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The most helpful favorable review
The most helpful critical review
10 of 11 people found the following review helpful:
5.0 out of 5 stars
An exquisite selection of short classical guitar pieces
Liona's musical sensitivity shows throughout this collection of Latin and European classical tunes. Numerous "highlights" include Antonio Lauro's Venezuelan Waltzes, Joao Guimares' Maxixe (Sounds of Bells), rich with guitar harmonics, Una Lagrima (Little Teardrop) by Gaspar Sagreras, and Miss Boyd's own composition, "Cantarell" which showcases her...
Published on June 13, 2001 by Warren M. Powis
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2 of 10 people found the following review helpful:
1.0 out of 5 stars
More Pablum from the Queen of Schmaltz
Listening to these pieces, it is clear Ms Boyd did not play her way to the top. Some other activity, perhaps? Her extreme and, in most cases, inappropriate use of rubato leaves one to wonder if she simply does not remember the duration of the notes. Surely she cannot be that bad at interpretation? Her choice of repertory is also suspect, as nearly all of it consists...
Published on January 27, 2006 by Marvin W. Luse
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10 of 11 people found the following review helpful:
5.0 out of 5 stars
An exquisite selection of short classical guitar pieces, June 13, 2001
This review is from: Highlights (Audio CD)
Liona's musical sensitivity shows throughout this collection of Latin and European classical tunes. Numerous "highlights" include Antonio Lauro's Venezuelan Waltzes, Joao Guimares' Maxixe (Sounds of Bells), rich with guitar harmonics, Una Lagrima (Little Teardrop) by Gaspar Sagreras, and Miss Boyd's own composition, "Cantarell" which showcases her "tremelo" technique. This is another wonderful album by Liona Boyd. I heartily recommend it!
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2 of 10 people found the following review helpful:
1.0 out of 5 stars
More Pablum from the Queen of Schmaltz, January 27, 2006
This review is from: Highlights (Audio CD)
Listening to these pieces, it is clear Ms Boyd did not play her way to the top. Some other activity, perhaps? Her extreme and, in most cases, inappropriate use of rubato leaves one to wonder if she simply does not remember the duration of the notes. Surely she cannot be that bad at interpretation? Her choice of repertory is also suspect, as nearly all of it consists of "encore" style pieces: you know, flashy but simple, something to go home humming, but lacking any real substance. As for her own compositions, ho hum, who cares?
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