Роджер Уотерс / Roger Waters

03.10.05 Энди Фэйруэзер-Лоу не хочет больше работать с Роджером

В Вене только что прошел концерт Билла Уаймана (Bill Wyman) и его группы Rhythm Kings, в которую входят Энди Фэйруэзер-Лоу (Andy Fairweather-Low), Крис Стэйнтон (Chris Staimton) и Грэм Броуд (Graham Broad). После концерта у Энди удалось взять небольшое интервью.

На вопрос, будет ли он что-нибудь записывать после “Leaving Beirut” и “To Kill The Child”, после некоторого раздумья Энди категорически ответил «нет». Он сказал, что Роджер Уотерс – отличный парень, но немного «не от мира сего».

Уотерс планирует в 2007-м году мировое турне и потребовал, чтобы Энди был свободен для него. Фэйруэзер –Лоу засмеялся и ответил, что он так далеко не заглядывает и для него это слишком поздно. Энди буквально сказал: «Без меня». Роджер ответил: «Без тебя я не буду играть концертов, поэтому ты должен участвовать.» Энди замечает: «Многие уже так говорили, и все потом обходились без меня.»

Крис Стэйнтон, в свою очередь, сказал, что с радостью поучаствовал в туре “The Pros And Cons Of Hitchhiking”, но сейчас связи с Роджером не поддерживает.

По материалам: Pulse & Spirit

Спасибо, avor, за помощь при переводе.

Источник: Pink-Floyd.ru/

ps Плохие вести не лежат на месте...что прикажете думать???

Не сочтите ретроградством, но сбылись худшие опасения - опера невыносимо скучна. Точнее, она обычна, это профессионально добротно сколоченный неоклассический опус, единственное достоинство которого - имя автора. Это так же скучно, как и Ливерпульская оратория, Standing Stone, или балет Элвиса Костелло. Я понимаю, что цели и задачи ставились высокие и благородные, но, вторгаясь на территорию академической музыки, автор должен быть готов к получению академических оценок. Опера как жанр уже давно в глубоком кризисе, нео-вагнерианство является полным тупиком, и в мировой музыкальной истории от Ca Ira не останется никакого следа. Буду счастлив ошибиться.

Однако, повторю, это очень крепкий профессиональный опус. РУ поднял махину, и в принципе на своем уровне довольно удачно. Рецензии скорее всего будут умеренно одобрительными. Франция наверняка отреагирует какой-нибудь супер-дупер-постановкой. Но в миллион раз интереснее было бы, подними он эту махину средствами, с которыми о хорошо знаком и которые принесли ему заслуженный всемирный авторитет.

(Писать Роджу не буду. Его гигантомания пришла к логическому финалу. Это его путь, а удел публики - принимать или отвергать.)

2Gene:

Не буду оспаривать сказанное. Отвечу лишь фразой Бунина:

"Я не рубель, чтобы всем нравиться"

Думаю, это применительно и ко всем произведениям, в том числе и к этой Опере.

2Gene:
Спасибо за рецензию! Повторю, что мне важны
все рецензии - и возможно критические из них - самые ценные.
Продолжу мини рецензировать оперу. На этот раз ее вторую часть.
+++++++++++
-“But the Marquis of Boulli has a trump card up his sleeve" -
Вот она - матрица 78 года из которой появились потом
Going To Live in LA, Tech (Final Cut), Every Stranges Eyes/
Как много проясняет опера - сам процесс создания песен.
1978 год Уотерс пишет много инструменталов, среди которых матрицу -
маму будущих песен Final Cut KAOS и Сa Ira
Насколько разные произведения вместили в себя детей этой матрицы!
=======
-The National Assembly is confused-
Going Going ... Going Going ... кто узнал, тот поймет - спустя 10 лет после КАОС эту мелодию заиграли уже вальторны.
Мурашки по коже от штурма Королевского Дворца, когда сотни и сотни пали смертью храбрых!
Как это может быть скушно? Как могут быть скушны наши фильмы по революцию?
Вот уж поистине THIS SPECIES HAS AMUSED ITSELF TO DEATH!!!
Нет у вас слез чтоб плакать Нет у вас мыслей чтоб думать.
Всё истощено! Вплоть до последнего вздоха!
============
-9.“Adieu Louis for you it’s over”-
Королева оплакивает в тюрьме казненного короля. Ей суждено пережить короля на пол года...
Мало кто знает, что мелодия написана Роджером под стрессом от скоропостижной смерти Надин - художницы либретто.
Здесь мы слышим Untitled Song, звучавшую во время интермиссии Берлинсого концерта.Опять же знакомые мотивы из матрицы 78 года - Every Stranges Eyes в унисон с Going to Live in LA в сопровождении детского хора.
Вам ещё скушно? Мне к примеру даже интересно стало после оперы смикшировать оперные части с Прос Конс и КАОСом - уже ощущаю - насколько это будет сногсшибательным.
п.с. Единственное смутило в этой арии и невольно вызвадо улыбку.
Окончание - это когда Ying Huang поет (наконец-то правильно)"entrails".
Кто понял, о чем я - поймет ))))) Остальным скушно - очевидно лень и сало уже не дают им возможность видеть и слышать...
============================
10. Marie Antoniette – The last night on Earth
11.“Adieu my good and tender sister”
Уже знакомые мелодии из матрицы Роджа 78 года.
12. Liberty - teach из Final Cut - как много голов со свистом отрубает гильотина - просто жуть 4 минуты - десятки голов и жизней в топку Революции.
Узнаете ? - "The jackal and hyena who prowl these streets
Would turn in their own mother for a little extra meat"
Правильно! - "What God Wants God Gets!"
(скучающие вряд ли узнают цитаты Амьюзд)
13. “And in the bushes where they survive”
-опять знакомые ноты Going Going...
В конце поет птица - так и кажется , что сейчас 4летний Гарри Уотерс повторит свою знаменитую фразу Нет Маминь Из ноу кленакэлэскай...
И начнется Goodbuy Blue Sky.
...................................
В опере полно шифровок. Кому то скушно их рашифровывать. Кто то после напряженного рабочего дня между ужином и сном потыкает в плеере по быстрому
оба диска СА ИРА - им обоим вряд ли понравится НОВЫЙ ШЕДЕВР РОДЖЕРА УОТЕРСА СА ИРА.

2Gene:

>Но в миллион раз интереснее было бы, подними он
>эту махину средствами, с которыми о хорошо знаком
Здесь я полностью согласен, но до слез обидно, что годы
берут свое. И в свои 62 Роджу уже трудно достигать планок вокала Фредди Меркюри. На секунду представил покойного Ртутного, исполняющего арии из оперы Роджа - аж дух захватило )))

Отзывы профессионалов!
With this work, Waters makes it clear without a doubt that he is one of the most important people in the history of music...
(amazon.de)

http://www.lastampa.it/_web/_RUBRICHE/musica/default_venegoni.asp
Дружно вспоминаем итальянский - Родж дал интервью Стампе.
Подтвердил, что все записанные песни издаст на двух рок альбомах,
любовном альбоме и политическом...
Постараюсь побыстрее выложить на сайт перевод на русский.

В ля стампе Роджер подтвердил, что предстоящий рок альбом можно рассматривать как сиквел Amused To Death!!!
Так что готовьтесь к новому ШЕДЕВРУ!

Что касается жареной подачи непроверенной инфы
пф ру - к тому же безобразно переведенной
- сравните с этой инфой и все поймете -
==============================
1.10.2005 Andy Fairweather Low: Waters Tour? Without me!

Вчера Билл Уайман (Bill Wyman) и его группа Rhythm Kings были гостями Венского Бала.
Концерт был очень хорош, все были в хорошей форме.
Наряду с Грэхам Броадом (Graham Broad) и Энди Фэйрвэзер-Лоу (Andy Fairweather-Low),
на этот раз также участвовал Крис Стэйнтон (Chris Stainton) .
(=Он на пф ру почему то StaiMton=)
После концерта я, Георг Колмар, ожидая автографы, смог также перекинуться парой слов с Энди Фэйрвэзер-Лоу ,
которые, однако, не были так приятны.
Я спросил его о том, не предпримут ли они что-то снова с “Leaving Beirut” и “To Kill The Child” .
Он долго размышлял и затем ясно сказал НЕТ!!!
Затем добавил, что Роджер - очень миловидный парень, к сожалению несколько "?" я не сохранил (=а точнее сказать не понял в силу слабого владения англ языком - прим пер=)
(точного слова не скажу , но в контексте сообщалось , например, что он "далекий от реальности"). (=заметьте как передернули эту фразу на пф ру!=)
Роджер просил его, чтобы он зарезервировал в 2007 году для его турне. Энди только посмеялся и однозначно сказал, в общем,
я не планирую и, кроме того, является слишком поздно для меня (что бы он под этим подразумевал?). (=опять же англ фразу немец не понял - прим пер=)
Он сказал дословно "Без меня".
Я ответил на это: " Роджер говорил однажды, что он не будет играть без тебя никаких концертов , т.е. ты должен участвовать. "
(=Очевидно наглое домогание немца до Энди - прим пер=)
В ответ он только подумал вслух: " Многие уже говорили это, затем все они все же отправлялись на концерты без меня ."
В этот раз, к сожалению с Грэхамом Броадом никакой беседы не получилось.
В настоящее время Крис Стэйнтон не имеет никакого контакта с Роджером.
Однако, он рад был поговорить о туре “The Pros And Cons ” .
( Георг Колмар, 01.10.2005 )
=================
Итак - очередные слухи,
причем ужасно переведенные - заметьте - дальше источника нигде не перепечатали кроме как у пф ру.
Оригинал слуха здесь http://pulse-and-spirit.dyndns.org/news1102005WymanFairweatherLow.html

Очевидно, что фраза БЕЗ МЕНЯ вырвана из этого ответа -
" Многие уже говорили это, затем все они все же отправлялись на концерты без меня ."

Дословно из Стампы
Уотерс -" Действительно я работаю над двумя сиди. Один, очень политический, он
может считаться продолжением "Амузед", другой о любви. Они выйдут, как только я закончу работу над " Са Ира " ".
-----
Стампа - "В Риме у него будет 200 гостей. Среди них и Микк Мэйсон также, заслугой которого - примирение с Пинк Флойд"
Уотерс - "Коллеги, друзья, люди шоубизнеса. Это некто, кого также зовут Ник Мэйсон "

Сейчас Роджер Уотерс находится в Париже. Дает интервью.
Утром он вылетает в Рим где пройдет презентация его оперы.
Следите за итальянскими новостями.

Вот он журнал - живое подтверждение,
как Роджер помогает людям.
Этот журнал не продается в магазинах. Его продают
люди, торгующие с рук - беднота. За 1.40 фунта.
0.80 фунта остается этим нищим. Остальное идет на издание журнала и в фонд бездомных,
основанный этим журналом.
t covers such topics as Live 8 ("I definitely felt warm and cuddly towards everyone in the band"), capitalism and the creation of his charitable trust, how the French Revolution was a microcosm, or model, for what's happening in the world now, and his plans for putting The Wall on Broadway ("I may have been pissed off, but I was always deeply involved in the humour of all these situations").
http://www.brain-damage.co.uk/news/0510031.html

WATERS THANKS LIVE 8 FOR END TO PINK FLOYD ANIMOSITY

PINK FLOYD bassist ROGER WATERS will be forever grateful to SIR BOB GELDOF for persuading the warring rockers to reunite for the London leg of Live 8 in July (05) - because it felt like a "great weight" had been lifted.

Waters walked out of Pink Floyd in 1983 and now regrets it took 22 years to put aside his animosity with bandmates DAVE GILMOUR, NICK MASON and RICK WRIGHT.

He says, "It was a great weight off my back to have a rapprochement with the three guys after all the enmity.

"Constantly, in my work, I am exhorting people to let go of entrenched positions, and that could be seen as hypocritical in view of the fact that, for all those years, I held an entrenched position in terms of the history and internal politics of Pink Floyd.

"If (Live 8) is the only time we play together for the rest of our lives, I will reap the benefits of those few days for the rest of my life."

04/10/2005

http://contactmusic.com/new/xmlfeed.nsf/mndwebpages/waters%20thanks%20live%208%20for%20...

New release highlights early Pink Floyd material
By Ron Wynn, rwynn@nashvillecitypaper.com
October 04, 2005

An artistic revolution was brewing in London during the ’60s, and only part of it filtered over to America through the British Invasion. There were many other concerts, films and events that received minimal or no coverage and are only now appearing domestically thanks to historical reissues on CD and DVD.

A prime example of that is the new DVDCD project Pink Floyd—London 1966/1967 (Snapper) that’s being released today. It combines performance footage with retrospective interviews and reflections, presenting a comprehensive view of the cultural changes occurring over this key two-year period.

Director Peter Whitehead filmed Pink Floyd several times between 1965 and 1967, though the DVD focuses mostly on a two-day demo session at Sound Techniques London. The disc also includes Floyd footage from the extensive 14 Hour Technicolor Dream music festival.

Whitehead also filmed the Rolling Stones a number of times, including their 1965 tour of Ireland that was later released as the Charlie Is My Darling film. That’s not included here, but there are interviews with Mick Jagger, as well as Michael Caine, David Hockney and Julie Christie.

There’s also the bonus of footage showing Yoko Ono doing performance art and John Lennon participating in the event that was shot before the couple met.

The DVD’s main focus spotlights the band’s renditions of “Interstellar Overdrive” and “Nick’s Boogie.” These two lengthy instrumental pieces mixed intricately produced tape echo, beats, overdubbed segments and percussive elements with improvised sections and blues references, demonstrating the band’s ability to operate in both freeform settings and tightly structured situations. They also featured what was arguably the greatest edition of the band, with the lineup of Syd Barrett, Nick Mason, Roger Waters and Rick Wright.

The bonus CD spotlights the music on “Interstellar Overdrive” and “Nick’s Boogie,” with a sprawling version of “Nick’s Boogie” that’s never appeared on CD. There’s also an extended interview with Whitehead, who admitted he didn’t consider himself participating in history but just filming performers whose work he enjoyed. He clearly has a fondness for the era, but freely acknowledges the personal and professional excesses he frequently witnessed.

Pink Floyd—London 1966/1967 not only provides a great look back at a great era, it gives fans a chance to hear some rare and/or previously unavailable magnificent music.

http://www.nashvillecitypaper.com/index.cfm?section_id=12&screen=news&news_id=44883

Roger Waters: French Revolution
Roger Waters had little trouble getting Pink Floyd to re-form.
But asking the French to stage his opera about 1789 was a
tall order, he tells Pierre Perrone

The Independent - United Kingdom
Published: 04 October 2005

"It was ever thus. If you look at literature and take the redemption of
Ebenezer Scrooge at the end of A Christmas Carol, for instance, he's just a

character who suddenly discovers that the secret of happiness is in sharing

with others."

Roger Waters, the composer and multi-instrumentalist, is speaking in a
London club about recurring themes in his work, from Pink Floyd's album
masterpiece Dark Side of the Moon to Зa Ira, the opera about the French
revolution he has just finished, via The Wall, the concept album to end all

concept albums.

But he might as well be talking about himself. Waters is often cast as the

musician who started the longest feud in rock when he unilaterally declared

Pink Floyd finished in 1983. Four years later, Waters sued guitarist David

Gilmour, drummer Nick Mason and returning keyboard-player Rick Wright when

they decided to carry on as Pink Floyd. He lost the case, despite having
contributed the most creatively after the departure of Syd Barrett, the
original front-man, in 1968.

Waters, the bassist, went off in a huff, punctuated by the odd solo tour
and
album and a spectacular production of The Wall in 1990 after the fall of
the
Berlin Wall.

When fans heard that the classic Floyd line-up would reunite for Live8,
many
didn't believe it would happen. Waters, who recorded a song called "The
Tide
Is Turning (After Live Aid)" on his 1987 album Radio K.A.O.S., was keen on

the idea. In 2002, Mason had twice joined him on stage to play the epic
"Set
the Controls for the Heart of the Sun" at Wembley Arena, London.

"Those were good nights," Waters says. "It was sort of a precursor to the
rapprochement. Nick and I were always friends when we were in the band.
After we sort of broke up I said a few harsh words, but we became friends
again a few years ago.

"But Nick didn't have the power to mediate," Waters says about Live8. "Bob

Geldof asked Dave, who said no. Then Bob saw Nick at a party, he sent me an

e-mail, and I called Bob. A couple of weeks later, Geldof got me Dave's
number and I called him. He was very surprised when he answered, but we had

a good conversation, and 24 hours later he called back and said, 'Let's do

it.'"

Waters approached rehearsals in a positive frame of mind. "There was a
certain edge at the beginning, but I decided I wasn't going to have a
confrontation. If there was any problem, I would just roll over. It worked

very well.

"I was quite open about wanting to do 'In the Flesh' from The Wall because
I
sing it, but Dave wanted to open with 'Breathe' from Dark Side of the Moon.

I went, 'OK, I don't care that much.' Anyway, I sang a bit of 'Wish You
Were
Here' and I sing on 'Comfortably Numb', and we did 'Money', which seemed
appropriate for the occasion. I mean, I wrote the songs, these are my words

and a lot of my music. We all made different contributions to something we

did together all those years ago, and it was really good, so why not
celebrate it?"

Three months on, Waters can't help enthusing about the Floyd reunion, soon

to be available on the Live8 DVD. "It was terrific. It was really good fun

and the music sounded great. Dave sang and played beautifully, I managed to

croak out my bits all right, we all played in tune, so it was good. I've
seen a rough cut of the performance and I'm really happy because the DVD is

going to raise tons of money.

"It was a great weight off my back to have a rapprochement with the three
guys after all the enmity. Constantly, in my work, I am exhorting people to

let go of entrenched positions, and that could be seen as hypocritical in
view of the fact that, for all those years, I held an entrenched position
in
terms of the history and the internal politics of Pink Floyd.

"So to be able to relinquish that enmity was very important to me. If
that's
the only time we play together for the rest of our lives, I will reap the
benefits of those few days for the rest of my life."

For now, Waters's attention is focused on Зa Ira, an operatic history of
the
French Revolution in three acts. The bass-baritone Bryn Terfel takes on
three roles, including Louis Capet, the King of France; the soprano Ying
Huang sings the iconic Marianne role and Marie Antoinette.

The grand projet began in 1988 when France's leading lyricist Etienne
Roda-Gil and his wife Nadine showed Waters a libretto and some striking
illustrations. "They had the whole thing in a box, about 50 pages. Every
page had a painting by Nadine. They pitched me and I was hooked.

"The original idea was for Зa Ira to be part of the bicentennial
celebration
of the French Revolution in 1989. I set the libretto to music. In six weeks

I had a demo of the whole thing mapped out on a cassette, a mix of what I'd

recorded with me singing all the parts and playing all the instruments.
Franзois Mitterrand was keen and suggested the new Opйra de la Bastille
should put it on, but Daniel Barenboim was fired and this thing written by

an English bass-player foundered on French chauvinism.

"I resisted pressure to write an English version, but I kept going back to

it and eventually I relented," Waters says. "I did a concert for the
Countryside Alliance in 2002, and the Royal Philharmonic Orchestra
performed
the overture from Зa Ira. Etienne came over and it was very moving. He said

to me, 'It's much better in English.'"

Waters admits that "some Floyd fans will get it and some will be
disappointed," but stresses the relevance of Зa Ira. " France in the 1780s

is a microcosm of what's going on in the world. At the top, there is a
monarch, or somebody very powerful like George Bush or Tony Blair, and a
small political hierarchy, and then the rest basically have fuck all, live

on a dollar a day. The conditions are ripe for a bloodbath.

"The only realistic option is to divide the cake differently. After Live8
and the G8 summit, at least people are beginning to make noises about
changing the deep imbalance in the world," says Waters, who lives in
Manhattan. "I come back to the UK quite often. I didn't leave as a protest

against the hunting ban; I was following a child in the wake of a
divorce."

Waters remains passionately anti-war. The death of his father at Anzio
during the Second World War has been a theme in his work, especially on The

Wall and The Final Cut. Waters released two new tracks, " To Kill the
Child"
and "Leaving Beirut", on the internet as a protest against the war in Iraq

last year.

Waters winces when I mention the offers - $150m! - the reunited Pink Floyd

have been made to play US dates. "Whether we'll play together again, I have

no idea," he says diplomatically.

'Зa Ira' is out on Sony BMG Masterworks/Columbia. The Live8 DVD is out on
Warner Vision on 7 November

"It was ever thus. If you look at literature and take the redemption of
Ebenezer Scrooge at the end of A Christmas Carol, for instance, he's just a

character who suddenly discovers that the secret of happiness is in sharing

with others."

Roger Waters, the composer and multi-instrumentalist, is speaking in a
London club about recurring themes in his work, from Pink Floyd's album
masterpiece Dark Side of the Moon to Зa Ira, the opera about the French
revolution he has just finished, via The Wall, the concept album to end all

concept albums.

But he might as well be talking about himself. Waters is often cast as the

musician who started the longest feud in rock when he unilaterally declared

Pink Floyd finished in 1983. Four years later, Waters sued guitarist David

Gilmour, drummer Nick Mason and returning keyboard-player Rick Wright when

they decided to carry on as Pink Floyd. He lost the case, despite having
contributed the most creatively after the departure of Syd Barrett, the
original front-man, in 1968.

Waters, the bassist, went off in a huff, punctuated by the odd solo tour
and
album and a spectacular production of The Wall in 1990 after the fall of
the
Berlin Wall.

When fans heard that the classic Floyd line-up would reunite for Live8,
many
didn't believe it would happen. Waters, who recorded a song called "The
Tide
Is Turning (After Live Aid)" on his 1987 album Radio K.A.O.S., was keen on

the idea. In 2002, Mason had twice joined him on stage to play the epic
"Set
the Controls for the Heart of the Sun" at Wembley Arena, London.

"Those were good nights," Waters says. "It was sort of a precursor to the
rapprochement. Nick and I were always friends when we were in the band.
After we sort of broke up I said a few harsh words, but we became friends
again a few years ago.

"But Nick didn't have the power to mediate," Waters says about Live8. "Bob

Geldof asked Dave, who said no. Then Bob saw Nick at a party, he sent me an

e-mail, and I called Bob. A couple of weeks later, Geldof got me Dave's
number and I called him. He was very surprised when he answered, but we had

a good conversation, and 24 hours later he called back and said, 'Let's do

it.'"

Waters approached rehearsals in a positive frame of mind. "There was a
certain edge at the beginning, but I decided I wasn't going to have a
confrontation. If there was any problem, I would just roll over. It worked

very well.

"I was quite open about wanting to do 'In the Flesh' from The Wall because
I
sing it, but Dave wanted to open with 'Breathe' from Dark Side of the Moon.

I went, 'OK, I don't care that much.' Anyway, I sang a bit of 'Wish You
Were
Here' and I sing on 'Comfortably Numb', and we did 'Money', which seemed
appropriate for the occasion. I mean, I wrote the songs, these are my words

and a lot of my music. We all made different contributions to something we

did together all those years ago, and it was really good, so why not
celebrate it?"

Three months on, Waters can't help enthusing about the Floyd reunion, soon

to be available on the Live8 DVD. "It was terrific. It was really good fun

and the music sounded great. Dave sang and played beautifully, I managed to

croak out my bits all right, we all played in tune, so it was good. I've
seen a rough cut of the performance and I'm really happy because the DVD is

going to raise tons of money.

It was a great weight off my back to have a rapprochement with the three
guys after all the enmity. Constantly, in my work, I am exhorting people to

let go of entrenched positions, and that could be seen as hypocritical in
view of the fact that, for all those years, I held an entrenched position
in
terms of the history and the internal politics of Pink Floyd.

"So to be able to relinquish that enmity was very important to me. If
that's
the only time we play together for the rest of our lives, I will reap the
benefits of those few days for the rest of my life."

For now, Waters's attention is focused on Зa Ira, an operatic history of
the
French Revolution in three acts. The bass-baritone Bryn Terfel takes on
three roles, including Louis Capet, the King of France; the soprano Ying
Huang sings the iconic Marianne role and Marie Antoinette.

The grand projet began in 1988 when France's leading lyricist Etienne
Roda-Gil and his wife Nadine showed Waters a libretto and some striking
illustrations. "They had the whole thing in a box, about 50 pages. Every
page had a painting by Nadine. They pitched me and I was hooked.

"The original idea was for Зa Ira to be part of the bicentennial
celebration
of the French Revolution in 1989. I set the libretto to music. In six weeks

I had a demo of the whole thing mapped out on a cassette, a mix of what I'd

recorded with me singing all the parts and playing all the instruments.
Franзois Mitterrand was keen and suggested the new Opйra de la Bastille
should put it on, but Daniel Barenboim was fired and this thing written by

an English bass-player foundered on French chauvinism.

"I resisted pressure to write an English version, but I kept going back to

it and eventually I relented," Waters says. "I did a concert for the
Countryside Alliance in 2002, and the Royal Philharmonic Orchestra
performed
the overture from Зa Ira. Etienne came over and it was very moving. He said

to me, 'It's much better in English.'"

Waters admits that "some Floyd fans will get it and some will be
disappointed," but stresses the relevance of Зa Ira. " France in the 1780s

is a microcosm of what's going on in the world. At the top, there is a
monarch, or somebody very powerful like George Bush or Tony Blair, and a
small political hierarchy, and then the rest basically have fuck all, live

on a dollar a day. The conditions are ripe for a bloodbath.

"The only realistic option is to divide the cake differently. After Live8
and the G8 summit, at least people are beginning to make noises about
changing the deep imbalance in the world," says Waters, who lives in
Manhattan. "I come back to the UK quite often. I didn't leave as a protest

against the hunting ban; I was following a child in the wake of a
divorce."

Waters remains passionately anti-war. The death of his father at Anzio
during the Second World War has been a theme in his work, especially on The

Wall and The Final Cut. Waters released two new tracks, " To Kill the
Child"
and "Leaving Beirut", on the internet as a protest against the war in Iraq

last year.

Waters winces when I mention the offers - $150m! - the reunited Pink Floyd

have been made to play US dates. "Whether we'll play together again, I have

no idea," he says diplomatically.

'Зa Ira' is out on Sony BMG Masterworks/Columbia. The Live8 DVD is out on
Warner Vision on 7 November.

DANG! Working through that lengthy write-up is almost as
bad as sitting through a boring damned opera! 8-{0

wayne


(Источник: Echoes Digest)

Saw a commercial for Ca Ira
Posted by Optimus on 10/4/2005, 6:32 am
68.171.196.251

It was about 30 seconds long. Had a number of shots from what I'd imagine is the DVD of Waters talking a little bit about the work and sounds from the album playing throughout. Aside from the Echoes commercials, it's been a little while since I had seen a Waters related commercial.

Saw it on ESPN of all places as well, very cool and nice to see

http://members5.boardhost.com/rwatersonline/msg/45241.html