Beatles Arias | ||||
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Studio album by | ||||
Released | 1967 | |||
Recorded | December 1966, Studio Arsonor, Paris | |||
Genre | Baroque pop, operatic pop | |||
Label | Polydor (UK), Philips (Ger.), Fontana (USA) | |||
Cathy Berberian chronology | ||||
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Beatles Arias is a 1967 LP recorded by American-born mezzo-soprano Cathy Berberian. The original album consists of twelve of Berberian's distinctive operatic-style cover versions of songs by The Beatles, scored for a small chamber ensemble, consisting of a string quartet or wind quintet with harpsichord or organ. The chamber arrangements were by Paul Boyer, and featured Guy Boyer on harpsichord and organ, with an unnamed French string quartet and a wind quintet. Berberian was inspired to create this album while singing along to her 13-year-old daughter's Beatles records. [1]
The album was recorded in December 1966 at Studio Arsonor in Paris. It was originally released on the Polydor label in the UK in 1967. It was issued in Germany later that year on the Philips Records label under the title Beatles Arias For Special Fans (featuring a monochrome photo of Berberian). The original cover illustration is by Gerald Scarfe (working under the pseudonym "Sir Ralph Godstrouser-Legge R. A.").
The album was also issued in the USA on the Fontana Records label under the title Revolution, with a photo/illustration collage reminiscent of The Beatles' 1966 LP Revolver .
The album was reissued on CD on the Telescopic label in 2004, with new cover art and several bonus tracks - a radio interview with Berberian recorded by Radio France in February 1975, and three newer live versions of Beatles tracks, one recorded at the Festival de Divonne-les-Bains in 1980, and two at the Festival d'Avignon in 1982. These live recordings feature Bruno Canino on piano and harpsichord, with arrangements by noted Dutch composer Louis Andriessen.
A review in the June 2, 1967 issue of Time said of this album: "There may be comic incongruity in her highfalutin version of 'Yellow Submarine', and Paul McCartney, surprisingly enough, sings 'Eleanor Rigby' a great deal more movingly than Cathy does. Yet in such waifish songs as 'Michelle', 'Here There and Everywhere' and 'Yesterday', her tasteful, straightforward singing warmly underlines John Lennon's lyrics and McCartney's inventive melodies." [1]
All songs were credited to Lennon–McCartney.
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Side 2:
Help! is the fifth studio album by the English rock band the Beatles and the soundtrack to their film of the same name. It was released on 6 August 1965. Seven of the fourteen songs, including the singles "Help!" and "Ticket to Ride", appeared in the film and took up the first side of the vinyl album. The second side included "Yesterday", the most-covered song ever written. The album was met with favourable critical reviews and topped both the British and the US charts.
Revolver is the seventh studio album by the English rock band the Beatles. It was released on 5 August 1966, accompanied by the double A-side single "Eleanor Rigby" / "Yellow Submarine". The album was the Beatles' final recording project before their retirement as live performers and marked the group's most overt use of studio technology to date, building on the advances of their late 1965 release Rubber Soul. It has since become regarded as one of the greatest and most innovative albums in the history of popular music, with recognition centred on its range of musical styles, diverse sounds, and lyrical content.
Catherine Anahid "Cathy" Berberian was an American mezzo-soprano and composer based in Italy. She interpreted contemporary avant-garde music composed, among others, by Luciano Berio, Bruno Maderna, John Cage, Henri Pousseur, Sylvano Bussotti, Darius Milhaud, Roman Haubenstock-Ramati, and Igor Stravinsky. She also interpreted works by Claudio Monteverdi, Heitor Villa-Lobos, Kurt Weill, Philipp Zu Eulenburg, arrangements of songs by The Beatles, and folk songs from several countries and cultures. As a composer, she wrote Stripsody (1966), in which she exploits her vocal technique using comic book sounds (onomatopoeia), and Morsicat(h)y (1969), a composition for the keyboard based on Morse code.
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