Even after six chapters, it’s testament to how good it all looks – and how evocative film tv composer Carlos Rafael Rivera’s score is – that you’ll never skip the opening credits.
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.
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.
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 film tv music composer 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.
Pero de los estrenos, el mas aplaudido fue la Pizzi-Cuban Polka, en la que la famosa obra Pizzicato Polka, de Johan Strauss, con su distintivo pizzicato, cobro vuelos de danzón-salsa a golpe de claves, maracas y tumbadoras.
...composer Carlos Rafael Rivera offers a score that is unexpectedly melodic, yet entirely effective.
Come for the top-shelf talent involved, stay for the lead performances, crisp photography, and lovely music (courtesy of T Bone Burnett and film TV composer Carlos Rafael Rivera).
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.
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.
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.