the Abode of Peace!" ~ Arabian Nights

I've been a fan of Sarah Brightman since the release of 'Eden' back in 99 and have since then acquired many of her albums and concert DVDs and, imho, this is by far her best work to date (although many will disagree because it's so experimental). She's a true angel of music and 'Harem' (forbidden places) explores the exotic with beautiful, crystalline singing and ethereal, wordly-pop meets middle eastern beats that will keep you entranced until the very end (and then you'll probably start it again because world music can be very addicting if it's done the right way and if you've got the ear/taste for it). This album is hypnotic and enchanting and very different from her successful predecessor 'La Luna' but it definitely rises above anything she's ever done before and it showcases her love of varied styles. Operatic singing is pretty much nonexistent here but she still incorporates her old roots with a well-trained classical voice on "A Stranger In Paradise" and a great adaption of Puccini's "Un Bel Di" (It's a Beautiful Day). Frank Peterson continues to guide Sarah's career in the right direction by producing the sweeping, dance-infused "Harem" (the title being a song in which she wrote herself) while bringing in some new faces to spice the mix up, like keyboardist Jaz Coleman (ex-Killing Joke who also worked on the highly praised New Zealand project, Oceania) to breathe life into the soaring string orchestrations.

'Harem' also features a lot of guest artists, such as the passionate Iraqi vocalist Kadim Al Sahir on "The War Is Over" and classical violinist Nigel Kennedy who recently worked with crossover star Josh Groban. The late Ofra Haza appears on "Mysterious Days" while Natacha Atlas lends additional background vocals on "Arabian Nights" (the theme for this record) which, lyrically, is separated into five different parts that fuse together seamlessly.

Since the entire album is absolutely stunning, it's nearly impossible to choose favorites here but "What You Never Know", "The Journey Home", "Free", "The War Is Over", and her breathtaking remake of Mandalay's "Beautiful" seem to standout the best with me. The Asian-influenced, U.S. bonus track "You Take My Breath Away" is another notable mention but it's hardly new to me. It was originally released on her import album "Fly", which would probably be the best of her previous albums to compare this to as it was her first real venture into the pop-rock genre.

Sarah may be singing simpler tunes on 'Harem' but she's never sounded better. This album is like a trip on a magic carpet ride to foreign lands that breakthrough to the peaceful paradise of your inner dreams - only your still awake - and it's sure to elate and exult your spirit.

the Abode of Peace!" ~ Arabian Nights

I've been a fan of Sarah Brightman since the release of 'Eden' back in 99 and have since then acquired many of her albums and concert DVDs and, imho, this is by far her best work to date (although many will disagree because it's so experimental). She's a true angel of music and 'Harem' (forbidden places) explores the exotic with beautiful, crystalline singing and ethereal, wordly-pop meets middle eastern beats that will keep you entranced until the very end (and then you'll probably start it again because world music can be very addicting if it's done the right way and if you've got the ear/taste for it). This album is hypnotic and enchanting and very different from her successful predecessor 'La Luna' but it definitely rises above anything she's ever done before and it showcases her love of varied styles. Operatic singing is pretty much nonexistent here but she still incorporates her old roots with a well-trained classical voice on "A Stranger In Paradise" and a great adaption of Puccini's "Un Bel Di" (It's a Beautiful Day). Frank Peterson continues to guide Sarah's career in the right direction by producing the sweeping, dance-infused "Harem" (the title being a song in which she wrote herself) while bringing in some new faces to spice the mix up, like keyboardist Jaz Coleman (ex-Killing Joke who also worked on the highly praised New Zealand project, Oceania) to breathe life into the soaring string orchestrations.

'Harem' also features a lot of guest artists, such as the passionate Iraqi vocalist Kadim Al Sahir on "The War Is Over" and classical violinist Nigel Kennedy who recently worked with crossover star Josh Groban. The late Ofra Haza appears on "Mysterious Days" while Natacha Atlas lends additional background vocals on "Arabian Nights" (the theme for this record) which, lyrically, is separated into five different parts that fuse together seamlessly.

Since the entire album is absolutely stunning, it's nearly impossible to choose favorites here but "What You Never Know", "The Journey Home", "Free", "The War Is Over", and her breathtaking remake of Mandalay's "Beautiful" seem to standout the best with me. The Asian-influenced, U.S. bonus track "You Take My Breath Away" is another notable mention but it's hardly new to me. It was originally released on her import album "Fly", which would probably be the best of her previous albums to compare this to as it was her first real venture into the pop-rock genre.

Sarah may be singing simpler tunes on 'Harem' but she's never sounded better.

As for the limited edition DVD, that is a very nice inclusion for fans like me who can't get enough of this goddess in motion. She's such a fun person to watch and you can really see that she loves what she's doing. On the making of Harem you get to experience several behind the scene features, such as the recording of the orchestra, the backing vocals, many instrumental sessions and, of course, Sarah at Nemo Studios with boyfriend/producer Frank Peterson. The DVD also consists of a Marrakech photo shoot, a trip around Morocco with Sarah, the original and alternate music video for "Harem", a slow moving photo gallery, a discography of her recent albums (excluding the less popular "Dive" and "Fly", for some reason), and a very interesting biography.

This CD is gorgeous!

Sarah Brightman has a voice that deifes expectations. Anyone who knows her unique talent doesn't need a review to understand that taking that incredible instrument, and blending it with sensuous Middle Eastern instrumentation, classical textures and modern dance rhythms has to result in a nearly perfect product. Anyone who doesn't know Sarah, but apprecites fine music, owes it to themself to make "Harem" their introduction to one of our greatest working songers.

The highlight of this set (and there are many great moments, but this song is unvelivably good) is "The War Is Over". Featuring a brilliant violin contribution from Nigel Kennedy, and vocals by Kadim Al Sahir, this song is intense, clever and haunting. Brightman and Al Sahir's vocals sound like they are flying over the underlying melodies. Their voices work so well together, you have to pray that Al Sahir accompanies Sarah on her world tour later this year, because this song will play incedible in a live setting.

Sarah has a great talent for choosing remakes, and always makes the songs so personal that her versions become new standards. The two choices on "Harem" are Louis Armstrong's "What A Wonderful World", and "Stranger In Paradise". Both are excellent choices, but extra kudos have to go to her version of "Paradise". Bathed in Eastern rhythms, Sarah's vocals on this song capture the desire that the well-known lyrics always seemed to convey in a whole new light. I kept playing this over and over, because listening to the shifts in vocals is a true pleasure.

Nigel Kennedy also contributes to "Free", an end-of-a-love-affair song with an intense string section. It's amazing how well Sarah's vocals shift from singing this type of song into the almost raucous "The Journey Home" which has the expected percusssion that accompanies most Bollywood tunes, but again bbenefits from an all-out vocal.

Other highlights are the simple, touching "What You Never Know" (which sounds like a potential radio hit", and "Beautiful" a very lush, very quiet ballad with wonderful instrumentation.

I can't wait to hear (and see, because part of the fun of being a Brightman fan is attending her "all-out" live shows) these songs performed live. There are very few stars that could take this incredibly produced studio session, and turn it into a live show that exceeds the recorded performance. "Harem" represents a great opportunity to learn of this lady's vast talents - or to remind yourself why she is a great a performer as anyone working today.

Poor Sarah. She puts out a Middle-Eastern concept album, after Shakira explored the genre with Ojos Asi, a few years ago. La Luna, by comparison, was more original in terms of concept. Overall, La Luna is a more polished, far less kitschy album than Harem, but even so, Harem is enjoyable, and has more than its share of great moments.

Harem- A rather genius concept, of beginning with a very seductive mid-tempo ballad with arabic vocal flourishes, which gives way to a dance beat. Many Sarah fans list it among their favorites, with good reason.

What a Wonderful World- I cringed when I read the title on the back of the CD. This is one of those classic songs that always got on my nerves. Anyhow, give it a try anyway. I like Sarah's "interpretation", which is more uptempo, and set against a more rock/techno background.

A Beautiful Day- Sarah's electro Cio-Cio-San moment. Some opera purists would die if they heard her take on Puccini's popular heroine; I say let Sarah have her moment. The only thing I find dull about this track is the rather generic-sounding string arrangement. If her interpretation of Un Bel Di Vedremo sounds histronic, she redeems herself by laying over it a nihilistic English-language vocal, about being prepared to die.

What You Never Know- Sounds like it was recorded for Eden, and not Harem. Reminds me vaguely of So Many Things, from Eden.

The Journey Home- The song with the most "Disney factor". Not as inspired as Arabian nights. Still, Sarah sings it with plenty of conviction.

Free- Another crowd favorite. I love this song's take on the jilted lover- not the Alanis Morissette type, but the Sarah type, one that is wistful and in need of emotional healing. The sound is lush and melancholic.

Mysterious Days- Very nice uptempo song, another favorite. Infectious Eastern pop, with the wonderful voice of the late Ofra Haza. A strong hook and killer chorus.

The War is Over- A song that verges on monotany, but shines with its poignant lyrics and genuine emotion.

Misere(re) Mei/Beautiful- Funny, how Sarah's path crosses more than once (!) with the now-defunct new wave band OMD. Both sampled "one small step for man...", Sarah for La Luna, OMD for their Sugar Tax Album. Now, Sarah samples Miserere Mei for Harem, while OMD did, also, for Sugar Tax, on the song Walk Tall. Coincidence? Anyhow, this song feels like it was intended to be a sort-of follow up to Here With Me, the soaring Dido-penned song from La Luna. Beautiful replicates the "frozen" electronic sound, but Sarah's singing is much more restrained than on Here With Me. In the end, Beautiful isn't as jubilant as Here with Me, but is almost equally as successful.

Arabian Nights- Wow... Everything gels just right here. A song that starts off serene and elegaic, then becomes very French-disco, Erasure sounding (I can hear Andy Bell crooning "Voyage, Voyage"), then launches into a soaring Eastern vocalization that gives way to a chant that Madonna would be envious of. I am usually not a fan of guitar sounds on Sarah's albums, but the guitar at the end of the album even sounds very much in step with all the rest. Good job, Sarah. You definitely got it right this time.

Stranger in Paradise- A track that has a lot of promise, with its intimite, nostalgic sound, but one that Sarah almost killed by deciding to sing it with an "operatic" vocal. A little more restraint would have done this track infinite justice.

Until the End of Time- A song that I swear I heard before- but evidently it is a Sarah original, so it cannot be. Very original lyrics, set against a postmodern background.

You Take My Breath Away- Who cares if it was recycled from Fly? It is the perfect way to end the album, conjuring up not just Middle-Eastern Music, but Deep Forest and Enya. Like it or not, Sarah hits a home run here.

P.S.- To the reviewer that complained about Sarah being middle aged with split ends, etc, please try reviewing the album, instead of indulging in your personal vendetta. And don't you dare try to accuse Sarah of racist slurs.

The Dancing Queen!

It was much too long a wait between "La Luna" and "Harem", Sarah Brightman's all-new album, but well worth the patience since this is possibly Ms. Brightman's finest work to date. Ever since hearing the title track from Phantom Of the Opera, with its electronic beats and Ms. Brightman's ethereal Soprano soaring to the heavens, I always new there was a future for her singing dance/Euro-electronic tunes, along with powerful and dramatic ballads. With the arrival of "Fly" in 1996 and the track "A Question Of Honor", my suspicions were confirmed ~ a marvel of electronic wizardry and operatic vocals that conjure up club land every time I hear it. With "Harem", Ms. Brightman picks up where "Fly" left off ~ dancy, trancy, trip-hop-happy, and full of pop exuberance ~ all with the silky smooth, lush productions that distinguished "Eden" and "La Luna". Along with Mylene Farmer and Madonna, Ms. Brightman constructs the finest records by any pop female singer today, using impeccable production values that enhance her prodigious voice without distorting or disguising it. I will not go into a song-by-song description ~ that has already been done quite nicely by another reviewer. While one can highlight individual tracks, "Harem" is best experienced in one, uninterrupted hearing. May Ms. Brightman continue to conjure up more of her special world of fantasies, dreams, and sensual musical magic.

Brava Sarah!