The plastic case containing the French version is the inch thick double CD case variety that opens with CD 1 in the front side and CD 2 in the back side and a plastic center cavity containing the CD booklet.

The SACD version is more of a deluxe edition with a Quad Folding case. That is to say, it is somewhat book like, made of laminated cardboard that unfolds into a 4 part foldout containing 3 plastic disc holders and the CD booklet attached to a 4th. Opening it in half, like a book, reveals photo's of Roger and Etienne and Nadine Roda Gil on one side, and in large bold type; Roger Waters, CA IRA, Nadine et Etienne Roda-Gil, on the other side. This is by far the nicest packaging of the 3 releases.

The CD's in all versions, are nicely silk-screened with Nadine Roda-Gil's beautiful illustrations, as is the DVD. But there is a bit of a disparity in the size and organization of the included booklet across all three release versions. While all contain many of the beautiful illustrations by Nadine Roda-Gil, the booklet in the "Enhanced CD version has only 28 pages, while the booklet of the SACD and French versions are 60 pages, more than twice the size. All of course contain the same track info, credits, a history of how the opera came to be by Roger Waters, and a description, synopsis, and story line of each of the three acts, scene by scene. However, the English SACD and French versions list the entire text of the libretto. Whereas with the "Enhanced CD" version, the text of the libretto, as well as many illustrations are not included in the booklet but can only be read and seen on disc 2 via a computer (AKA. the label "Enhanced CD"). Although there are similar illustrations in all three version booklets, they are not necessarily in the same order, and some illustrations in one booklet may not be present in the same places, or at all, in the booklet of the other.

A note about the "Enhanced CD". It states that the libretto and illustrations can be viewed on a computer. However, I do all my work with Macintosh computers (very proudly I might add). And though the vast majority of people own PC's with Windows, this disc does also work with a Mac. However, the "Click Me.app" will not work if you are using Mac OS 9 or earlier. It will only work with Mac OS X. The libretto text and illustrations on the "Enhanced CD" turn out to be exactly what is missing in the SACD and French version booklets. So with a color printer you can print out the missing libretto text and illustrations. The "Click Me.app" lists Disc One and Disk Two with the various acts, all of which seem hypertexted as you can click on the title and be taken to the page, and seems as if the application was created with a HyperCard like program or perhaps in Micromedia Flash. However I was somewhat disconcerted when I found I could not highlight and copy the text, as I would have loved to include it here in this review for our REG members. The application itself is similar to a mini photo album where the illustrations as well as text are but graphics themselves.

One other notable difference between these 3 versions is, the French version, like the US Enhanced CD version, does NOT contain a DVD, and disc 2 is NOT an enhanced CD and therefore not viewable on a computer, which is why the booklet includes the libretto text. Also, in the French version, Bryn Terfel does not appear as a vocalist and instead is replaced by French opera vocalist Jean-Luc Chaignaud.

As for the sound, the recording is superbly produced. However, unlike the Dark Side of the Moon SACD, I could not detect much of a difference between the SACD recording and the normal audio recording apart from the sound effects sounding more crisp or distinct. Admittedly I don't own an SACD system, but I did note substantial difference in the sound of DSOTM SACD over the regular audio version.

As for the music itself, there is so much to enjoy here. And for the Pink Floyd aficionado, at times you'll find many a reminiscence or similarity to The Wall, Amused to Death, or other Waters compositions. And, like most of Roger's work, listening to it while witnessing a live stage performance is probably significantly more enjoyable. However, the music itself is extremely entrancing and without a doubt one of the most significant classical compositions of the 21st century.

Disc: 1 The Gathering Storm Overture Listen A Garden In Vienna 1765 'Madame Antoine, Madame Antoine...' Kings, Sticks And Birds 'Honest Bird, Simple Bird...' 'I Want To Be King...' 'Let Us Break All The Shields...' The Grievances Of People France In Disarray Disc: 2 The Fugitive King 'But The Marquis Of Boulli Has A Trump Card Up His Sleeve...' 'To Take Your Hat off...' 'The Echoes Never Fade From That Fusillade...' The Commune De Paris 'Vive La Commune De Paris...' 'The National Assembly Is Confused...' The Execution Of Louis Capet Listen 'Adieu Louis For You It's Over...' Marie Antoinette - The Last Night On Earth

I love classical music, where at age 12, Beethoven's 5th Symphony was the first album I ever owned. Now, a fan of many composers I'm especially fond of Mozart. Although I enjoy many kinds of music such as Jazz, Progressive Rock, Classic Rock and have played blues harmonica for over 20 years, I still listen to classical music whenever the mood strikes. Although for some reason, I have never been a fan of opera. I guess I don't care for the vocal style, however there are some exceptions, such as Mussorgsky's "Boris Godunov" (1872) and some opera's by Mozart and a few other composers.

But like all Roger's material, the more I listen to it the more I like it. In fact, in time, Ca Ira just might one day turn me into an opera lover, especially if I have a chance to see it performed.

I have listened to the English Libretto as well as the French, and in my opinion, the sound of the French language sung in opera sounds far superior to the English. It just seems that, even though I can't understand it, in contrast the sound of the French libretto makes the English version sound crass and inferior. It may be because, like most European opera lovers, Americans are accustomed to listening to opera sung in a foreign language, and the sound of the English language makes opera sound a bit cheap or proletarian. This also may have something to do with the fact that for generations, like Golf or Polo have been considered a sport of the rich, opera itself has been considered a musical style only enjoyed by the wealthy and well to do. Opera became somewhat an entertainment for the European elite and upper class, and as such the introduction of English leaves a kind of a bitter taste.

How ironic that one would critique an opera about the French Revolution is not up to aristocratic standards, likely set by the very French bourgeoisie of the time. Normally when listening to opera I prefer listening to a libretto in a foreign language because an English libretto lacks an exotic sound and so does not compell the focus and imagination of the listener necessary to convey the emotion that is so necessary for works of art. Call me bourgeois, but to the novice or expert ear alike, the French version of the libretto sounds immeasurably better than the English version. But not so fast... That said, this is no normal opera, this is an opera written by Roger Waters, and as such the English libretto holds much more meaning and enjoyment. And listening to the vocals easily guides the listener, leading them through the story.

Upon reading the English libretto I must say that as a lyricist Roger has outdone himself. There are so very many really beautiful, compelling and imaginative passages, some of which are very provocative or render the reader or listener to deep thought. And some of the subject matter definitely pertain to what is taking place in the world today both socially and politically. I wonder if Roger meant for any of his historical "revolutionary" lyrics to be compared politically with the state of the world present day, particularly in the US where class warfare runs rampant with the middle class dramatically shrinking and numbers of the poor growing by leaps and bounds.

Perhaps revolution is what we need today to depose the fascist tyrant King George II! It may be the only way to rid ourselves of this self imposed monarchy along with those in power willing to do absolutely anything to maintain their power, as well as a Legislative body completely incompasitated and ineffectual, incapably dormant and completely controlled by special interests. There almost seems no hope for resolution in stopping the continuing downward spiral toward fascism and the regaining of freedoms and civil liberties almost surreptitiously taken away by this want-to-be king, this fascist tyrant. Perhaps like the French peasantry, our only option will be open rebellion in the streets! Where the people once again can take back their liberties and power! As in all Roger's work his use of sound effects to punctuate the story being told is powerful, poignant and impressive. This fantastically progressive and complex piece of music is nothing but pure genius. And if you thought Roger Waters, the father of concept albums, hit a home run with The Wall, you haven't seen anything yet. This is his concept album of all concept albums.

I wrote this review listening to the French version, without reading the story of each act or the English libretto text. And even though I did not understand the words and could not see the scenes performed, I was surprised by how closely I came to realizing and understanding the story through how emotionally evocative musically each piece felt to my heart. I know that reading the description of each act and scene as well as the libretto text while listening to the actual piece garners a much more exact understanding of the story. But if a novice like me can feel so emotionally connected to the music in such an empathic way as to experience the passion and commiserate with the angst and sense what is happening, then all I can say is this opera surpasses any stroke of musical genius I've ever listened to or felt. When I can understand a story by connecting with and being touched by the music, without a description of words, and can feel it in my heart, then this is truly what art is.

Ca Ira is simply a masterwork of art. But it should be no surprise since Roger as well as his work with Pink Floyd authored several movie soundtracks. And as a soundtrack sets the stage and tone for a film or movie, Ca Ira does that and more. It tells the story itself. It is as if it were a soundtrack and movie in one.

Disc 1

Act 1 begins with and is punctuated throughout by sound effects.

Scene 1 is filled with the passion of a building storm evoking the emotions of hope, yet of coming struggle.

Scene 2 is a compositional masterpiece the driving choral sections intermingled with operatic solo's and symphonic crescendo's almost overwhelm the senses.

Scene 3 continues the compositional progression with a pensive and plaintiff angst, that fills the heart and soul.

Scenes 4 and 5 are filled with the sounds of sadness and grief, almost as if asking why... why this feeling of such intense pain and misery. The feeling of suffering and attempted understanding is so commandingly interpreted in the sound of the music. The composition and solo vocals of "To Freeze In the Dead of Night" are simply one of the most lamentably powerful and emotional pieces I've ever heard. This is finalized in the end of the act in "So to the Streets In the Pouring Rain".

Act 2 continues the strident flair of musical progression that presents itself throughout the story. Again beginning with sound effects. Scene 1 continuously builds to mini-crescendo's and then into soft, lush and delicate lull's of musical and compositional genius. Scene 2, contains the previously released experts, "The Letter," and "My Dear Cousin Bourbon of Spain." Once again the music is plaintive but compositionally beautiful. Through the wonderful vocal solo's and symphonic background they transmit the angst and sadness with emotion transformed into music in lilting and wonderful melody.

Scene 3 becomes strident once again, returning to the main theme, with the previously released "Silver, Sugar, and Indigo." The inclusion of the African choralists in "To the Windward Isles" is a stroke of genius that works, and integrates well into the thematic structure with flair and virtue. Because of the power and beauty of this piece it's no wonder it has received so much acclamation and praise. Scene 4 again continues the main theme but with a wallowing questioning feel and segue's into a kind of Roman Catholic Church questioning by a priest at the pulpit with an answering congregation, as if the oppressed masses with no where else to go and no one else to turn to, seek the help and hope that God might bestow.

Disc 2

Act 3 begins with the sound effects of wind blowing and crows and carion cawing in the distance.

Scene 1 starts with a variation on the theme and sees the king lamenting his fate with plaintive and pleading vocals, as if reminiscing upon a past while defending himself not only to others but to himself, that everything he did he did out of love for his people and his country. We hear a blaming and accusing public marching in rebellion against the aristocracy. Then we hear the children's choir as well. And in the end the sound effects of muskets firing from the guards presumably protecting a palace from the marching hungry peasants, shooting the women and children down. This scene seems almost more a movie soundtrack, though one which changes consistently in tempo and degree, solo vocals woven with more sound effects and instrumentals than in previous scenes.

Scene 2; with the entire French nation now up in arms and revolution in the air, the sound effects of the beat of marching feet are heard and interwoven well with the music. This is manifested imaginatively very well and evocatively felt. Again we here a variation on the main theme, as the choruses reach a stupendous crescendo. "The French National Assembly Confused" as the title says, as perhaps they want to maintain some kind of law and order, while the citizenry seem almost intent on anarchy. But with the rebellion begun, it's obvious the people have arisen and now have the power.

Scene 3: "This is the Execution of Louis Carpet" (King Louis the 16th) which begins with the slow tolling of a bell, invoking the image of early morning, in my imagination... it's still dark, roosters begin to wake, smoke from the night fires of rioting roil into the dawning sky. King Louis is taken to the guillotine and his accusers stand over him singing out his sentence as drums begin to beat in the distance. Marie Marianne and a revolutionary priest sing beautiful aria's, a sad and final lament to the end of a king.

Scene 4: Again sadness rules the feelings of the end of the monarchy as Marie Antoinette reflects on her last night on earth, singing plaintively. We find the revolutionary priest who ministered the king at his death, now ministers the queen. And after reading the libretto, it turns out he was the little boy who spoke with the queen when she was a little girl from a tree near her garden. Small world, and strange what life may hold in store.

Scene 5; In this final scene called "Liberty" we hear the sound effects of the guillotine, and a marching army of soldier citizens proclaiming their freedom as the guillotine falls time and again... And in the end, the music progresses somewhat back to the original theme, with somewhat of a resounding punch at the end.

The DVD:
The Making of Ca Ira DVD is simply fantastic. We're taken on a historical journey into the making of Roger Waters' opera Ca Ira, by Roger Waters himself. We see Roger at his home in the Hamptons, lying shirtless in the Sun in his yard or sitting in a wicker chair, both in his yard and in the middle of a stream flowing through it (and also at times fishing in the stream).

Roger goes into detail revealing how he first began the project and all the work involved at various stages of it's development. We see Roger, ever the perfectionist, and strict taskmaster ensuring that every note and vocal utterance meets with his satisfaction. There are also many instances where we hear the raw work before production with Roger's own vocals, some of it sounding much like parts of The Wall or the single "Lonely Boys" from the soundtrack of The Legend of 1900 (or the movie's original title "The Legend of the Ocean and the Piano"). In fact I think many Waters fans would love to hear the entire opera sung by Roger in that early form. I know I would. I recommend watching this DVD before listening to the opera itself to gain a better understanding of what went into it's making over a 17 year period.

Summation
It's difficult I guess to be an honest critic or give an honest review when one is so biased toward an artist, and it's also difficult to critique a musical form without much experience listening to it. But I've tried to do my best. As I said, the more I listen to Roger's music when I initially here it, the more I like it. It tends to grow on me and this opera is no different. But it would be remiss of me to do nothing but heap praise upon the work and author, as this review would appear completely biased and unbalanced.

As is a bit expected through all of Roger's work, I found a good portion of Ca Ira to be extremely melancholic and continually sad. However, from a purely listening standpoint, I found acts one and two to be particularly wonderful. Beautiful composition that touches the soul.

However, if I had to find something to criticize about the opera I'd have to say that it was a bit too long. I'm really not used to spending 2 hours sitting and listening to one piece of music. Therefore my attention and enjoyment of the piece may have been waning by the time I heard the final act.

And I found Act Three, especially the last scene (Scene 5), to be a bit less enjoyable. The symphonic melody was beautiful, and the chorus's very powerful and driving, but the style of the operetic solo vocals did not seem as enjoyable as those in the first two acts. Perhaps it had a lot to do with my operetic novice ear. Maybe at this stage I could have done with less a mixture of several interpolating vocals and more of a melodious instrumental.

I also thought the ending could have been a bit stronger. I expected the opera's end to be a subtle variation that progressed back to the original theme, bringing back the glorious and bold as well as the soft, lush and beautiful of the first 2 acts. But instead there was a short vocal crescendo and a few seconds of progression back to the main theme.

Therefore the very end, which should have been the highlight of the opera, was a bit of a disappointment. Although Act 3 had some beautiful and fantastic melodic strokes of genius and the chorus's shown dramatically, contrasted with the grandeur of the first 2 acts, it did not seem to compare. But as I said, perhaps because I'm not accustomed to spending a few hours listening to one piece of music, I became too restless by the end. But please keep in mind that these criticisms come from an operatic novice, and someone with absolutely no knowledge or experience in opera as a musical form. I'm just trying to give as honest a review as possible. I did get much more of an appreciation of what the opera was about when I read the story and libretto while listening to it. And I recommend the first time listener doing just that.

An opera really should be enjoyed as a theatrical experience in any case, and not solely as an audio one. I have no doubt that if I had had the opportunity to view the theatrical performance while listening to the vocals and orchestration, I'd gain an entirely different appreciation of the entire opera, as it is meant to be a piece of theater and not just an audio experience. It is a story to be watched and not just listened to, to get a full understanding and feel of the piece. Perhaps instead, or in addition to the "Making of Ca Ira" DVD, it would have been great to watch a DVD of the full theatrical performance! In this way one could enjoy both an audio and visual appreciation, and gain more of an understanding of the story line, the lyrics and libretto, instead of just listening to it. Perhaps the premier of the opera in Rome was recorded. If so, it would be great if it got released as a DVD for more complete operatic experience.

Aside from my few criticisms, Ca Ira is an unbelievably powerful and emotionally evocative adventure into the realm of classical opera. The wonderfully creative and imaginative compositions combined with the poetry of both French and English libretto's, performed superbly by fantastic chorus's and some of the most esteemed solo voices in opera, is simply a treat for the senses. A must have for any fan of good music.

Roger Waters: Ca Ira (There Is Hope) [ENHANCED]
Product Details

• Composer: Roger Waters
• Label: Sony
• Language: English
• Audio CD (September 27, 2005)
• Format: Enhanced
• Catalog no.: S2K 96439
• List Price: $24.98

Ca Ira (W/DVD) (Dig) (SPKG) [HYBRID SACD]
Product Details

• Composer: Roger Waters
• Label: Sony
• Language: English
• Audio CD (September 27, 2005)
• Format: Hybrid SACD
• Catalog no.: S2H 60867
• List Price: $34.98

Roger Waters: ‚a Ira
Product Details

• Composer: Roger Waters
• Label: Sony
• Language: French
• Audio CD (September 27, 2005)
• Format: Enhanced
• Catalog no.: S2K93934