...composer Carlos Rafael Rivera offers a score that is unexpectedly melodic, yet entirely effective.
Carlos Rafael Rivera’s score is probably the only TV music of the year that I can remember other than the music of ‘Stranger Things’— it’s that memorable and hooky.
...From the new recording were the complex rhythmic games of Carlos Rivera's Cumba-Quin--with the composer present for a well-deserved bow--...
Yet the most arresting manipulation of voice and sound came in Motet for 12 Singers by Carlos Rafael Rivera. The motet consisted almost exclusively of the five sacred syllables of the Tibetan Buddhists: Bhyo, Hum, Om, Hsi, Kye. Its effects ranged from pitch-bending, drone and glissando to the most percussive elements of speech, in which the singers were in fact not singing at all but were exploding single consonant sounds from those five syllables to create continually diverse sound effects.
…an explosive percussiveness...
The packed crowd...responded enthusiastically to the new piece with a long standing ovation. Although only time will tell whether Rivera has done for Miami what Gershwin did for New York and Eric Coates for London, but this is an accessible, highly entertaining new work.
This is a charming, relatively lightweight concerto, with plenty of attractive melody and color, and its appeal to the Knight Concert Hall audience, which applauded it enthusiastically, is clear.
Carlos Rafael Rivera went all Debussy when he sat down to compose the slow movement of The Whirler of the Dance. (Guitarist) Izquierdo placed it in soft moonlight.
The score for the show was composed by Carlos Rafael Rivera and it was pretty f*$#% great.
Yet, as Frank is a genuinely top screenwriter, the dialogue is choice, and Neeson is compelling as the protagonist, credible and authoritative in a way few Hollywood leading men could ever be. Possibly even better is Carlos Rafael Rivera’s moody score.
Even after six chapters, it’s testament to how good it all looks – and how evocative Carlos Rafael Rivera’s score is – that you’ll never skip the opening credits.
Prominent in the first scene was a buzzing effect in the strings, and in the sober second a clarinet solo. The work ends with motoric and assertive music that recalls Stravinsky’s “Rite of Spring.” The performance was warmly received and Rivera was present to take a bow.