![]() “Rose,” however, one of the album’s best tracks, wilted in the mushy sound, with Sakamoto’s singing a virtual monotone. Three vocalists added piquant touches of Japanese classical-style singing, especially on “Calling From Tokyo.” Interesting moments surfaced from time to time: “You Do Me” managed to generate some rhythmic vigor, and Sakamoto’s solo piano work revealed some provocatively dissonant (if oddly disconnected) harmonic ideas. Sakamoto’s eight-piece ensemble devoted most of the program to a reading of the music from his new album “Beauty.” But the energy, subtlety and feeling of the record virtually disappeared in the cavernous, reverberating sound of the Palace. When composer/actor/pianist Ryuichi Sakamoto was writing portions of the score of “The Last Emperor,” director Bernardo Bertolucci kept telling him to give it “more feeling.”īertolucci should have been around for Sakamoto’s performance at the Palace on Monday to offer similar advice.
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