Customer Reviews

The Visit

5 star:		(176)
4 star:		(24)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

"The Visit," recorded in 1992, has demonstrated, by its longevity and popularity, how important a position it holds in Loreena McKennitt's body of work. Based strongly in her Celtic roots McKennitt is as comfortable with traditional tunes as she is mixing old casks with new wine to make statements that are a pertinent today as they might have been 100's of years ago. The 'old religion' is mixed adroitly with modern spirituality to add a mystical texture that will haunt the listener long after the songs have ended.

Loreena's musicality is unimpeachable. I love her voice, which is capable of a rich variety of intonation and emotional content. Much of her work uses old dance rhythms based on fine drumwork by Al Cross and Rick Lazar. Indeed, all of her musicians are first class, and recording qualities are superb. Whether you are a Celtic music addict, a New Ager, or an old Folkie you will find much to enjoy here.

'All Soul's Night' is a striking combination of Japanese imagery and Celtic ritual with a dancing, percussive rhythm. In 'Bonny Portsmore' McKennitt sings a lamentation for the great oaks of Ireland, cut down for lumber by British military and shipbuilding interests. 'Between the Shadows shows off the singer's unique ability to write crossover tunes that combine Middle and Far Eastern influences with Celtic rhythms and instrumentation.

'Lady of Shallot' is one of my very favorite McKennitt songs. It is a pure, folk-like capturing of Tennyson's poem of an elven woman who is cursed to die if ever she let's herself love. It is a showcase for the singer's voice, which moves over her entire tonal range. 'Greensleeves' is a complete surprise. Emulating Tim Waits, McKennett produces an eerie, bluesy version that could almost have been written yesterday. 'Tango in Evora' is exactly that, combining Brian Hughes Balalaika, Hugh Marsh's fiddle and McKennit's voice in a lilting performance.

In the 'Courtyard Lullaby' pre-Christian symbolism is used to evoke the flavor of old Europe's deepest spirituality. A thematic structure which is evoked again in 'The Old Ways,' but at a far faster pace. For her final piece, McKennitt chooses the mourning song from Shakespeare's Cymbeline, a play about the conflict between Roman and Celt. It is a fine setting, evoking both the tragedy and nobility of human mortality, and serves as a perfect ending.

This was my first exposure to the Celtic songs and music of the Canadian artist Loreena McKennitt, and I'm hooked. Her voice is exquisite, and is backed up by a first rate group of musicians.

There are three songs of particular note on this CD. The first, "Bonny Portmore", is a sad, haunting remembrance of the Great Oak of Portmore, and is a general tribute to the memory of the old growth forests of Ireland, which were cut down for military and shipbuilding purposes during the centuries of English occupation.

If you've ever stood before J.W. Waterhouse's magical, dreamy painting "The Lady of Shalott" (1888), and wondered what's going on, then you'll understand after hearing McKennitt's adaptation of the same name in which she puts music to lyrics by Alfred Lord Tennyson. Briefly, it's the tragic story of a noble lady isolated in her castle on the river island of Shalott, and who is subject to the dire consequences of a curse should she ever gaze on nearby Camelot. One day, she sees reflected in a mirror the magnificent Lancelot riding by on his way to Arthur's legendary stronghold, whereupon she rushes to her window and watches as he enters the city. The mirror shatters, and the Lady realizes the curse is upon her. Now that there's nothing more to lose, she boards a small boat and floats alone down the river to Camelot, where she subsequently dies as soon as she comes under its walls. Lancelot, though he doesn't know her, notes her beauty, and commends her soul to God's grace.

The third song of outstanding merit is McKennitt's magnificent rendition of "Greensleeves", the lyrics of which, legend would have us believe, were written by the English monarch Henry VIII for Anne Boleyn, his love of whom turned the state religion upside down and resulted in great turmoil and misery.

The appreciation of music, like the appreciation of ties, colors and perfume, is a very personal thing. However, if you appreciate the Celtic genre of music, or even the folksong tradition of the 60's and 70's, then you'll be absolutely enchanted by this artist.

The Visit is the first (and only) Loreena McKennitt recording that I've listened to; however, it's made me determined to find and hear more. Her voice is simply amazing; I think I could enjoy listening to add jingles if she were singing them. I can't describe it. You'll have to hear it for yourself.

The music was also very good--obviously Celtic inspired, but with a distinctive tone to it that I don't think I've heard anywhere else. The lyrics are quite good as well; "All Souls Night" was a really brilliant piece that succesfully avoided being unbearably New Agey. In "The Lady of Shalott," a haunting tune gave an entirely new feel to Tennyson's old poem; in my opinion, it's the best song on the recording. None of the other songs were quite so inspired, but they were still exceedingly good. The only exceptions were "The Old Ways""--the words were meandering and kind of meaningless, and the tune wasn't beautiful enough to make up for it--and "Greensleeves." I did *not* like the singing style she used for that one--it sounded as if she had been mortally wounded and were gasping out the song with her last breaths.

All in all, however, it was an absolutely amazing record--some of the songs I have listened to at least twenty times--and I hope to hear more of her stuff soon.

It is always a pleasure to extol the work of this remarkable woman. McKennitt is a true craftswoman of her art whose songs are brilliant; they fuse together her literary scholarship, her lovely singing voice and her creative and exceptional musicianship.

This is yet another volume of hers which lives up to the lofty expectations she has set via the quality of her other albums. One of the best features of this CD is her folk-song-like rendition of "Greensleeves." This has always been one of my favorite songs / melodies, yet it seems that it is difficult to find worthwhile recordings of it (either with or w/out the lyrics). McKennitt's ranks as one of the best I've ever heard (although that should come as no surprise).

This CD also includes Sir Alfred Lord Tennyson's "The Lady Of Shallot" (taken from his "Idylls Of The King) which McKennitt sets to music with impeccable taste and competence. The final track is a mysterious song from one of Shakespeare's last plays: "Cymbeline." As is the case with "The Mask And The Mirror," her summoning of the Bard serves as the ideal denouement of yet another spectacular CD.

In the final analysis, we are all visitors on this tiny globe. There are few things more worthy of sharing your brief sojourn with than the music and ideas of Loreena McKennitt. Her CDs are much more than just "listening to her songs." Rather, they are so profound that you will be doing nothing less than participating in a spiritual communion with her.

the Visit takes you places you've never thought of before, perfect acoutrement to a candle and incense on an autumn night....

I was drawn to Loreena McKennit by someone else who liked Enya and recommended her to me. I was not disappointed. This was the CD she recommended and after listening to her others, she was right. This is her best! The only song on it that I'm not too fanatic about is Bonny Portmore which seems to go on forever, but this is more than offset by Courtyard Lullaby which has to be the prettiest song I have ever heard in my life. I can only describe it as haunting. The CD is worth it for that one song. All Soul's Night is another classic and turned out to be so popular, an upbeat version was made to play on for the radio stations. I liked the original much better. If you love Enya, you'll love McKennitt.

As an aside, I have only given 9 other albums/CD's 5 stars to set them apart from all others. Click on my name to see the other 9. Maybe your musical taste is similar to mine and could find another CD you like.

Loreena's voice has the purity and richness of the finest crystal, and I find myself regularly playing this CD for the relaxation it brings. The musical arrangements/instrumentation are sophisticated, haunting, and outstanding. This and other CDs by Loreena McKennitt transport one directly to mediaeval Britain - if not to Avalon.

I would like to be able to claim that I have in fact been a fan of Loreena McKennitt right from the beginning of her long and illustrious career, but alas! The sad truth is that I only discovered her a few short years ago thanks to a friend who had her "The Visit" CD playing in his SUV when he picked me up for lunch. Needless to say, I was blown away by what I heard as we tooled down the snowy streets of Cambridge past the ivied halls of Harvard on our way to a local spaghetti place. Having already become a confirmed fan of Celtic music with Irish artists like Van Morrison and Clannad, I quickly bought all of her CDs, and as a result have come to admire her work a great deal.

Her voice is hard to describe, other than to say it has a haunting, ethereal quality that is the perfect vehicle for her wide-ranging compositions and arrangements. It is hard to classify her work, because it does encompass quite arrange of different genres. It is safe to say that she draws from an amazingly rich store of different kinds of traditional music, and seems to breathe her won unifying force in delivering them in a manner that is at once both traditional and innovative. Thus, from the opening strains of "All Soul's Night" through the mystical treatment of "Greensleeves" to the ending sounds of "Cymbaline", the work seems to thread itself together seamlessly, even though the sources for the individual songs is often quite different. The only way to properly appreciate her wondrous abilities is to experience them. Otherwise, I feel like the guy trying to convince his lady friend to take her first roller-coaster ride. You have to exp-lode down from the top of the edifice to understand the rush. So it is with our lady Loreena. Buy it and get ready for the rush!

How can a woman's voice be so uplifting, clear, enchanting, and infused with a storyteller's heart-warming intensity and passion?

Years ago, I went into a music store to listen to the featured artist. As I put the headphones on, I was instantly transported to Camelot, and a beautiful melancholy poem called "The Lady of Shalott". I was mesmerized! So began my fascination and enchant with the historically and culturally diverse music world of Canadian Singer and Harpist, Loreena McKennitt.

While this remains my favorite track, there are other noteworthy songs in this "Visit", even if her newest CD, "The Book of Secrets" is a much more richer and theme-oriented collection. "Bonnie Portmore" has a melancholy tinge that has great charm, especially with the haunting drone of the Irish Ueillean Pipes. I also enjoyed "Cymbeline", which has that traditional shakespearan flair to it.

There is a timeless and rich flavor to Loreena's music and you can hear the exquisite artistry and professionalism cascade throughout her work. Considered her "breakthrough" album in the USA, I would highly recommend it based on the strength of "The Lady of Shalott", alone.

If you enjoy Loreena's music, be sure to check out her visually appealing website; www.quinlanroad.com.

I was introduced to this cd by a friend. She talked in high praise of the record. The only thing she said that I disagree with is; ignore "The Lady of Shalott". That track is the high point on this cd, and of Loreena McKennitt's works. Over 11 minutes in length the song takes you through a woman cursed and her acceptance of fate. It is one of the most sad and moving songs I've ever heard yet you flow with it; become absorbed it her story.

"The Lady of Shalott" is a lovely poem brought to tragic life through music but it is not the only reason to get The Visit. "Bonny Portmore" is lovely and solemn; "The Old Ways" is as haunting as "Courtyard Lullaby" is joyful. Loreena McKennitt almost paints a picture in each of her songs; the imagery is so vivid. She has much material to recommend with each of her efforts having a few gems on them but "The Visit" is her best.