Customer Reviews

Opera Sauvage

5 star:		(16)
4 star:		(4)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

This is the first and only Vangelis recording I have on an actual vinyl record. I truly cherish the entire album. So far, I have not replaced it with the c.d. format. For some odd reason I seem to love the warmth and nostalgic sound of all the pops and clicks created by the record's surface.

The best tracks are Hymmne and Reve. Some of the keyboard arrangements (such as in Reve) do sound a bit dated. However, for 1979 it was pretty high tech stuff. Quite a few of the elements and sounds that Vangelis created for Opera Sauvage served as a prelude to the same sonic characteristics he would later utilize for the soundtracks of Bladerunner, Antarctica, and The Bounty for the early'80s. There is something naturally organic, yet technically mechanical to Opera. This is a fantastic production to listen to late at night for having a good night's rest! It is also a great introduction into Vangelis' next musical career phase for recording movie soundtracks ( though, not sure if Opera Sauvage was a European film or not)...

Every time I listen to either Hymne or Rêve, I'm simply speechless, exhilarated and transported to another world, another dimension, or whatever you want to call that place. And it happens with every Vangelis album I listen to, from L'Apocalypse des Animaux which dates back to 1973 (30 years!) to the more recent Fifa 2002 Anthem. Vangelis has produced one of the most beautiful works of electronic music, possibly the best ever.
I do believe that he started using synthesizers like no one else before, back in the late 60's. Opera Sauvage is no less enchanting than his other magnificent albums. Vangelis is a man who never advertises his products, we never see him, we know nothing about him or his personal life, but he still manages to touch us deep down with his truly heavenly music. I hope that this genius will stay with us for many years to come, always creating timeless music for us.

If you want to hear "Hymne" as it was meant to be played, buy "Portraits" (1996). The remake is SO AWESOME. I'd give this CD five stars if the remake were inserted in place of the original. The rest of the CD is serene, reflective, and relaxing. For one of his earlier works, this album is great. However, if all you want is the title track, (you'd sure be missing out on the rest) "Portraits" has that majestic sound.

From the opening, majestic track of Hymne (used in early eighties Gallo Wine television commercials), Greek synthesizer maestro Vangelis takes listeners on an enjoyable journey. Composed originally as the final part of a wildlife film documentary, Opera Sauvage doesn't have any weak tracks. Various instruments, ranging from gongs to violins and a guest harp solo from Jon Anderson keep things lively. The best tracks are Hymne, Reve and Flamants Roses.

My first exposure to the music of Greek electronica composer Vangelis was through the science fiction film Bladerunner sometime during the late 1990s and it was not until recently that I snapped this 1979 album up out of a discount bin. Although there are moments that sound a bit new age-ish (as on the short opening track and L'enfant) there are disproportionately more pieces on this album that are moody and simply excellent. In fact, the haunting 12'26 Reve, which is played largely on what sounds like a heavily echoed electric piano stands out as a personal favorite. As to be expected, synthesizers including instruments by Moog, (possibly) Oberheim, and ARP are used prominently on this album, in addition to a host of percussion instruments - the liner notes depict Vangelis playing what appears to be a marimba and is seated in front of a number of gongs. Mouettes is a very short and dreamy piece played entirely on synthesizers, while Chromatique features acoustic/electric guitar, bass guitar, and synths. It is worth noting that Chromatique is a piece that utilizes (you guessed it) a chromatic scale and as such is pretty interesting - I can't say I have heard this before in rock music. Irlande is somewhat gloomy and displays tinges of medieval (English) musical themes while the 11'54" closing piece Flamants Rose is somewhat more varied in terms of timbre and dynamics. In fact Flamants Rose comes quite close to being electronic art music, and alternates deeply reflective moments with flourishes on percussion coupled with blaring, assertive lines played on the synthesizers. As a huge Yes fan I was happy to see that Jon Anderson shows up on this piece (he played harp). All in all, I can highly recommend this album to electronica fans along with Heaven and Hell (1975) (Jon Anderson sings on this album), Albedo 0.39 (1976), and Spiral (1977) - yes, I am on a quest to collect all of the 1970s work by Vangelis.

The sleepy, drifty quality of the synthesizer sounds employed on this album, really do mark it as a product of the 70's. Younger or less experienced electronic music fans might not take to this kind of thing, seeing as how it utterly lacks anything even remotely approaching a break, cut, or a drum machine. But for electronic music classicists, it doesn't get much better. As is typical for most Vangelis, old or new, the artist applies a classical composer's skills to the electronic medium, with unique and savory effect. Track 7 is especially beautiful, with its extended length and delicate harp. Vangelis is (in my opinion) an oft-overlooked musical genius of the late 20th century, rivaling more traditional composers like John Williams in terms of ability and style. Get this album and experience his gift, prior to the world spotlight that shown down on the man with "Chariots of Fire".

I remember the first time I ever heard "Hymne." It was perhaps 1981 or 1982, I was loopy after a long party and heard this piece and fell in love with both it and the poor sap who'd accompanied me to the party. I bought the vinyl, listened to it every day for years, and somehow never managed to fall out of love with it. Easily one of Vangelis' best works, this album is at times wistful, thrilling, and always interesting. The simplicity of a piece like "Chromatique," for instance, belies it's power and grace. The piece is no more than an exercise up and down the chromatic scale, yet Vangelis infuses it with emotion and power. The famous "L'enfant," which was used so effectively in the gorgeous Peter Weir film "The Year of Living Dangerously," is like an electronic journey, edgy and energetic. At the other end of the scale, "Irlande" is stirring and slow. This is an amazingly textured and melodic work. The only CD which comes close to this one is, perhaps, "Direct," although no Vangelis CD is without its moments of brilliance. This work is ALL brilliance.

Opera Sauvage~ Vangelis is 70's synth music at its best and one does go on a nostalgia trip when one hears the soft and warm sounds of the 70's and I can see in my minds eye Vangelis hard ay work with keyboards of the time like Moog, Oberheim and Rolan to mention a few. I love l'efant, irlande and Hymne. The 70's synths have a sound that is so superior to the keyboards of today and they were true master works and have not been duplicated. I love the synth sound in the begining of the track Irlande, the amazing string sounds. This is as about as complete as an album can get and is one of the best modern synth albums that I have ever listened to.

With a predominance of sounds of harps and other plucked string instruments throughout the album, every track in "Opera Sauvage" (Wild Opera, in French) promises to touch you in a unique way. From the well known opening "Hymn", to the longer songs ("Reve" -dream; and the closing, "Flamant Roses"), through the touching transition tracks "Mouette" and "Irlande" (where you're transported to Celtic landscapes with no difficulty), the album only lacks something: more content. At just under 43 minutes of duration it leaves you wanting more of Vangelis enchanting music.

Released in 1979, this album is among the best of his life's production, along with "Antarctica", "Apocalypse..." and "Bladerunner". Do not hesitate and pick it up: it is a must in any serious collection, plus it is a fabulous vehicle to help you relax in moments of stress.

In the years 1975-80 Vangelis developed a hard-to-match synthesis between acoustic instruments and synthesizers. One can year some good examples on Spiral (1977), See You Later (1980) and Short Stories (1980, with Jon Anderson). Opera Sauvage was conceived in this period and it sparkles with musical originality, dream-like themes. Hymne is a calm Vangelis theme, Rêve a bluesy athmospheric piece. L'enfant is minimalistic but musically very remarkable. Chromatique and Irlande are new to Vangelis' composing styles, but nonetheless inspiring. Jon Anderson plays the harp in Flamants Roses, a multi-theme piece of instrumental action.