Роджер Уотерс / Roger Waters

Группа RPWL, известная многим фанам Пинка Флойда, сыграли живьём Cymbaline и Welcome To The Machine. Версии жтих песен в исполнении группы можно услышать на выходящем скоро концертном альбоме группы.

====================

Just noticed that RPWL have a live album out in the next
week or so. They have recordings of Cymbaline & Welcome
To The Machine. The album features Ray Wilson and the
Genesis song Not About Us.
I saw the band live a few weeks ago and they were excellent.

Cheers...........Stuart

(из Echoes Digest)

Brain Damage написал про уже упомянутую Пресс Концференцию Роджа в Риме 4 Окт.

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ROGER WATERS - NEWS WRAP-UP


Roger Waters was in Rome this week, holding a press conference to officially launch his newly release opera, Ca Ira, and to talk about the concert being held in the Italian city next month.

It coincided with the news that the album went straight in to the the Billboard Traditional Classical Chart at number 1, in its first week in stores.

Around fourteen minutes of Roger talking at the press conference can be seen via the video downloads at the Italian Kataweb site. The site has an interesting collection of eight video clips, with Roger talking in detail about Ca Ira and the Live 8 reunion (in which he says about the chance of another reunion: "Maybe!").

During the press conference, a number of the performers taking part in the semi-staged concert performances on November 17th and 18th at the Santa Cecilia Hall of the Auditorium Parco Della Musica, were revealed.

The concert reunites tenor Paul Groves and soprano Ying Huang with conductor Rick Wentworth, all of whom appear on the recording, and introduces to the work bass-baritone John Relyea, taking the part that Bryn Terfel performs on the recording. As we noted previously, the November 17th concert quickly sold out, leading to the second performance on the 18th in the same venue.


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Another video interview can be see at the Reuters news service website through this direct link. The interview, from 29th September, lasts for almost three minutes, and has been shown on Reuters and Euronews. Accompanying the clip is a short, written interview with Roger, covering familiar ground, but with the additional, new comment: "I've got a couple of works in progress which are rock 'n roll albums and I fully intend to finish those. I would really like to do some more work with the symphony orchestra in the future and more choral work as well because I love the sound of the human voice."


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Finally, Roger was recently interviewed on WLUP Radio ("The Loop") in Chicago, USA, which can be downloaded through this link. This interview, in MP3 format, is a 9.16MB download, and the interview itself lasts for around 13 minutes.

It sounds totally unedited, like it is not what was aired (you'll know what I mean when you hear the start!). Roger talks at length about Ca Ira, and discusses the potential US performances in 2006, along with the staging and production of the opera. He also mentions the Wall On Broadway, and goes on to the Live 8 reunion. He talks in a very enthusiastic way about the show, and the experience, and displays a real wish to do it again.

Our thanks to everyone who has contributed to this, and kept us posted on the various interviews.



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Date news posted: 6 October 2005
http://www.brain-damage.co.uk/news/0510062.html
---------------------------------

А вот и фотки!

Brain Damage:

>Finally, Roger was recently interviewed on WLUP
>Radio ("The Loop") in Chicago, USA, which can
>be downloaded through this link.

-> http://media.wlup.com/AV/audio/byrd/Byrd_Interviews%20-%20Roger_Waters.mp3

>This interview,
>in MP3 format, is a 9.16MB download, and the interview
>itself lasts for around 13 minutes.

>Another video interview can be see at the Reuters
>news service website through this direct link.

-> http://tv.reuters.com/index.jsp?...rf=sv&fr_story=a67bda60885c06634543442f67d887e8adb592f1

[Rough Cut / (02:43) Sep. 29 - Pink Floyd's Roger Waters switches from rock to classical for his latest work, the opera 'Зa Ira'. More... ]

>The interview, from 29th September, lasts for
>almost three minutes, and has been shown on Reuters
>and Euronews. Accompanying the clip is a short,
>written interview with Roger, covering familiar
>ground, but with the additional, new comment:
>"I've got a couple of works in progress which
>are rock 'n roll albums and I fully intend to
>finish those. I would really like to do some more
>work with the symphony orchestra in the future
>and more choral work as well because I love the
>sound of the human voice."
--------------------

И ещё одна фотка с пресс-конференции

DARK SIDE SINGER INTERVIEWED

Clare Torry, vocalist on Pink Floyd's
Dark Side Of The Moon, 1973
Back on 15th April we reported on the conclusion of the court case Clare Torry had instigated, with the news that she had settled with Pink Floyd over the authorship of The Great Gig In The Sky, on their legendary 1973 album Dark Side Of The Moon.

Author John Harris recently completed work on his book about the album, designed by Storm Thorgerson, and published on 15th November. As part of his research, he conducted an interview with Torry, asking her about how the track and her involvement came about.

Whilst extracts of his conversation with her appear in the book, John has allowed us exclusive use of the full interview on this site. Though the terms of the agreement with the band means she is prohibited from divulging any details, the questioning does cover why it took so long for her to instigate action (something that confused many fans).

The interview has Torry relating her memories of the recording session with admirable honesty - feeling like she'd not delivered what the band were after - and her own surprise at her vocal performance on listening back to it.

Click here <http://www.brain-damage.co.uk/interviews/torry.html> to read the interview or visit our "Interview" section on the site, where you'll find a whole load of chats with the band and related people, from over the years.



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Date posted: 6 October 2005

http://www.brain-damage.co.uk/news/0510064.html

INTERVIEW - CLARE TORRY

Clare Torry, vocalist on Pink Floyd's
Dark Side Of The Moon, 1973
Interviewed by author John Harris for his book "Dark Side Of The Moon" and exclusive to Brain Damage.

Note: This interview took place before Clare Torry settled with Pink Floyd over the authorship of The Great Gig In The Sky, though the terms of the agreement mean she is prohibited from divulging any details, aside from the fact that from hereon in, the song will be credited to ‘Wright/Torry’.


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Going back to January 1973, I read somewhere that you were a staff songwriter at EMI...

“I’d actually left EMI by then. I was very lucky: I got taken on pretty much as soon as I left school, which was great. I learned a lot. I just wrote pop songs. John Walker, when he first left the Walker Brothers, covered one of mine, called Everywhere Under The Sun. It was rather a jolly tune, but he couldn’t sing [laughs].

"I then went to work for a company called Valley Music. And basically, by the middle of 1972, I was a bit short of money, and I’d met a few arrangers and producers as a songwriter, and I rang up a few, and said, ‘Can you get me any work, doing oohs and aahs and things, because I really need the money.’ And a couple of them came up trumps, bless them. I was very green. But by word of mouth, I started getting a bit more work.”

Alan Parsons claims that he first heard you singing on a cover of The Doors’ Light My Fire.

“I don’t sound anything like Jim Morrison! I never sang Light My Fire. At the end of the 60s, I’d started doing a lot of cover versions, for this series of Top Of The Pops albums. I used to go to Mayfair studios on South Molton Street and do all these covers. I did Good Morning Freedom, with Elton John: he was Roger Cook and I was Madeline Bell. And he and I did Young, Gifted and Black. But I have to say, I don’t remember ever singing Light My Fire. And if it was on a compilation covers album, the boys always did boys vocals, and girls did the girls. They were soundalike records. One thing I’ve never been accused of is sounding like Jim Morrison.”

At the time you got the call from Abbey Road, did you know much about Pink Floyd?

“Only See Emily Play, and that didn’t really hit the spot with me. They weren’t my favourite band. If it had been The Kinks, I’d have been over the moon.”

You got the call on a Sunday night, apparently.

“I was rung up by a chap called Dennis who worked at Abbey Road. You got paid in cash in those days, in one of those brown envelopes with the funny little cellophane windows. Dennis was the chap in charge of the money. He was an accountant, really. Anyway, he’d obviously been told to get in touch with me. He asked me to come to the session: ‘Can you do it, like, now?’ I said, ‘No’, and he said, ‘Well, what about tomorrow?’ I couldn’t do that, either. I said, ‘The only possible time is next week.’ He said, ‘Oh, no - they’re busy mixing.’ They were right at the end of the record. I said, ‘Well, the only time I can possibly do it is 7 till 10 on Sunday night.’”

What were your first impressions of the band?

“They didn’t say very much. The only person that really said anything was David Gilmour. That’s my abiding memory. I don’t remember really speaking to any of the others. I went in and they just said, ‘Well, we’re making this album, and there’s this track - and we don’t really know what to do with it.’ They told me what the album was about: birth, and death, and everything in between. And I said, ‘Well, play me the track.’ They did that, and I said, ‘Well, what do you want?’ They said, ‘We don’t know.’ “Remember: I was pretty green. I’d been working for a while, and I’d recorded my own songs, but I was still new to it all. So I listened to the track...”

And was it made clear to you that ‘The Great Gig’ was all about death?

“No. I said, ‘Let me go out into the studio, put some headphones on, and have a go.’ They said, ‘Well, leave the intro.’ I went in, put the headphones on, and started going ‘Ooh-aah, baby, baby - yeah, yeah, yeah.’ They said, ‘No, no – we don’t want that. If we wanted that we’d have got Doris Troy.’ They said, ‘Try some longer notes’, so I started doing that a bit. And all this time, I was getting more familiar with the backing track. And then there was a bit more conflab about this, and I remember thinking to myself, ‘I really, really do not know what to do. And perhaps it would be better if I said “Thank you very much” and gave up.’ It wasn’t getting anywhere: it was just nothing.

“That was when I thought, ‘Maybe I should just pretend I’m an instrument.’ So I said, ‘Start the track again.’ One of my most enduring memories is that there was a lovely can [i.e headphone] balance. Alan Parsons got a lovely sound on my voice: echoey, but not too echoey. When I closed my eyes – which I always did - it was just all-enveloping; a lovely vocal sound, which for a singer, is always inspirational.”

It sounds like you turned a corner when you abandoned the idea of expressing anything specific.

“Well, they did say, ‘Be more emotional.’ So I started getting this pattern of notes, and they said, ‘Well, that seems the right direction to go.’ And I told them to put the tape on. I knew from past experience... well, I used to be called ‘First-take Torry’ because, very often, the first take I did was the best. And at the end of the first take, Dave Gilmour said, ‘Do another one - but even more emotional.’ So I did another one. And then he said, ‘I think we could do a better one.’ I started, and half way through, I realised that I was beginning to be repetitive; derivative. It didn’t have that off-the-top-of-the-head, instantaneous something. It was beginning to sound contrived. I said, ‘I think you’ve got enough.’ I thought it sounded like caterwauling.

“I was very surprised that I could sing that high. That came as quite an eye-opener to me. At that time, when I did backing vocals with other girls, I always sang bottom harmony. But I never thought it would see the light of day.

“I think Rick Wright has subsequently said I was embarrassed. And I was! I thought, ‘Oh dear.’ But I said, ‘Thank you very much, and off I went.’ By ten o’clock, I was having dinner with my boyfriend in the Chelsea Kitchen on the King’s Road.”

In the first passage of the song, for something that’s being improvised, it has a really strong melodic element to it. It sounds worked out. But it wasn’t...

“Being a songwriter, I started getting some melodies. But I’ve often tried to analyse this, and I don’t know why that happened.”

The other question is, did you have any other singers in mind when you were doing it? You sound quite black; quite gospelly.

“No. I just closed my eyes and I sang it. I think Roger Waters once said that it was down to a happy accident. And it was. Very possibly, I think a lot of it might have been down to my naivety.”

Anyway, you wrapped it all up in two-and-a-half takes...

“Well, it can’t have been much more than that, because it was extremely tiring. I had beads of sweat on me. It was taxing, no two ways about it. I couldn’t do it now: I’d have to have a half-hour interval, and go backstage for a glass of water [laughs]. I was interested to later learn that when the Floyd went touring, the Blackberries did a third each. That’s the ideal way to do it.”

What was the band’s reaction to what you’d done?

"I said, ‘I hope that’s alright.’ And they said, ‘Yeah, lovely - thank you.’ And I left. And as I said, I just thought it was screechy-screechy. I honestly thought it would never see the light of day. And I didn’t bother to find out about it. Later on, on the King’s Road, I was walking past a record shop, and in the window was this huge poster of the prism and spectrum of light, and I saw the words ‘Pink Floyd’ and thought, ‘I wonder if that’s the album I did that singing on.’ So I walked in and looked at the album, and there was ‘Vocals on The Great Gig In The Sky: Clare Torry’. So I bought it and took it back home, and played it from the beginning. I thought it was a great album. I first of all put it on with headphones. And I thought it was fantastic.”

They didn’t send you a copy?

“No. But they did send me two tickets for a concert at Earl’s Court, in 1973.”

How much did you get paid?

“Thirty quid. It was double time on a Sunday.”

You sang it with pink floyd [в версии Гилмора] at Knebworth in 1990...

“I did. And did you know that they did a benefit concert with Soft Machine? That was the first time I did it with them. There was Liza Strike and Vicki Brown with me. We had very little rehearsal: we went to Nick Mason’s house to do it. I’m just looking at my 1973 diary. Here we are... 3rd November, 12 till 2, St Augustine’s Road. The gig was the following night. I got paid Ј100.”

Roger Waters tells me that much later on, you used to meet while walking your dogs...

“My partner, Harry, was a great golfer. And Roger had just moved up the road, near here. He wanted to join a golf club, and he was interested in Royal mid-Surrey, and some friends of ours invited Roger and Harry for a round. Harry, by this time, had sussed out who Roger was. And he said, ‘I think you know my lady – Clare Torry.’ And Roger said, ‘I’ve got my own studio – maybe she’d like to do some work for me.’ And some time later, I got a call. He’d phone me up in the morning and say, ‘What are you doing today?’ I’d say, ‘Well, I’m just going to the pet shop.’ He’d say, ‘Well, we’ll be in the pub at about one - why don’t you join us there and have a sandwich and a lager, and then we’ll go back to the studio.’ I ended up doing a bit of work on Radio KAOS.” [также Клэр 2 раза исполнила Great Gig с Роджером и Bleeding Heart Band в Уэмбли 21 и 22 Ноября 1987 по случаю окончания турне Radio KAOS]

At what point did you decide to pursue a claim to part-authorship of Great Gig?

“Over the years, people said to me on numerous occasions, ‘What are you going to do?’ I did look into it, and at first, the costs were prohibitively expensive. I had to swallow it, really. And also, if I’d started something when I was well into my career, I’d have been thought of as a troublemaker. So once I’d retired, I thought about it again. It went on from there.”

What kind of work did you do after Dark Side?

“Lots of things. Hundreds and hundreds of television commercials. Like what? One of my favourites was one I sang with Carl Wayne from the Move, for Ty-phoo Tea. ‘[Sings] Time for a cuppa, it’s in the bag, the pick-you-up cuppa Ty-phoo. Woo!’ There were lots and lots. It’d take me ten hours for me to tell you about them. I did one for Martini: ‘[Sings] Try a taste of Martini...’ Right Guard deodorant, as well. I sang that with Elaine Paige. I made several albums with Olivia Newton-John, when she was at her height, at Abbey Road. And in the eighties, I did things with Tangerine Dream, Culture Club, Meat Loaf...”

How do you feel now about your involvement in Dark Side?

“It never ceases to amaze me that people are still talking about it. But on the other hand, I can understand, because it’s a very, very good album. And it will go on. My mother tells me that it’s still very popular in Nepal. Who would have thought it?”



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Date posted: 6 October 2005

http://www.brain-damage.co.uk/interviews/torry.html

> [также Клэр 2 раза исполнила Great Gig с Роджером
>и Bleeding Heart Band в Уэмбли 21 и 22 Ноября
>1987 по случаю окончания турне Radio KAOS]

11.21.87 and 11.22.87 - Wembley Arena, Wembley, England.

Last concert of the tour. Waters invited Clare Torry (chorist on Dark Side Of The Moon) to sing for these two shows 'The Great Gig In The Sky'. The first concert was recorded and broadcasted on Capital Radio (April 17th 1988).


A surprise version of 'Outside The Wall' and 'The Great Gig In The Sky' were respectively played during concerts in L.A (09.20.87 – The Forum, Inglewood, Los Angeles) and in Wembley (11.21.87 and 11.22.87 - Wembley Arena, Wembley, England). Clare Torry, the main vocalist on 'The Great Gig In The Sky', appeared with Waters on stage to celebrate the end of the Radio K.A.O.S Tour.

Two Suns In The Sunset

>Click here < http://www.brain-damage.co.uk/interviews/torry.html >

Нашёл таки пару фоток Клэр

Вот одна из них

Вот ещё одна - Клэр в 1990

И вот ещё - Клэр в 2003

Clare Torry original singer
on Great Gig in the Sky rocking the Dub Side look, Summer 2003.

http://www.easystar.com/dubgallery.html

Может есть у кого фотки Клэр с Роджером (или без него))? - с выступлений 1987

Music: Pink Floyd's Roger Waters' Classical Opera "Ca Ira" Debuts Number One

"Ca Ira," the new classical opera from Roger Waters, entered the Billboard Traditional Classical Chart at #1 in the first week in stores for the Sony Classical /Columbia Records release.

The recording of Waters long-awaited "operatic history of the French Revolution" was released on Tuesday, September 27, in a lavish first-edition Digipak that includes a complete recording of the work on two hybrid Super Audio CDs in Dolby Digital 5.1 Surround Sound, which are compatible with standard CD players. The package includes a deluxe 60 page four-color booklet including Roger Waters' lyrics based on Etienne Roda-Gil's original French libretto, the original illustrations created by Nadine Roda-Gil, biographies of Waters and the opera's cast, background and production notes on the opera.

As a bonus for Roger Waters fans, "Ca Ira" includes a special DVD documentary chronicling the "making of" the opera. The "Ca Ira" DVD traces the history of the project, from conception to completion, and includes revelatory interviews with Waters and the cast of "Ca Ira" as well as exclusive in-the-studio footage of the recording of the opera.

"Ca Ira" will have its world premiere in a semi-staged concert performance on November 17th and 18th in Romeat the Santa Cecilia Hall of the Auditorium Parco Della Musica. The concert reunites tenor Paul Groves and soprano Ying Huang with conductor Rick Wentworth, all of whom appear on the recording, and introduces to the work bass-baritone John Relyea. Since the November 17 concert quickly sold out, a second performance has been scheduled for November 18 in the same venue.

Waters, who co-founded the groundbreaking rock group Pink Floyd in 1966, fused the worlds of rock and classical music in such pioneering major works as "The Dark Side Of The Moon" (1973) and "The Wall" (1979) in which he incorporated elements of operatic form - theatricality, coherent narrative, dramatic arcs, thematic music and song cycles - in a pop context.

Waters' work on "Ca Ira," his first opera for full orchestra and voice, began in 1989, during the Bicentennial of the French Revolution. The well- respected and successful songwriter Etienne Roda-Gil and his wife, Nadine, had created an original libretto for an opera, written in French, as part of the Bicentennial. Entitled "Ca Ira," after a revolutionary song of the period, the Roda-Gil's original manuscript, copiously and beautifully illustrated by Nadine, portrayed the events and the spirit of the French Revolution through a multitude of perspectives - ranging from Marie Antoinette to the eyes and ears of the period's revolutionaries and common people - using a circus as a central theatrical framing device and metaphor.

The finished version of "Ca Ira" features orchestration and choral arrangements by Roger Waters with Rick Wentworth. Waters and Wentworth are also the album's producers. Principal characters in the opera are brought to life by the Welsh bass-baritone Bryn Terfel (the Ringmaster, the Troublemaker, Louis Capet - the King of France); internationally acclaimed soprano Ying Huang (Marie Marianne - the Voice of Liberty, Reason and the Republic, Marie Antoinette - the Queen of France); American tenor Paul Groves (A Revolutionary Priest, A Military Officer); and Nigerian "one man orchestra" Ismael Lo (a Revolutionary Slave). Other parts are sung by Jamie Bower (Honest Bird - the young Revolutionary Priest) and Helen Russill (Madame Antoine - the young Marie Antoinette).

http://www.rubbermag.com/news/0510/051005_05n.html

Sony Classical даёт шанс съездить в Рим на премьеру Оперы Роджа 17-го Ноября!

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Sony Classical, Air France and Sofitel present
the Roger Waters Flyaway sweeps!

There will be a semi-staged concert performance of "Ça a Ira" live in Rome at the 2,000 seat Parco della Musica with the Roma Sinfonietta and the Cora Lirico Sinfonico Romano choir on November 17th, 2005.

Enter now to win two tickets to Rome courtesy of Air France, where you will stay at a Sofitel hotel for two nights and three days and receive a pair of tickets to the performance!

http://www.roger-waters.com/win/rometrip/

http://www.roger-waters.com/win/rometrip/#enter

Подробности от Брайн Дамадж

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ROGER WATERS ЗA IRA - COMPETITION & INTERVIEW BROADCAST

Two bits of Roger Waters-related news for you today - news of a competition for our US visitors, to win a trip to Rome, hotel stay, and tickets for the premiere performance of Зa Ira, and information on an upcoming interview on US radio, streamed worldwide on the internet.

Firstly, Sony Classical in the US are offering a great prize for a lucky person in the draw being offered on the official Waters website - Roger-Waters.com. The winner will get two tickets to Rome courtesy of Air France, where they will stay at a Sofitel hotel for two nights and three days and receive a pair of tickets to the performance!

The semi-staged concert performance of "Зa Ira" is being held at the 2,000 seat Parco della Musica with the Roma Sinfonietta and the Cora Lirico Sinfonico Romano choir on November 17th, 2005, along with the likes of Paul Groves, Ying Huang, and Rick Wentworth.

Runners-up will receive either the limited edition 3-disc set of Зa Ira, which includes the DVD showing the creation and development of the work, or the 2-disc edition, which just has the hybrid SACD.

Certain terms and conditions apply - click here for details < http://www.roger-waters.com/win/rometrip/rules.html > - but we wish all BD visitors the best of luck if they enter the contest. We'll be there at the show, so if you do win, let us know and we'll meet up!


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The official Waters site also gives advance notice of an interview with Roger next week. The "World Cafe" < http://www.worldcafe.org/ > interview will air in the US this Tuesday, October 14th. You can hear it in NYC (or via internet stream) on WFUV (90.7 FM) < http://www.wfuv.org/ > that night at 10pm. WFUV is a member-supported public radio station, from Fordham University in New York City. You can also listen online live that evening at 2pm or 1am EST at xpn.org < http://www.xpn.org/listen.php > . These times are as shown on Roger's site - please check with the stations themselves in case these are incorrect or change.



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Date news posted: 7 October 2005

http://www.brain-damage.co.uk/news/0510074.html

Немецкий Амазон проводит исследования, какие альбомы покупают различные категории граждан.
Складывается интересная ситуация -
Люди, купившие новую Оперу Роджера Уотерса СА ИРА,
погодя заказывают последний на сегодня рок альбом Роджера Уотерса
Amused To Death.
И это свидетельствует о появлении новых поклонников Уотерса,
которые до выхода оперы были не знакомы с сольным творчеством артиста.
Этим же вызван небывалый ажиотаж вокруг продаж Са Иры -
покупают оперу как старые почитатели Уотерса, так почитатели таких жанров, как 'мюзикл' и 'классическая опера',
для которых Уотерс - 'черная лошадка'.
Сегодня, арии из Оперы Са Ира можно услышать
в чартах различных немецких музыкальных радио-станций классического жанра.

Качаем 6х 20 мБ ориентировочно оперу в сиди качестве
- все части в раре

http://www.mytempdir.com/191356
http://www.mytempdir.com/191285
http://www.mytempdir.com/191240
http://www.mytempdir.com/191195
http://www.mytempdir.com/191135
http://www.mytempdir.com/191064

В о многих европейских странах до сих пор
не возможно купит Са Иру в муз магах!
Продавцы объясняют все тем, что второй тираж
оперы еще не поступил на склады.
Тем временем вышел сидишный вариант оперы,
на котором в качестве бонуса есть pdf file libretto
с полным текстом на фр языке начального замысла оперы Этиена.
На диске сказано, что он совместим с Виндоус и Макинтош.
Этот вариант также трудно достать.
Третий вариант должен выйти на следующей неделе
- это французская версия оперы -
по словам Роджера, французская версия сильно отличается от английской -
во французской было много лакун, которые я дописал для английской оперы (рейтер)

Ущё какой то супер дорогой релиз
быд 4 октября
Best Buy

Ca Ira (Bonus DVD) – CD
- CD Release date 10/4/05
- Sony International
- Back Ordered 1-2 weeks
- $84.99
http://members5.boardhost.com/rwatersonline/msg/45392.html

TOP-99 - Личный хит парад Роджера Уотерса
В голосовании принимало участие 18,958 человек!!!
http://www.last.fm/music/Roger+Waters/+charts