Star Trek: Nemesis


Colosseum (4005939641221)
Varèse Sarabande (0030206641226)
Película | Fecha de estreno: 26/11/2002 | Estreno de película: 2002 | Medio: CD, Descarga
 

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# Pista   Duración
1.Remus1:58
2.The Box2:20
3.My Right Arm1:02
4.Odds and Ends4:37
5.Repairs6:26
6.The Knife3:09
7.Ideals2:15
8.The Mirror5:21
9.The Scorpion2:21
10.Lateral Run3:54
11.Engage2:12
12.Final Flight3:47
13.A New Friend2:36
14.A New Ending6:08
 48:06
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Star Trek: Nemesis - 06/10 - Crítica de Adam Andersson, Publicado en (Inglés)
And so the tenth input of the Star Trek film series has arrived on the big screen, for the fifth time accompanied by a Jerry Goldsmith score. Unfortunately, this fifth one fails to reach the same high level as the previous ones, making it Goldsmith’s weakest input to the series. Furthermore, the score offers some noticeable changes from the previous scores, first and foremost being exceptionally darker.

This stands clear from the very beginning (“Remus”), when the score opens quietly with a synthesiser and a trumpet, which later leads into the familiar Alexander Courage fanfare, although not in the ordinary soft arrangement, but a more powerful, right-on version. This then launches directly (and very suddenly) into the new theme of the score, a harsh theme for Captain Picard’s Romulan nemesis. This theme is more of a pure action theme than really a main theme, and it is featured in many different guises in the score, often performed by low brass.

And that is actually the problem with this score. The themes. Or, rather, the absence of themes. Other than this bombastic action theme there are no other new themes. The score is instead mainly based upon this single theme, and, positively enough, pieces of earlier Star Trek scores, like the main theme from Star Trek: First Contact, and some bars from the “Enterprise” cue from the Star Trek: The Motion Picture score. But for the most part there is only thundering, low action music. And while the backside of this score is the relatively weak main theme, the good part of this score is also related to the main theme – namely its action character. Because even if the theme is not very memorable as a standalone theme, it surely makes for some good action music! The cues are flowing with high strings and low brass, all the time driven by percussion (most notably snare drum) and synths. Instead of being all too loud, and hardly listenable, this is engaging, thematic action music, that never becomes boring. It is nice to feel that the action music is connected, revolving around a specific theme. If you are looking for good action music, and nothing more, Star Trek: Nemesis will not disappoint you.

Sometimes, though, the score gets out of hand, when Goldsmith unleashes too much of his synths, making it all sound like a computer game gone mad, or when he winds down the music to nothing but whispers. But these kind of “disturbances” luckily do not occur too often, and soon the ordinary fast pace and thrills has returned. When the main theme glistens in strings or brass, like in the end of “Odds and Ends” or in “Lateral Run”, the score is at its best, and features action music that is better than much of Goldsmith’s earlier works of that type.

But that is not enough for a great score. It’s enough for a GOOD score, but not for a GREAT score - hence the three stars. Even if the interludes to all this action with the theme from First Contact are welcome breaks (“My Right Arm”, “Repairs”), they offer little new material. The theme has been slightly altered, though, but it offers little more to the listening than just breaks. The first of these, “My Right Arm” is rather good though, with the First Contact theme performed by solo oboe. Furthermore, when the action music features the main theme, it is, as said, great, but between the performances of that the music is often rather dull and unfortunately uninteresting.

The score closes with an ordinary end credits suite, “A New Ending”, opening by a quote from Irving Berlin’s “Blue Skies” which then leads into the usual Goldsmith Star Trek end credits, framing a performance of the main theme, this time played like it has never been played before - displayed in a full-bodied sweeping statement. With that the score comes full circle, despite its lacking in other fields. In the end we get a score that is definitely worth hearing, but I would not recommend it to others than fans of either brassy, dark action music or of Jerry Goldsmith. A new score from a master, worth hearing, but nothing to search the globe for.
Star Trek: Nemesis - 06/10 - Crítica de Tom Daish, Publicado en (Inglés)
There are few things more depressing for a reviewer than feeling like a party pooper, but in the case of Jerry Goldsmith's latest Star Trek opus, I feel that I must be the small voice of dissent. Early press for Nemesis (Star Trek 10, if you're counting) has been wildly enthusiastic with suggestions of it being the most exciting and intense Trek score yet. Experience has taught me to calm expectations when press releases sound too good to be true. This is not to say that Nemesis is a bad score, merely that it is not a particularly outstanding one.
I wonder if the biggest problem with Star Trek, at least in the movies, is the lack of spectacle. Star Trek: The Motion Picture and Star Trek 5 both might have been lacking in various areas (acting and budget, respectively), but they at least attempted some element of spectacle. They might not have pulled it off, but it does leave room for the composer to write music to suggest the spectacle when the visuals can't provide it. The recent Next Generation films have stuck more to an action adventure format and while perhaps successful in their own right, it doesn't lead to the kind of scoring opportunities that allow for anything special. Although praise has been dished out for Nemesis' new theme - a curious mixture of threat and solitude tempered by a more optimistic development - it still isn't particularly striking. The opening, descending phrase seems to work well as an action motif and is a quite effectively creepy idea on its own, but even the full performance for the end credits can't quite propel it into the pantheon of great Star Trek secondary themes.

Another curious aspect of film scores is how it is often the case that less interesting scores seem to get longer releases than earlier, more worthy scores. Nemesis is the longest original album release (thus discounting the Star Trek: The Motion Picture expanded edition), but several of the early suspense tracks most definitely feel like padding. Goldsmith's synth heavy soundscape seems to noodle around evoking menace, but isn't always interesting music. The Knife and Ideals are perhaps the worst offenders, but portions of the longer tracks such as Repairs and Odds and Ends aren't of great interest. The second half is really a vast improvement, this is where the action kicks in and the album starts to move along splendidly. From The Scorpion onwards, Goldsmith breaks out some exciting action licks, pleasingly original after his seemingly unending succession of US Marshals styled material. Several unexpected touches, such as an insane string counterpoint during The Scorpion, together with a nifty insertion of the Star Trek theme as an action motif, something he's not done effectively since Star Trek 5 make the latter half a cracking effort.

Perhaps in an attempt to introduce some musical harmony, the four note motif from The Final Frontier appears during My Right Arm and A New Friend. Although often referred to as the God motif, its use more suggests the spirit of adventure. Both tracks are the low key highlights and are a welcome break from the churning suspense. A New Ending opens with a few notes from Irving Berlin's Blue Skies, odd but pleasant, and then the Nemesis theme surrounded by a surprisingly wooden rendition of the Motion Picture theme. It seems to have an almost total lack of phrasing and generally listless playing, mainly from the brass, and is a surprisingly disappointing end, although the rest of the score is performed with more vigour. Maybe I'm missing something, but they just don't do Star Trek like they used to and for my money, Nemesis is a variable uninteresting suspense score attached to briefly great action score with a couple of the Star Trek themes thrown in.
Star Trek: Nemesis - 08/10 - Crítica de Arvid Fossen, Publicado en (Neerlandés)
De Enterprise gaat op weg naar de planeet Romulus, waar de bewoners, al lange tijd vijand van de Federatie, vredesonderhandelingen willen starten. Al gauw blijkt dat dit een valstrik was en dat Romulus een bedreiging vormt die de ondergang van de Aarde zou kunnen betekenen …
Met veel verwachting werd uitgekeken naar Nemesis, want toegeven, Jerry Goldsmith heeft met The Motion Picture, Final Frontier en Insurrection de beste Star Trek scores achter zijn naam. Maar waar veel verwachting veelal hunkeren is naar ongelofelijke actie tracks, stelt deze 10de Star Trek film eerder teleur, daar de muziek eerder suspense is. Het bijkomend probleem met die suspense zit in het feit dat we dit allemaal wel eens eerder of te vaak hebben gehoord in eerder werk van Goldsmith. Deze twee elementen spelen dus uit dat echte fans hun enthousiasme al snel moesten laten varen, wat een aantal niet echt terecht negatieve kritieken uitlokte. Want Nemesis is een goede soundtrack, met zowel het alombekende Star Trek thema als onvervalste Jerry Goldsmith suspense thema's. Hij deinst er niet voor terug om soms enkel te blijven bij muziek die je eerder als atmosferisch zou kunnen omschrijven. Maar toch is er voldoende en zelfs voortreffelijke actie muziek te vinden, meer naar het einde van het album toe. De soundtrack is georkestreerd voor groot orkest en wordt waar nodig, vooral bij de suspense, aangevuld met synthesizer.
Star Trek: Nemesis - 08/10 - Crítica de W Deckers, Publicado en (Neerlandés)
Prima score van Goldsmith. Niets vernieuwends, maar een optimale mix tussen akoustisch orkest en synthesizers, ongeveer zoals midden jaren 1980.
Veel bombast! Veel agressie en furieuze ritmes! Een geweldige follow up van zijn meesterlijke Hollow Man.
Wellicht dat we vrij snel dit jaar ST:Nemesis kunnen gaan vergelijken met zijn jammerlijk afgewezen Timeline.
The Federation is about to encounter its greatest challenge - The Romulans want peace.

Conceived in the regal senate halls of Romulus and forged in the dilithium mines of Remus comes a nemesis bent on destroying Picard and the Federation ... in exactly that order.

Ordered by the Starfleet to be the first line of diplomacy in ushering in a new era for the Federation, the crew of the USS Enterprise-E is dispatched to Romulus for an unexpected peace mission. Once in the shadow of the Romulan Empire, Captain Jean-Luc Picard and the Enterprise crew are thrust into the center of a plot that could lead to the destruction of the Earth at the hands of a new and chilling nemesis.

When it comes to STAR TREK music, Jerry Goldsmith rules the galaxy. Goldsmith's scores for the cinematic adventures of Captains Kirk and Picard have produced some of the best-selling score CDs of the last twenty-five years, selling hundreds of thousands of copies. The epic tale of NEMESIS has inspired what may be Goldsmith's greatest STAR TREK score since his Gold Record-selling STAR TREK: THE MOTION PICTURE.

The score for NEMESIS is as epic as anything the legendary composer has ever written. Even the musicians themselves gave Goldsmith repeated ovations during the recording sessions and a triumphant round of applause on completion. This is unquestionably the most aggressive STAR TREK score ever. Ingeniously dark textures are mixed with action music that soars to apocalyptic heights. Classic Goldsmith!
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Otras versiones de Star Trek: Nemesis (2002):

Star Trek: Nemesis (2003)
Star Trek: Nemesis (2007)
Star Trek: Nemesis (2011)
Star Trek: Nemesis (2014)
Star Trek: Nemesis (2018)
Star Trek: Nemesis (2016)

Soundtracks de la colección: Star Trek

Star Trek Starship Farragut ''For Want of a Nail'' (2007)
Star Trek III: The Search for Spock (1992)
Star Trek: Deep Space Nine (2013)
Star Trek V: The Final Frontier (1989)
Best of Star Trek: Volume Two, The (2000)
Star Trek: Nemesis (2002)
Best of Star Trek, The (1996)
Enterprise (2002)
Star Trek: The Next Generation (1998)
Star Trek V: The Final Frontier (2010)


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