Sarah Brightman Albums (16)
'Symphony: Live in Vienna'
Release Date 3/6/2009
Tracks 15
Label Angel
See Album Tracklist and Review
'A Winter Symphony'
Release Date 10/28/2008
Tracks 12
Label Manhattan
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What The Critics Say
Ten months after the release of her blockbuster Symphony album, vocalist Sarah Brightman and producer/musical guru collaborator Frank Peterson release the inevitable, Winter Symphony. If only it were really an extension of the overblown, wildly overproduced former album it would work on sheer camp level alone. But alas, while it's excessive it's not so overdone that it's dramatic or exciting, despite the presence of symphony orchestras, gaggles of session players, three choirs, etc. There are a number of traditional selections from the season of Christmas: "Silent Night," "In the Bleak Midwinter," and "Child in a Manger," among them, as well as two versions of "Ave Maria" (one in duet with Fernando Lima). There are also a slew of contemporary pop tunes in the mix, such as Vince Gill's "Colder Than Winter," an overcooked reading of Neil Diamond's "I've Been This Way Before," and inexplicably, one of the only hits ex-Move/Electric Light Orchestra co-founderRoy Wood ever scored on his own: the faux bubblegum nostalgic sock hop classic "I Wish It Could Be Christmas Everyday." Despite the original version's nostalgic rock & roll structure and look at teen innocence, it is performed here as if it's a show tune. Weirdly enough, it's followed by "Amazing Grace"! The set closes with a far less dramatic reading of "I Believe in Father Christmas" than the wonderful version done by Emerson, Lake & Palmer back in the day. The tune comes from Sergei Prokofiev, but lyrics were added by Greg Lake and provided a rather solemnly majestic spiritual arrangement by Pete Sinfield. This take by Brightman feels like something that would be sung by the entire cast in a final scene from a newly staged musical version of A Christmas Carol. The sound here is a reversion of the old Brightman, where the instrumental and choir arrangements almost overwhelm the vocalist. This set is not contemplative, it's not necessarily joyous or expressive either, let alone inspiring. That said, it will no doubt appeal to hardcore Brightman fans without a hitch. ~ Thom Jurek, All Music Guide
'Harem World Tour: Live from Las Vegas'
Release Date 9/28/2004
Tracks 15
Label Angel
See Album Tracklist and Review
What The Critics Say
The one drawback of live albums is that the listener is left on their own to visualize what is happening on the stage. For most pop/rock recordings this is not a serious detriment. But for a highly stylized and theatrical show such as Sarah Brightman's Harem World Tour: Live from Las Vegas, the music and visuals go hand-in-hand and this edited CD version of the program lacks the impact felt by the enthusiastic live audience. With applause heard within instrumental passages, including the elongated opening, it leaves a listener puzzled as to what is happening. Without any visuals all that is left is the music, which is immaculately performed yet devoid of any spontaneity. The music and Brightman's performance are as finely tuned and timed as the many costume and set changes seen in the CD booklet. This does not mean the music is substandard, but when the studio versions are comparable, why should a casual fan bother with this disc? Brightman has never been known as a forceful singer and her thin operatic voice rarely has the power to raise goose bumps, but she has a certain frailty that is alluring and it transfers well to the stage. A good example is her rendition of "Nessun Dorma" in which she quietly garners attention -- almost too quietly -- leaving one to wonder if she has the stamina to finish. Of course, there is no question she can hit the highs, but by the last note it feels as if she might faint from the sheer effort. She may not be an explosive singer, but her accomplished performance rallies the audience in her favor. There are grand moments like this throughout Live from Las Vegas, however it is her subtle readings of contemporary pop songs that work best. "It's a Beautiful Day" is a new age dance tune custom made for her wide range while the ballads "The War Is Over" and "Free" contain some of her most heartfelt vocals. With the exception of a pedestrian studio remake of Anggun's "Snow on the Sahara," Live from Las Vegas offers nothing new and feels rather empty at times. It's like not having a ticket to the show and being forced to hear it from the theater's lobby. A better option would be to view the full-length DVD version of the show where Sarah Brightman's performance and her Harem vision come to life as originally intended -- a feast for the ears and eyes. ~ Aaron Latham, All Music Guide
What The Critics Say
Adopting a Middle Eastern flavor to enhance her blend of classical and new age pop, Sarah Brightman's Harem continues her experimentation with thematic discs that began with 1993's oceanic Dive. These themes, while never dominant or original, are simply meant to enhance her brand of crossover just enough to keep listeners interested in hearing her next project. Harem accomplishes that feat by shrouding new age pop songs in a thin Middle Eastern veil that disguises, but never completely covers, Brightman's true musical identity. It works well when she fully utilizes the theme, as on the opening title track where Brightman's fragile operatic voice is able to capture the traditional phrasing without sounding forced. But when the formula simply dresses up a pop/dance song like "The Journey Home," the results are less interesting and cross into territory already explored by the group Enigma and its worldly hits. Elsewhere, Brightman appears to have been taking classes at the Kate Bush vocal institute, sounding eerily similar to the English thrush on the quiet tracks "What You Never Know" and "Free," her writing collaboration with Sophie B. Hawkins. Retaining her classical leanings, Brightman successfully incorporates "Un Bel Di," from Puccini's Madame Butterfly, into the surging beats of "It's a Beautiful Day," her best attempt at creating a chart-worthy hit. Middle Eastern music stars like Kazem al-Saher and the late Ofra Haza lend an air of authenticity, while the tasteful arrangements by former Killing Joke frontman Jaz Coleman refrain from overpowering Brightman's voice or sinking into an Arabian parody. The disc gets a bit long by the time it reaches the unnecessary standard "Stranger in Paradise," but Brightman's Harem adventure is interesting enough to have listeners packed and ready to travel with her on another musical journey. ~ Aaron Latham, All Music Guide
What The Critics Say
Broadway star Sarah Brightman lends her ethereal, angelic vocals to another combination of classical and pop, resulting in a solid, stirring collection. This outing, the ex-Mrs. Andrew Lloyd Webber adapts Rachmaninov ("How Fare This Spot"), Beethoven ("Figlio Perduto"), and Handel ("Solo Con Te") alongside the brothers Gibb and Simon and Garfunkel. The uncanny thing is how canny Brightman is at bridging the contemporary with the classics so that they seem timeless. She brings touches of adult contemporary, rock, and even, surprisingly enough, techno to the mix; some of these songs, "Here With Me" in particular, are crying out to be remixed as dance songs. Her crystalline soprano leads you on a sentimental journey through "Scarborough Fair" then lilts through a playful "Hijo de la Luna" without missing a beat. Especially successful is the last track, "First of May," as it was recorded live in South Africa. It shows that Brightman's talent doesn't need the production so many contemporary vocalists need to sound phenomenal. There is something melancholy in her expressive voice and in the production of each song on this album, so that even if you don't understand the language of the lyrics, you're left feeling a bit nostalgic, and the effect is not that of much of the plastic A/C market but one of genuine emotion. She doesn't manipulate you into feeling; she actually moves you. Overall, this album achieves some beautiful highs without being over the top. ~ Bryan Buss, All Music Guide
What The Critics Say
Sarah Brightman's 1999 release Eden applies her rich, supple voice to 16 tracks that range from classical to pop to haunting ballads. The album features "Il Mio Cuore Va," Titanic's "My Heart Will Go On" sung in Italian; "Scene d'Amour," the theme from The English Patient; and "Nessun Dorma" from Puccini's Turandot. Brightman's pop side emerges with tracks like "Dust in the Wind" and the Richard Marx-written and -produced "The Last Words You Said." Eden's wide range and Brightman's beautiful voice are a winning combination. ~ Heather Phares, All Music Guide
'The Trees They Grow So High'
Release Date 9/15/1998
Tracks 19
Label EMI
See Album Tracklist and Review
'Sings the Music of Andrew Lloyd Webber'
Release Date 6/30/1998
Tracks 15
Label Polydor
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What The Critics Say
Sarah Brightman, who enjoyed a European hit with "Time to Say Goodbye," her duet with Andrea Bocelli, constructed an album beginning with that recording and continuing in kind. The characteristics of the hit -- a lush, melodramatic, mock-operatic arrangement complete with a crescendo out of Ravel's "Bolero" and soaring voices singing in English and Italian -- are repeated here, whether the material is drawn from Puccini, the Gipsy Kings, or Queen. ~ William Ruhlmann, All Music Guide
