Yanni - Live at the Acropolis
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Music CD Cover
Artist: YanniBrand: Windham Hill
Edition: Music CD
Format: Live
Published: 1994
CD Release Date: 1994-03-01
Music Label: Private Music
Product features:
- YANNI EN VIVO EN ACROPOLIS
- Santorini
- Keys to Imagination
- Until the Last Moment
- The Rain Must Fall
- Acroyali/Standing in Motion [Medley]
- One Man's Dream
- Within Attraction
- Nostalgia
- Swept Away
- Reflections of Passion
Free Music Notes for Live at the Acropolis
Free Music Review: Well Crafted Record, or The Audience Plays the Part of Ostinato
Hit: 5 Stars
I never thought my love for music would extend to Yanni. I purchased this album back in high school (10 years ago or so), covertly, and without mentioning it to my friends. Sure enough, it was a beautiful record but I didn't appreciate it for what it was.
Now, as I've found my part of the world to be a raucous, traffic-ingested sort, I can find peace in Yanni's Live at the Acropolis. Even his most invigorating tunes are like listening to a combination of classical music and the better of Hollywood scores...but his music is still a genre on its own.
The piano is beautifully played, my favorite instrument to listen to (with accompaniment); the orchestra is molded perfectly to his music and the very subtle keyboard effects (e.g. haunting ambient choirs in "Until the Last Moment" or string pizzicato in "Standing in Motion") work wonders to add atmosphere. I actually don't know Yanni's other music, so I don't know if he uses orchestras otherwise, but credit must go to his three orchestrators, Shardad Rohani, Jeffrey Silverman, and John Rinehimer for exceptional work.
This record is so meticulously handled, it blows me away. The Acropolis's ambience is preserved; the audience's applause sounds like rain, as it would if you were watching a tasteful theatrical presentation. They did well to remove loud whistles (which can be heard only if the listener is trying) and other distractions. The applause after certain solos is gently brought into the piece keeping that "live" feeling throughout.
The on-site recording and engineering is top-notch, and Yanni himself mixed the final product, keeping the levels respectable. For example, when Yanni talks (which is rare), his voice sounds like an instrument and is subdued, quiet like the soothing voice in a planetarium, and does not jar the listener from the flow of the music.
The shimmering percussion ranges from heart-thumping drums that reverberate through your speakers to light windchimes and hi-hat brush-strokes that are not drowned out by vibrato strings or pulsating rock basses. Every instrument has its place, and every instrument is heard. Exceptional mastering on Chris Bellman's part as well.
The record is atmospheric. I have a difficult time describing it as anything else. The "live" part could have become a hindrance to the music, but it is handled so well, I hope it doesn't become a deterrent to possible purchasers; the album is a wonder to listen to.
Live at the Acropolis Poster
* Expanded package includes new photos and new liner notes. * The DVD features the most dramatic footage filmed of Yanni live in concert. * The DVD contains backstage interviews and exclusive behind-the-scenes footage of the making of the video.On the night of September 25, 1993, beneath the golden glow of the Parthenon, a standing-room-only crowd assembled to witness a stunning spectacle of sight and sound. The majestic stone arches of the 2,000 year-old Herod Atticus Theatre became the setting for a performance of a lifetime. The passionate crowd warmly embraced its native son, internationally known composer and performer, Yanni, who was returning home after two decades in America.
Yanni can be likened to 1970s rock group Emerson, Lake and Palmer. There are several basic parallels, especially in this orchestra-enhanced concert reworking of his more propulsive, anthemic compositions. Yanni, who in concert sometimes strikes the rapturous two-keyboard "iron-cross" pose that served as one of Keith Emerson's trademarks, uses, as ELP did, classical and world-music influences to elevate pop-inclined compositions to more sophisticated levels. He then turbocharges the whole concoction with bold strokes of prog-rock bravura to give his finest pieces a dramatic, chest-swelling, larger-than-life impact. A key difference between the two acts, of course, is Yanni possesses a much stronger romantic streak, plus he refrains from attacking his keyboards with sharp objects. At his best, Yanni strikes incendiary sparks with the driving, celebratory quality of his music, and this production, culling some of the best audio moments from his much-televised 1993 concert performance in Athens, is a most appealing showcase. Yanni can sometimes strike the sonic hammer as forcefully as a Greek god ("Santorini," "Keys to Imagination") and, on this album at least, gives even overtly romantic pieces ("One Man's Dream," "Swept Away") a warmly masculine flair. Beautifully arranged and recorded; a pleasure to experience. --Terry Wood
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