Search - Loreena McKennitt :: Visit (Bonus Dvd)

Traditional Values

Marc Ruby? | Warren, MI USA | 06/04/2001

(5 out of 5 stars)

""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."

Beautiful

Lalaith17 | USA | 07/10/2000

(5 out of 5 stars)

"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's time to schedule your visit....

D. Roberts | Battle Creek, Michigan United States | 01/06/2001

(5 out of 5 stars)

"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."