Composer Carlos Rafael Rivera layered a silky yet haunting string melody over the gritty images created by Method Studios, giving the Netflix drama a flair reminiscent of its premium channel competitors.
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.
...From the new recording were the complex rhythmic games of Carlos Rivera's Cumba-Quin--with the composer present for a well-deserved bow--...
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.
…an explosive percussiveness...
Come for the top-shelf talent involved, stay for the lead performances, crisp photography, and lovely music (courtesy of T Bone Burnett and Carlos Rafael Rivera).
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.
The score for Godless is really excellent. It’s credited to composer Carlos Rafael Rivera, who previously did the score for another Scott Frank project, the Liam Neeson vehicle A Walk Among the Tombstones.
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.
The score for the show was composed by Carlos Rafael Rivera and it was pretty f*$#% great.
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.
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.