 |
|
|
|
|
 |
Composed and Conducted by:
|
Alberto Iglesias
|
Produced by:
|
Clarissa Farran
Avshalom Caspi
|
|
|
|
|
Release Date:
|
November 5th, 2002
|
|
|
|
|
|
|
|
|
Availability:
Regular U.S. release.
|
|
|
|
|
|
|
|
 |
|
|
Filmtracks Recommends:
Buy it... if you want to experience an international hit consisting of
classical chamber music with distinct Spanish flavor.
Avoid it... if you're the typical American/Western film music fan who
objects to any score that doesn't give proper time to the trombones.
Filmtracks Editorial Review:
 |
| | Iglesias | |
|
Talk to Her: (Alberto Iglesias) Composer Alberto
Iglesias and director Pedro Almodóvar may not be household names for
American film score collectors, but their collaborations are gaining notice
in Europe and Latin areas of the planet at such a rate that you may soon
know much more about them. Their work together dates back to 1995's The
Flower of My Secret and subsequently include Live Flesh and
All About My Mother. Iglesias's career in film composition began in
the early 1980's and he has won several international awards for his music
since that time. He is also known for his concert arrangements and chamber
music, as well as symphonic compositions for large ballet productions. The
film Talk to Her has been one of those enigmas that has successfully
bridged the oceanic gap between different cultural audiences, and one result
of that success is an unceasing popularity for Iglesias' Talk to Her
score on album. The film is a dark and sometimes twisted (typical for
Almodóvar) tale of love, obsession, and loss. It is delivered in a
suspenseful, yet romantic setting, traveling down a path that only Alfred
Hitchcock has truly mastered. Along the way, the film also exhibits some
very obvious and memorable uses of score and song, further heightening the
popularity of the music on album. Without a doubt, Alberto Iglesias
continues to impress.
Iglesias's score is consistent with his previously
established style of string-dominated chamber music. Many of the most
effective moments of the score are those when the London Session Orchestra
is seemingly constrained down to a tense, yet still lyrical quartet of
strings. Several cues on the album, including "El Amante Menguante,"
"Trincheras/Decadence," and "A Portagayola" are tight and pointed
performances for these strings, with a choppiness and scattered personality
hailing back to the American sounds of Bernard Herrmann. Iglesias may shy
away from obvious theme, but compensates with his subtle Spanish influence
on a classical genre that does not lend itself regularly to a Latin sound.
For most people who view the film and buy the album, the enticement will be
the songs and specialty performances on the album. The more spirited and
flourishing Spanish guitar and vocal performances of "Hable con Ella,"
"Raquel," and "Cucurrucucu Paloma" (by Brazilian vocalist Caetano Veloso)
are the highlights of the album. The latter is an internationally renowned
song, performed here with an almost creepy simplicity and haunting mood.
Likewise, "Por Toda a Minha Vida" and the finale, "The Plaint: O Let Me
Weep" (coordinated for the film at the last moment) infuse the film with an
operatic beauty that crosses all lines of nationality. The overall product
serves as perhaps a glimpse of Spanish classical music for the 21st Century,
with elements of classical chamber music merged seamlessly with Latin
flavor. ****
 |
|
Viewer Ratings and Comments:
|
| |
|
|
|
|
|
• 1. Sabana Santa (1:03)
• 2. Hable con Ella - Vicente Amigo/El Pele (5:17)
• 3. Cucurrucucu Paloma - Caetano Veloso (3:50)
• 4. El Grito (3:29)
• 5. Por Toda a Minha Vida - Ellis Regina/Tom Jobim (2:08)
• 6. La Mesita de Noche (1:45)
• 7. Jordania (2:51)
• 8. El Amante Menguante (8:28)
• 9. Maria Santisima de Araceli (2:12)
• 10. La Noche y el Viento (1:10)
• 11. Trincheras/Decadance (3:29)
• 12. Habitacion de Alicia (1:49)
• 13. A Portagayola (1:48)
• 14. La Discusion Viaja en Coche (3:43)
• 15. Alicia Vive (2:46)
• 16. Los Olivos (1:15)
• 17. Amanecer Agitato (1:57)
• 18. Soy Marco (2:21)
• 19. Raquel - Bau (4:11)
• 20. The Plaint: O Let Me Weep, For Ever Weep - Henry Purcell (7:52)
| |
|
Insert includes a note about the score in both Spanish and English.
|
