the Brodsky Quartet, which managed to delicately walk the line between chamber music and baroque pop. For the Stars, a collaboration with opera vocalist Anne Sofie von Otter, is more accessible, yet it isn't as successful, largely because its mannerisms are front and center. This is a deliberately "classy" project, pitched squarely at the NPR audience -- the very audience that embraced Painted From Memory because it helped put Bacharach in the context of the great composers. This won't likely do the same for von Otter, because its execution is a little haphazard, even if it is exactly what the two planned. For the Stars winds through a number of pop songs, ranging from new Costello songs to pop standards, from old Elvis favorites to covers of the Beach Boys, Paul McCartney, Ron Sexsmith, ABBA, and Tom Waits. Most of this is executed in a manner similar to The Juliet Letters, finding a middle ground between classicist pop and chamber music without bowing to the conventions of either. Above all, this is frequently interesting music, but that's not really the same thing as compelling. It's easy to appreciate the passion and craft behind this music, but it often feels unfulfilled, even when it feels complete. This is not the fault of either musician -- von Otter's performances are always impassioned, Costello's few vocals are strong, the selection of material always makes sense, and the production is suitably understated. Still, this is a record that clicks cerebrally, not emotionally, and while it has its own character, it's hard to envision fans of either artist returning to it all that often.
These rooms play tricks upon you Remember when they were always filled with laughter? But now they're quite deserted They seem to just echo voices raised in anger Maybe you will see my face reflected there on the pane In the window of our poor forlorn and broken home
Still this house is empty now There's nothing I can do to make you want to stay So tell me how am I supposed to live without you?
These walls were lined with pictures Remember the glass we charged in celebration? But now I fill my life up With all that I can to deaden this sensation Do you recognize the face fixed in that fine silver frame? Were you really so unhappy then? You never said
So this house is empty now There's nothing I can do to make you want to stay So tell me how am I supposed to live without you?
Oh, if I could just become forgetful when night seems endless Does the extinguished candle care about the darkness?
It's funny how my memory Will bring you so close then make you disappear Meanwhile all our friends must choose Who they will favour, who they will lose Hang the garland high or close the door And throw away the key
This house is empty now There's no one living here You have to care about
This house is empty now There's nothing I can do to make you want to stay So tell me how Am I supposed to live without you?
This house is empty now There's no one living here you have to care about This house is empty now There's nothing I can do to make you want to stay So tell me how am I supposed to live without you?
For the Stars is a 2001 album by classically trained Swedish mezzo-soprano Anne Sofie von Otter, produced by Elvis Costello.
ResponderEliminarFor the Stars is the kind of record rock critics tend to instinctively praise because they just aren't sure if they get it, and they're afraid to lay themselves on the line. If they pan it, well, they're just junk-addled boors. If they praise it, they risk seeming uninformed, since they don't really know if it works as a classical work or not. The thing to remember is, that these kind of rock/classical crossovers belong to neither realm. They exist outside of both worlds, which is their charm and their curse. This is what plagued The Juliet Letters, Elvis Costello's 1993 collaboration with the Brodsky Quartet, which managed to delicately walk the line between chamber music and baroque pop. For the Stars, a collaboration with opera vocalist Anne Sofie von Otter, is more accessible, yet it isn't as successful, largely because its mannerisms are front and center. This is a deliberately "classy" project, pitched squarely at the NPR audience -- the very audience that embraced Painted From Memory because it helped put Bacharach in the context of the great composers. This won't likely do the same for von Otter, because its execution is a little haphazard, even if it is exactly what the two planned. For the Stars winds through a number of pop songs, ranging from new Costello songs to pop standards, from old Elvis favorites to covers of the Beach Boys, Paul McCartney, Ron Sexsmith, ABBA, and Tom Waits. Most of this is executed in a manner similar to The Juliet Letters, finding a middle ground between classicist pop and chamber music without bowing to the conventions of either. Above all, this is frequently interesting music, but that's not really the same thing as compelling. It's easy to appreciate the passion and craft behind this music, but it often feels unfulfilled, even when it feels complete. This is not the fault of either musician -- von Otter's performances are always impassioned, Costello's few vocals are strong, the selection of material always makes sense, and the production is suitably understated. Still, this is a record that clicks cerebrally, not emotionally, and while it has its own character, it's hard to envision fans of either artist returning to it all that often.
These rooms play tricks upon you
ResponderEliminarRemember when they were always filled with laughter?
But now they're quite deserted
They seem to just echo voices raised in anger
Maybe you will see my face reflected there on the pane
In the window of our poor forlorn and broken home
Still this house is empty now
There's nothing I can do to make you want to stay
So tell me how am I supposed to live without you?
These walls were lined with pictures
Remember the glass we charged in celebration?
But now I fill my life up
With all that I can to deaden this sensation
Do you recognize the face fixed in that fine silver frame?
Were you really so unhappy then?
You never said
So this house is empty now
There's nothing I can do to make you want to stay
So tell me how am I supposed to live without you?
Oh, if I could just become forgetful when night seems endless
Does the extinguished candle care about the darkness?
It's funny how my memory
Will bring you so close then make you disappear
Meanwhile all our friends must choose
Who they will favour, who they will lose
Hang the garland high or close the door
And throw away the key
This house is empty now
There's no one living here
You have to care about
This house is empty now
There's nothing I can do to make you want to stay
So tell me how
Am I supposed to live without you?
This house is empty now
There's no one living here you have to care about
This house is empty now
There's nothing I can do to make you want to stay
So tell me how am I supposed to live without you?