ItÕs obvious that listeners either love what Sarah Brightman does, or they hate it. Sarah sings what she wants, in the language she wants, mixes the music the way she wants, dresses the way she wants and styles her photos the way she wants. Amen to her and Tina Turner, Bett Midler and Linda Ronstadt, who are simply doing their music the way they want.

Listen to the songs on La Luna that represent the style of music you enjoy. ThereÕs pop, rock, folk, opera, classical and some teckno. I donÕt favor every song on this cd, or that Sarah has ever recorded. I doubt that she does. I lean toward the romance language songs on La Luna, because of their beautiful flow. I appreciate the moody and rock songs, because I grew up on Pink Floyd and the groups they kept company with. I would also rather hear SarahÕs voice than the orchestra or synthesizer.

Above the attempts to analyze, is Sarah BrightmanÕs spectacular voice. She has taken a small gift and, through hard work, turned it into a huge talent. La Luna is her best effort in a long list of very successful accomplishments.

Beautiful and Soul-soothing
This latest offering from our Angel of Music easily lives up to expectation. It's her fourth thematic recording (preceeded by 'Dive','Fly', and 'Eden'), focusing on the surreal, mysterious, pale, and luminescent beauty of the moon. As before, Sarah Brightman perfectly captures the aesthetic feel of her subject. And as always, she sings with such perfect, intricate fragility on appropriate songs, and gorgeous strength on others, that the emotional immediacy is equal to, if not better than, that of Andrea Bocelli. Our Angel delivers a beautiful and soothing performance to rival 'Eden'. The tracks that really stand out are 'Winter in July', a great pop song; 'This Love', hauntingly beautiful; 'Hijo De La Luna', a delicate yet powerful piece with great lyrics and an excellent piano part; and 'Solo Con Te', so beautiful it sends shivers up my spine every time I hear it. The only tracks I don't absolutely love are 'A Whiter Shade of Pale', which is rather formless; and 'How Fair This Place', which is simply too operatic for my taste.

Beautiful
I haven't got much to say about this album other than check out the track "He Doesn't See Me." Gorgeous!

As Good As EDEN
~..which is saying a lot! These 3 Sarah B. albums are among the most timeless pop/classical albums ever recorded! Every song here on LA LUNA is worth the price, and there are some really incredible pieces! (1) The tune based on Beethoven's 7th Symphony Slow Movement, (2) Scarboro Fair, (3) Whiter Shade of Pale, and (4) most amazing of all the very strange and mysterious Gloomy Sunday, among the most haunting ballads ever, and here done to perfection! I've heard this song was banned in France for~~ its suicidal interpretation during WW II, much like Goethe's "Sorrows of Young Werther" over 200 years ago! Any Sarah CD is worth while, but this may be her best! . And for a nice final touch , MOON RIVER ,which is not even mentioned in the album notes! l~
Sara Brightman has the voice of a tiny sweet angel and uses her vocal ability to the outmost of her ability. Many people do not like crossover music and for them I say this 'sucks to you'. Miss Brightman makes crossover music fun and vital whilst still showing her great prowess. Highly Recommended.
Superstar crossover vocalist Sarah Brightman greets the new millennium with an even surer, bolder sense of her unique musical niche than that evident from 1999's Eden. Like Eden, La Luna is a concept album only in a vaguely free-associative sense. The selection of material here touches on images of the moon that reinforce its ambiguity as a force known to draw together "the lunatic, the lover, and the poet" (Brightman's photo shoots for the album do seem to suggest a sort of Titania-like figure out of a New Age Midsummer Night's Dream). And it's a stylistic as well as thematic voyage, coursing from such contemporary sounds as synth pop (on "This Love") through vintage jazz standards (Billie Holiday's atmospheric and haunting "Gloomy Sunday") to high opera for the title track (a version of the sublime "Song of the Moon" from Dvorák's fairy-tale opera Rusalka), and drawing elsewhere on the gorgeously sinuous melodies of Bach, Handel, and Rachmaninov--one song, "Figlio Perduto," even adapts the slow movement of Beethoven's Seventh Symphony. Throughout, producer Frank Peterson swathes Brightman's shiny small voice in luxuriant fabrics of sound. Detractors will lament the resulting sameness of tone--no matter what the style involved--but Brightman's focus on spinning an ethereal spell never gets eclipsed. This domestic release includes three tracks not available on the import version and has a special treat hidden in the final track as a bonus. --Thomas May