…an explosive percussiveness...
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--...
...composer Carlos Rafael Rivera offers a score that is unexpectedly melodic, yet entirely effective.
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.
The score for the show was composed by film tv music composer Carlos Rafael Rivera and it was pretty f*$#% great.
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).
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.
…exposed the nostalgia, sorrow, and hope that characterize music from the folkloric tradition of the Sephardic Jews.
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.
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.
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.