Music from a Farther Room



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Music CD's / Music / Music from a Farther Room

Music from a Farther Room

 

Music from a Farther Room

Music from a Farther Room
by: Astor Piazzolla, Maurice Ravel, Richard Rodgers, Paul Schwartz, Jean Sibelius, Traditional, Paul Schwartz, Craig Macintyre, Tariqh Akoni, Tim Curle, Lang Lang, Lee Musiker, Zachary Provost, Lucia Micarelli, Leigh Nash, Lisbeth Scott

Released: 2004-07-27


Posters / Framed CD's:


Tracks:

  1. Samarkand
  2. Oblivion
  3. Meditation From Thais
  4. Portrait
  5. To Love You More
  6. Reflexio
  7. Aurora
  8. Lady Grinning Soul
  9. Ravel String Quartet IN F Major: Assez Vif - Tres Rythme
  10. She Is Like The Swallow
  11. My Funny Valentine
  12. Nocturne/Bohemian Rhapsody


Review:

For anyone who has attended Josh Groban's phenomenal live show, you will have undoubtedly had the pleasure of seeing and hearing his lead violinist, Lucia Micarelli. Lucia came to Josh's tour after appearing with the Trans- Siberian Orchestra playing arenas across the U.S. in 2003. With the close of the second leg of Josh's tour, Lucia is recording her debut album in New York and London with producer Paul Schwartz. Musical selections will range from the works of composers Ravel and Ennio Morricone to David Bowie.

Josh Groban fans who caught the singer's 2004 Closer tour would no doubt take note of Lucia Micarelli, who was the violinist and concertmaster for Groban. Like her boss, who also is executive producer of Music From A Farther Room, Micarelli is a young, attractive, and talented player who has the classical training, but who is also enchanted with pop music. Also like her boss, her strain of classical crossover works thanks to tasteful accompaniment, in this case from arranger/composer Paul Schwartz. The smartly chosen program of material comes from such varied catalogs as David Bowie and Rogers and Hart. Micarelli's playing is emotional without being overreaching, assertive when called upon, and nuanced. When she does go over-the-top pop on Queen's "Bohemian Rhapsody," it's brief but fun; when she navigates Piazzolla's "Oblivion" she draws upon the song's passion more than its technical requisites. This is a debut with likeable pizzazz, coming in a genre not often enough known for it. -- Tad Hendrickson


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