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I just recently discovered Jaroussky and and am beyond thrilled. I've never given countertenors much thought beyond an occasional Vivaldi opera but having these pulled together in one album changed it for me, all because of Philippe's incomparable voice and an upper registry clarity to create sopranos green with envy. In a matter of days, I've purchased several of his albums as bonuses and found it funny that my two colleagues (with drastically various melody tastes, one never having listened to opera before!) were listening to him with the same enthusiasm as I. Can not wait to hear more from him and hope that he'll tour in the MidAtlantic US soon.
I bought this CD initially for one reason, to hear more from the stellar French counter-tenor, Philippe Jaroussky. I was introduced to his stunning voice with his spectacular recording, "Vivaldi: Virtuoso Cantatas." As expected, he lived up to my high expectations with his recent recording. There is no one in the melody stage who sings with the beauty and flourish of this awesome young is CD takes us on a musical tour of discovery through 30 years of Vivaldi's operatic output, which has been mostly unknown. This recording makes a powerful argument that Vivaldi's operas deserve to come out of the shadows. Sixty-three mins of this gorgeous melody is not enough! Not surprisingly, a lot of of the brilliant present piece arias were written for the reigning castrati of that time. We'll never know what their voices really sounded like, but Jaroussky is the one artist who makes us cease to wonder, and the only question we have is, did they sound half as amazing as he does?Here are some brief notes on the tracks of this recording:Track 1: A powerful, bravura colatura aria. A amazing introduction to newcomers to Jaroussky's ack 2: A tender melody, it's simplicity ack 3: The unmistakable sounds of Vivaldi. A "Four Seasons" for male ack 4: Gorgeous larghetto, reminiscent of some of Handel's best - who knew Vivaldi was such a amazing composer of opera arias!Tracks 5-6: Another present piece. Think the legendary castrato Senesino on ack 7: A sublime largo, a double concerto for alto and solo ack 8: An incomparable "aria di tempesta" depicting a shipwreck being tossed from rock to rock. Jaroussky's voice rises above the waves like rays of golden acks 9-10: Vivaldi's foray into the traditional "sleep aria." Another bewitching aria given interesting treatment with an orchestration using recorders and oboes. Jaroussky's sustained notes are to die for, as are his brilliant runs and top notes in Track ack 12: An emotionally tender lament, with one set of strings playing "arco" and another set providing "pizzicato" as Jaroussky's lovely alto floats above it ack 13: Another typical Vivaldi aria with vigorous rhythms, and Jaroussky displaying all his gifts. We can never have ack 14: A lament written at the high point of Vivaldi's operatic career. One of his most atmospheric works for any instrument. Here Jaroussky shows he's more than a present man and has behind his voice strong emotion that can tug one's ack 15: A charming aria with the strings' "pizzicato" evoking the sound of bees and the beat of an impatient heart. With this final track Jaroussky leaves us in love and wanting is recording is a must have for all fans of the male alto. I also recommend it to anyone who enjoys bravura colatura of any voice. I'm sure there will be a lot of a soprano who'll say it's not fair that a man can sing like this!I'm glad Philippe Jaroussky is introducing us to forgotten Vivaldi gems with his latest recordings. As attractive as this treasure chest is, I can't support but wonder what rubies and emeralds he'll pull out when he turns to Handel. I hope we'll search out. In the meantime, I'm content to relish in the joy that happens when Jaroussky meets Vivaldi.
Ms. Damrau is arguably among the greatest lving lyric coloraturas of the early Twenty First Century. This cd demonstrates not only her wonderful instrument, but her acute intelligence with respect to interpretation and use of vocal nuance. Her choices for the cd contain not only arias from her standard repertoire, but roles from operas she has yet to debut. Each chop is a gem, delving into the aspect of a hero as she sees it. Obtain ready. It is not always traditional. One might ask why she chooses to interpolate a high f in Glitter And Be Gay. My respond would be: "Because she can." She is a singer still very much in the ascent of her is cd gives you what you obtain from Diana Damrau in a live performance: An awesome voice, solid technique, extraordiary musicianship, complete command of the moment at hand and the sense that she is singing just for you...and...you are never anxious that she may not create the next high note or difficult passage. It's all there. It's all happening.
With every diva getting a possibility to record their favorite set of classic coloratura arias, one must wonder why another drop must be poured into the bucket; however, Diana Damrau carves out her own small niche on this disc. Her flexibility and range is only outmatched by her gorgeously full tone. Je veux vivre, Una voce poco fa, and Glitter and be are three of the standout tracks. Strongly recommend this attractive set.
This recording by Diana Damrau is very enjoyable. She has selected a number of selections which are not often performed (the only exception is Puccini's "O mio babbino caro" from Gianni Schicchi; why does every soprano seem to thinks that she has to record this piece?) which makes the recoding all the more interesting. However, I gave this performance only four stars because a number of these selections have been recorded by Natalie Dessay whose voice I think better suits the music. This is especially real in comparing this performance of Strauss' Großmächtige Prinzessin with that of Ms. Dessay's in Strauss: Amor - Opera Scenes & Lieder. Nevertheless, this is a recoding very much having. Ms. Damrau has a gorgeous voice and listening to her is time well spent.
The opera audiences of the globe now have two incredibly gifted coloratura sopranoes who are also gifted actresses that know how to use text and melody as instruments of communication. I am referring to Diana Damrau and Natalie Dessay. They have learned their lessons well from both Maria Callas and Beverly Sills; two Superstars of making the text come alive and making us the audience believe in the Opera Experience as heighten DRAMA! These four mentioned ladies truly create us believe they are living and experiencing the moment. Miss Damrau may create musical choices that are sometimes various than we are used to; sometimes in tempi, phrasing and articulation. However, these choices are taken to convey her very private interpretations. Both Damrau and Dessay use all their skills and talents to create the moment appear to be truly real. It is a pleasure to listen to what they have to say and how they say it. Singing is basically extended speech on pitches. We, the audience, need to hear and understand the words. Miss Damrau is in very amazing voice and has given us a truly varied program. We hear: Gounod, Verdi, Strauss, Rossini, Stravinsky, Donizetti, Puccini and even Bernstein. [email protected]#$%!&alian, German and French give her no problems. To sum it up a knock out voice that truly communicates every note and syllable, DON'T MISS THIS EXCITING VOICE AND ARTIST!! I do have to agree with my fellow reviewers that there is some loss of bloom to the voice and a bit of pushing for some of the very highest notes. Perhaps, too a lot of Zerbinettas as well as Queen of the nights. Allow us hope this is only temporary.
This appears to be the second all-Vivaldi album of e countertenor voice is as amazing as ever in this album, but obviously the tracks are not as even as his other non-Vivaldi e slower arias have a definte edge over the quick bravuras, a phenomenon that may be largely due to the lack of chest help when the singer is singing totally in falsetto in the countertenor fach.Otherwise, this is another musically satisfying album from this phenomenal young singer.
No matter how much you may have relished (or detested) The Four Seasons and the Vivaldi Concerti for Sopranino Recorder, you haven't begun to appreciate the Red Priest until you've discovered his operas, at least 40 of which have survived in manageable scores. The "Naive" label has recently issued a box set of Vivaldi operas (search for Vivaldi Opera edition), a lot of of them featuring the artistry of male soprano Philippe Jaroussky. Of course, a dozen of these performances have already been available separately, with a lot of of the finest singers of baroque melody featured, but this CD might well serve as an introduction for listeners who are not yet prepared to spend $260 or more for the box.A thousand words might equal a picture, but no number of words can describe Jaroussky's singing. Luckily, there are MP3 samples for this CD. Even better, scores of Jarousky's fans have posted performances of his on youtube. I will paste a youtube address in a comment below, as soon as this review is available.
If you're not bothered by recording issues and love Dessay, this CD. But the recording, by Musica Numeris in France, is sloppy at best. Perhaps the French engineer had a bit too much wine over lunch? Virgin should be ashamed and let's hope Sir Richard Branson takes more care with his airplanes than his Virgin group does with their CDs. The mostly clear recording is flawed by numerous "glitches" like the one mentioned by another reviewer at 2:21 on track 2. Some of it sounds like clipping distortion while others might be extraneous noises. Some of Dessay's crescendos are sadly distorted right at their climax. Quality issues like these are inexcusable on a full classical CD. And it's a shame because it's a amazing collection of arias and Dessay has an awesome voice.
Ah, Natalie Dessay. One of the amazing and most famous opera singers on scene today and in demand all over the world. This CD focuses on arias by French composers, most of which I had never heard before. Don't worry, for you fans of Offenbach, Olympia's aria is heard here. I don't remember the exact track names, unfortunately but I remember the highlights. Listen carefully for her sharp attacks in "The Bell Song" from Lakme and the vocal fireworks a lot of of the other arias require. Most impressive is the final min (especially the latest three notes - I believe one is high "M" above "L-sharp") of Meyerbeer's "Air". This is an impressive CD. Her voice is simple on the ears and never shrill. The balance between orchestra and soloist is excellent and the conducting is never a distraction (weird tempos, dynamics, etc.) A amazing introduction for you to this singer.
Here, Natalie Dessay sings French arias. All in all, a satisfying album, with a few exceptions as noted below. A few samples of the cuts on this om Massenet's "Manon," she sings nicely. "Suis-je gentile ainsi" shows off her clear, light, agile voice. She demonstrates a decent trill and nice high note. "Obeissons quand leur voix appelle" is sung at a slower pace. Well sung, with some subtle vocal effects. This closes with a nice run, but a rather harshly sung high note. Then, "Rive toujours." This begins at a slower pace, but picks up. There is some nice ornamentation. For the most part, this is sweetly omas' "Mignon" features a unbelievable piece, "Je suis Titania la blonde." Dessay, again, displays an agile and beautiful voice. She demonstrates capable coloratura technique, featuring some nicely done appoggiaturas. In the latest segment, she manifests a nice trill. Her penultimate high note is a bit harsh. However, she concludes with a very well done set of trills and a amazing high om Gounod's "Romeo et Juliette," we have "Ah! Je veux vivre." The first part is smoothly sung. Nice characterization by Dessay. There is some beautiful and pleasant florid singing at the end. Finally, from Thomas' "Hamlet," she essays "A vos jeux mes amis." Nice effects and amazing vocal technique are displayed. Her voice is beautiful in this cut. Nice ornamentation toward the end. Some amazing trills and some nicely hit high is is a fine CD. Natalie Dessay shows her vocal virtues to amazing effect. She is obviously quite at home on the French repertoire, and this CD demonstrates that statement very clearly.
Five stars for Natalie Dessay, who has an wonderful instrument, and a amazing selection of arias. But I've listened to 4 copies of this disc and each had a very short "click" at 2:22 on track 2 (the Gavotte from Manon). Must be a quality control problem. Maybe it was just a poor batch.Anyway, Dessay's voice is a force of nature; she must be one of the greatest coloraturas ever. I prefer her live ver of Handel's "Tornami" from Alcina to Sutherland's. And she's wonderful on Orphee Aux Enfers - not only a unbelievable singer, but obviously a amazing actress and , if you've not heard her before, give this album a test - ignore the "click" and listen to a truly angelic 5 stars for Natalie Dessay and the selections, and a slap on the wrist for the record label and its quality control.
Natalie Dessay is quite a fresh and satisfied discovery for me. I've heard only two of her CDs, "Mad Scenes" and this one, "French Opera Arias." Both, in my opinion, are spectacular. Besides her obvious amazing looks and facility with the language, I believe she is the coloratura soprano who will be the Beverly Sills or Joan Sutherland to this generation. She is clearly the master of all the fioriture in these French arias, but she sings with a more pleasing tone in all registers of the voice than either of the previously mentioned sopranos did. (Sills' voice could have an unpleasant edge to it, especially in the high register, and Sutherland's dark tone and mushy diction are legendary.)I enjoyed all of the arias on this CD. Some are "old chestnuts" of the coloratura's repertoire ("Je Suis Titania," "Je Veux Vivre"), and some are rarely performed gems from Cherubin, Fete du Village Voisin, Robinson Crusoe, and Le Comte Ory. While she performs all of these admirably, I have to say that her arias as Ophelie in Thomas' Hamlet were a revelation. She infuses the hero with emotion and makes the madness seem real. I would love to see her perform Ophelie in person. I'm sure I'd be in tears.If you love the French language as I do, and especially if you speak it, you should give this CD a listen. Natalie Dessay will blow you away.
Natalie Dessay is a delight on this CD of arias from 19th century French Opera. The listener can experience a singer who is both concerned about the vocal and interpretative values of each selection of this recital. The first two tracks of the Cours de la Reine Stage from Massenet's 'Manon' present a new voice that portrays easily the youth and frivolity of the title character. All the stacattos, cadenzas and high notes are on the service of the character. It is delightful to search some rarities on this recital, like the Fabliau from 'Manon' (an alternative aria that Massenet composed for sustitution of the Gavotte) and the pieces from 'Chérubin', 'La fête du village voisin' and 'Robinson Crusoe'. On the selection by Offenbach, Dessay sings a stunning trill on a Dflat and then goes to expectacular scales, finishing the dazzling waltz with an elaborate cadenza and a firm high E. Another highlight of the CD is the elaborate aria from 'Le Comte Ory' by Rossini, where the soprano's attention to the nuances of the piece bring out a lively interpretation. The aria from 'La fille du régiment' makes us want for a complete recording of the opera. However, the best part of the CD are the latest two tracks. Dessay brings all her bonuses to a climax with a marvelous performance of the Ophélie's Angry and Death Scenes from 'Hamlet' by Ambroise Thomas. This ver of the Angry Stage is even better than her previous rendition on her latest recital of French arias. This is a highly emotional interpretation where all the brilliant scales and cadenzas reflect the changing moods of Ophelie's madness and her despair as well as her innocence. This is the definitive performance of this melody on records, period. The Orchestre National du Capitole de Toulouse and the Choeur 'Les Eléments', ably conducted by Michel Plasson, complement Dessay beautifully. In summary, another unbelievable CD by one of the most remarkable coloratura sopranos of our time.
....is a joy forever. Since Madame Sayao sang her latest notes more than 50 years ago, few will know her. That is truly sad...from the mid 1930's to the early 1950's, Bidu created the lyric soprano repertoire her own. Trained in Europe as the latest student of the amazing Jean de Reszke, she combined a attractive voice with a excellent technique. Bidu sang the whole lyric gamut, from Mozart to Puccini, but Violetta, Juliette, and Mimi were roles for the ages. To my mind, she remains the absolutely definitive Mimi....In this absolutely unbelievable collection, we obtain to hear arias from two of her three greatest roles, Juliette being found elsewhere. In addition, her Mozart sparkles, and the "Butterfly" and "Gianni Schicchi" selections will create your heart flutter. [OK, I know; Albanese was the definitive Butterfly...still...]. And, if that's not enough, the Debussy is worth the whole , Bidu is a forgotten treasure to all but a few. Not just a amazing voice, but maybe the most gorgeous female ever to grace an Opera stage. God blessed her with beauty, talent, and length of days...she, in turn blessed us all. Sadly, she didn't record much...several Columbia albums in the 1940's. But, those present her absolute prime. When Bidu quit in 1952, she had the sense to stay quit. If you love amazing singing, do not fail to grab this. Maybe my vicarious crush shows in this review; that's OK; this was a singer, and this is an album, for the ages.
Bidu Sayao is a hidden operatic jewel! I had not run across her name through the years, even though I am an amateur opera lover. It is such a pleasure listening to her sing these mostly familiar pieces. A Brazilian who lived her final years in Maine, of all places.
I have loved her voice since 1981 when I destroyed a Bidu Sayoa LP "French Songs and Arias" listening to it repeat for hours (Guess I could create a hat out of that record now).I cannot add anything original to previous comments lauding her silvery tone or elegant. intelligent, brave, sophisticated, subtle, balanced sense of style. Emotion and control!I would not normally have chosen a recording of the Debussy piece with its chorus and orchestration but am won over after several listens. I search her "Un bel di vedremo" refreshing and e liner notes insightfully outline her career; translated lyrics, for the Debussy piece at least, would have been welcome. Amazing sound quality with notes on sound transference technique from LP to CD.
This album is a "must own" for all lovers of musical beauty. For me the album's highlight is the magical recording of "La Demoiselle Elue" from 1947 under the direction of Eugene Ormandy. The orchestra, chorus and the two soloists capture the hypnotic almost heavenly mood that includes some of the most gorgeous melody Debussy ever penned. From the opening notes, this recording holds the listener nearly spellbound and breathless by the sheer beauty of both melody and performance. Zone and time are suspended in the ethereal realm to which one is transported. An experience like this is what the word "great performance" was made to describe. Once you have heard it you too will be glad to count yourself among the ranks of those amazed and mesmerized by such glorious melody and in particular by the enchanting and beloved Bidu Sayao.
This CD documents commercial recordings of Sayao in the Debussy La Damoiselle elue, several Mozart arias from Marriage of Figaro and Don Giovanni, Violetta from Verdi's Traviata, some arias from Puccini's La Boheme , and other arias. Her early career featured either coloratura or light lyrical roles. The early recordings document a very attractive pure sound, perfect intonation,and a long legato line. These recordings which were done in her mid 40s and just before retirement from the opera scene at about age 50 present less ease at the top but a lot of of the same features. The style of singing is much various from what are ears are now used to. The top notes are more bell like and the pitch more stable. It is a shame there are not more recordings of Sayao in song recitals. The broadcasts from the Met from the 1940s with her do not display the real beauty of her voice. Per the program notes her favorite roles at the Met were Mimi, Susanna, Violetta, Manon,Rosina, Zerlina, and Adina. I am told by people who heard her that the sound was incredibly beautiful.
I have rarely bought an album that I was so happy with. This album ranks with Joan Sutherland's "Art of the Prima Donna." The engineering is superb, and Bidu Sayao is in magnificent voice on all of it. It would be worth the if only for the "O mio babbino caro" and Musetta's waltz, which I have never heard done better, but all of the album is beautiful. She was one of the greatest sopranos of the twentieth century and this album will prove it to anyone but a total idiot.
This is sheer delight. For an evening of complete sensory pleasure, read the Rosetti poem, allow a Godiva chocolate melt in you mouth, look at the Pre-Raphaelite painting, sip some sweet sparkling wine, and listen to this recording(lying down, of course).
This CD showcases famous Welsh bass-baritone Bryn Terfel raging, melting, and burning his method through a unbelievable dozens of Handel arias (although I would have left out the 'Messiah' selections and gone for a few of Handel's 2,000 or so less-recorded songs).According to Gerald Abraham in "Handel, a Symposium" the heroes that Terfel chose to bring to life in this recording generally had high soprano voices. Tenors and baritones were relegated to subordinate parts, and @#$%!& to those of tyrants or sages: "... in modern revivals of Handel's operas it is generally fatal to give [the castrato] parts to tenors or baritones to sing an octave lower."In the first selection, Terfel takes on the role of Simon, brother of Judas Maccabaeus, which was originally a bass role. Critic Abraham could not object to this, although he might have a issue with the transposition of the arias for Demetrius ("Berenice, Queen of Egypt"), Caesar ("Julius Caesar in Egypt"), and Xerxes ("Xerxes"). If you are a purist, this CD might not be for you, but you'll miss out on some grand singing.I'm especially fond of Terfel's handling of the slow, reflective arias "Verdi prati, selve amene" from 'Alcina,' and "Ombra mai fu" from 'Xerxes' (often called "Handel's Largo" despite the composer's "larghetto" marking). Here, the singer shuns lachrymose emoting. It is the purity of his tone and choice of dynamics that touch the heart."O ruddier than the cherry" from "Acis and Galatea" is robustly sung by the love-sick Polyphemus/Terfel. In spite of the buoyant central rhythm, every word is clearly enunciated. The preceding, accompanied recitative "I rage, I rage, I melt, I burn!" is a masterful, shimmering growl of ong with Xerxes's plane tree and Polyphemus's cherries, Terfel returns to an arboreal topic in "Where'er you walk" from Semele. His command of musical and textual nuance is impressive in this tenderly sung aria. The ornamentation by Sir Charles Mackerras enhances rather than detracts from this attractive love song.Another highlight of this CD is Terfel's interpretation of "Revenge, revenge, Timotheus cries" from "Alexander's Feast." He snarls through the trumpets with frenzied, dead-on ornamentation. However there are a few unusual hesitations, such as a slight pause between 'Timotheus' and 'cries,' and at first hearing, I didn't care for them. Now they create textual sense to me. His hissing snakes and sparkling eyes are flawlessly emphasized. Each melisma is rhythmically special and perfectly e latest three selections from Handel's "Messiah" are unfortunately rather ordinary. "Why do the nations" has a strange repeat, and Terfel seems to be singing it up into his mask which makes it sound two-dimensional. There is also a small too much flattening or 'whitening' of the melismas, plus an occasional unattractive growl. I much prefer Samuel Ramey's deep, seamless coloratura in these three bass rhaps Handel's "Messiah" is one of those works that truly separates the bass-baritones from the basses.Other than the above complaint, Bryn Terfel pays grand homage to the dramatic tension, the text, and the musicality of Handel's arias.
I've been a huge fan of Handel's ever since I heard Messiah back in the 9th grade. I've listened to and purchased a lot of versions of Messiah, other oratorios, and whole slew of his instrumental music. But I've never heard any Handel as well performed and as well recorded and engineered as this album of Handel Arias by Bryn Terfel. And given the leeway singers of Baroque arias are expected to take executing those sixteenth note runs in the music, that kind of perfection is incredibly rare. Everything is executed flawlessly...no additional breaths...or breaking things up....or overly "creative"vocal ornamentation that can ruin these kind of recordings. Mr. Terfel baritone voice, suited for just about any kind of opera singing out there, never overpowers these pieces. He executes these pieces with power and conviction when required, and grace and precision when dealing with more delicate arias. His ver of "The Trumpet Shall Sound" from Messiah gives me goosebumps every time I hear it.But this CD isn't just about a fine vocal performance. The Scottish Chamber Orchestra under the direction of Mackerras performs flawlessly. You can hear detail in the orchestra, but the balance between Mr. Terfel and the orchestra, and within the orchestra is always clean, clear, with every instrument very specifically placed in the mix. Mr. Terfel is closely miked, but the engineer maintains a nice hall reverb without it ever overpowering the performance.Take a listen for yourself. Highly recommend. Now if we could just could a second volume of these. Or a double album with Renee.
I listen to counter tenors much less nowadays and Fagioli is an exception to my playlist. The main reason is the universal 'problem' of metallic timber, particularly in the upper range. However, again, Fagioli commands amazing techniques that obviate that unpleasant side result of falsetto singing. I attribute his uniqueness to techniques because his first recording (Handel et Mozart) at age 22, did also suffer from the same issues as other singers of his voice type. As a results, most of his high notes don't cause me to cringe as most counter tenors (and their entire range actually). Perhaps this is harsh - the counter tenor voice to me sounds like the declining Callas voice in her late career, in timbre and color - interesting but not much of instrumental , this album includes a top Handelian repertoire for counter tenors / mezzos, as one would expect. It'll be a amazing addition to your collection if you do not yet have such, or you simply do not own any of Fagioli's albums. Here, Fagioli demonstrates his tour de force techniques and the unusually even timbre, on the most parts - with a few arias, e.g., 'Venti, turbini', his brandishing high notes clearly exceed his capacity, which I search unnecessary. Although with his range, I do understand, it is expected of him to hit those highs in today's fashion. On the other hand, say, 'Dopo, notte' has the showcase high flourishes but does not expose the singers limits. This is a fiendishly hard number and it is a challenge to search few on par with Fagioli's ease do not hesitate to obtain this album.
I just love the Baroque period, and Handel is one of my favorites. This type of intricate melody requires a very strong voice to do it justice, and Franco Fagioli handles it beautifully (no pun intended). He has an wonderful range, and he sings with such power and precision. I think that he's the best counter tenor I've ever heard!
I saw Franco Fagioli perform this collection of arias at the Opéra Royal, Versailles, in January 2018. Absolutely breathtaking and thrilling. Such plangent beauty too. I can’t stop playing this album. The highlight for me, amongst many, is Dove Sei Amato Bene from Rodelinda. A stunning and emotional performance. He’s such an accomplished artist, you can start to imagine what the baroque castrati sounded like and why they were the superstars of their age.
Every bit as amazing as Enigmatis 2, if not better, and the theme likely has a wider appeal. The activation zones in the puzzle involving several wooden figures are "way off" (tried 3 times without success before Tip told me that it was indeed possible), but the rest is perfect - graphics, audio, pacing, characters, object interaction. Eventide and Enigmatis 2 easily set a fresh standard for Artifex Mundi quality, and i hope they create more titles like these, rather than more like their Time-traveler series.
I really enjoyed this game. The storyline was neat and interesting, the graphics and setting were cool. Mini-games and HOPs were decently challenging without being too difficult, although some I felt were a small too easy. The story was incredibly short, and I was bummed I couldn't go back and search the one card I missed. But otherwise a android game well worth spending time and on!
Eventide is definitely one of my absolute favorite offerings from Artifex Mundi, and I love that I obtain to learn about Slavic culture while I'm being entertained. The graphics are stunning, the plot is fun and interesting, and the puzzles are entertaining.
“Eventide: Slavic Fable” is an exciting adventure android game inspired by Slavic mythology. Set in a contemporary heritage park where mythical monster coexist with humans. Overall, the android game is worth playing and very addicting to obtain attached to. The plot is an added that boosts the game’s overall experience. The missions are short and simple to complete. The puzzles are simple yet difficult to solve and the hidden objects are well diversed and well balanced throughout the android game and in each scenario. Every stage is various and has a complex ambiance to it yet maintains a constant theme throughout. Each theme and stage correspond well with the mood of the android game and changes whenever something eventful happens. The narrative is helpful tutorial yet at the same time a challenge for players to decipher. The android game is very enjoyable and fun to play at the player’s pace. I would give it 3 out of 5 stars.
Eventide is considerably shorter than most of Artifex Mundi's games, but its inventiveness makes it worth buying. This is a true puzzler's delight. Even the HO android games have creative twists. The cast of characters is interesting as well - it's like a Slavic ver of The Hobbit. I hope A.M. will bring us more android games set in this world.
Was really enjoying the android game and even purchased the game. Now i am stuck and cant proceed. In the stage where you hav3 to fix the boat the brush is at the bottom of the screen and when i test to select it it activates the go back option making it impossible to select the brush.
Okay this sucks. Earlier I tried to Eventide 2. U took my but didn't unlock. So I decide to reload Eventide the one I purchased a while ago. It is now locked too. Ugh! I bought both android games whats up with this? And yes I have tried the unload/load trick.
I'm having issues playing this android game on my Galaxy S7. All the cutscenes are purple and the characters heads turn purple from time to time. No such problem on my S4 though. Even so it's one of the better adventure android games I've played so far. Worth the buy.
Amazing graphics. Storyline flows. Would recommend to a friend. Mini android games not so difficult you wish to give up. Can play on phone with zoom feature. Only negative, HOG item list is difficult to read. How about including it in the zoom feature. Amazing job!!!!