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Disco de Laura Pausini: “Escucha”
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Fecha de Publicación:2004-12-14
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Tipo:Desconocido
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Género:Latin, Pop Latino
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Sello Discográfico:
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Letras Explícitas:No
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UPC:825646189663
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Análisis (en inglés) - AMG :
Laura Pausini is a rarity: an Italian pop singer who has recorded in Spanish extensively and is a star in both Italy and the Spanish-speaking world. In 2004, Pausini acknowledged both audiences when she recorded Escucha and Resta in Ascolto, which are essentially two versions of the same album; they contain the same 11 songs in the same order, but Escucha is in Spanish while Resta in Ascolto is in Italian. And if one plays them side by side, it is clear that Pausini sings as convincingly en español as she does en italiano. Spanish speakers will notice that Pausini, like a lot of Europeans, has learned to speak Spanish the castellano way; she pronounces certain words in a way that is unique to Spain and isn't heard in Latin America. For those who learned a more Latin American variety of Spanish, castellano sounds very posh in much the same way that a London accent sounds posh to an American -- not any better or worse, but definitely posh. And that poshness serves Pausini well on a romantic, ballad-friendly disc like Escucha, which is essentially adult contemporary in Spanish. Pausini isn't the most challenging singer in the world, but from an adult contemporary standpoint, she's undeniably good at what she does -- and the influence of Celine Dion and Phil Collins is evident on lush easy listening items like "Tu Nombre en Mayúsculas," "Me Abandono a Ti," and the dreamy "Viveme" (the theme song from La Madrastra, a Mexican telenovela that ran on the Univision network in the United States). Escucha and its Italian counterpart are equally enjoyable, although Escucha will obviously have the greater commercial advantage in the Spanish-speaking market. ~ Alex Henderson, All Music GuideAnálisis (en inglés) - :
No stranger to success, {\Europop} sensation {$Laura Pausini} sold over 25 million albums in her first decade or so of recording, quite a feat for someone who was just turning 30 years old and had never broken into the lucrative English-language market. Yet she essentially struck out when she did try to cross over to that English-language market in 2002 with {^From the Inside}. Put mildly, the album bombed stateside. Its qualities (and the qualities of stateside consumers) aside, it was the first full-fledged failure {$Pausini} had experienced in a career of multi-million-selling albums and sold-out world tours. Here was someone who had sung for {$Pope John Paul II} at Christmas and for {$Barbra Streisand} at a birthday party, yet she couldn't sing for ordinary Americans, who just weren't interested in her melodramatic schmaltz. And so {$Pausini} took a sizable break, perhaps the first of her whirlwind, world-conquering career. When she did finally emerge from her self-imposed silence, she returned with {^Escucha}, her first Spanish-language album in four long years (not counting her best-of collection in 2001). (The album was also released in an Italian-language version, {^Resta in Ascolto}.) Expectations were high, obviously, for she'd been gone for what felt like an eon in music years, and they were also high because of the dissatisfaction her Romance-language audience felt with her after the English-only {^From the Inside} and its resulting mixed reception internationally. All of the tension seems to have seeped into the music of {^Escucha}, because this is probably the most intense {$Pausini} album to date. Sure, {\Europop} is by nature dramatic in tone, brassy in approach, melodramatic in mood, and bombastic in practice. But man, {$Pausini} really takes that approach to its fullest extent here, for a great many of these songs feel like "power" {\ballads}, with their soft-hard dynamics, soaring choruses, and emotive outpourings. The album's stellar standout single, {&"Víveme,"} is the prototype. As its chorus approaches, it builds in tension, only to explode in a burst of strings and voice worthy of a solar eclipse. {&"Escucha Atento,"} also a single, is another good example, with its outright rocking chorus (perfectly embodied by its video, which has {$Pausini} emoting the chorus from a mountaintop -- with a setting sun behind her, no less!). And so the album goes, with the earlier-sequenced songs packing most of the punch. That's not really a figure of speech, either -- this album really does pack a punch, especially in terms of {\Europop}. {^Escucha} is a forceful return for {$Pausini}, and it bodes well for her continued success. {^From the Inside} notwithstanding, she's made a great career out of precious and passionate indulgence, topped off with her fragile beauty and Italian-Spanish accordance. Few, if any, have done it better, and for that reason, it's great to hear her regain her footing and deliver a purposeful album that just oozes everything poetic about {\Europop}. Nope, nothing schmaltzy here -- nada. ~ Jason Birchmeier, All Music Guide
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