I agree with the opinion below that Claus Ogerman's orchestral arrangements really do a disservice to Amoroso. To my ear, having heard many other of Gilberto's recordings, Ogerman just doesn't "get it"; his arrangements sometimes seem to me to undermine Gilberto's way of developing the song. For me the most annoying example is comparing "Zingaro" in this album with the live version in Gilberto's live Montreux CD (there it's titled "Retrato em Branco e Preto"). In the live version, João's interpretation builds up a lot of tension in the verses; in the studio version, Ogerman's arrangements utterly destroy this tension. Really, the only song where I think the orchestral arrangements adds anything is "Tin Tin Por Tin Tin". I my João Gilberto stars scale, Amoroso gets three stars (which translates into about four stars in my lesser artists scale).

The second album included in the CD, Brasil, is a whole another story. This has got to be some of the gentlest and most delightful music ever recorded. On this album Gilberto is accompanied by fellow Brazilian stars Caetano Veloso, Gilberto Gil and Maria Bethania. This album is very fundamentally about the contrast between the voices; the most common arrangement is to have them take turns in singing the verses of the song one after the other, almost impossibly softly, each with their own subtly different phrasing. In the context of this incredibly quiet album, the phrasing differences stand out quite dramatically for those who listen for them. One really gets to hear these familiar people's voices in a new way by juxtaposing them. (I can imagine, however, that familiarity with the artists helps in appreciating this album.)

35 of 42 found the following review helpful:


Not the best Joao  Apr 28, 2000 By jimboum
Amoroso/Brasil is not really worth buying if you like Joao Gilberto's soft atmospheres ; there is too much orchestration on this record, and it's sad too see that Joao sounds better, much more evocative and sensual when he is alone with his guitar. Better buy Live in Montreux or Voz e violao...

10 of 11 found the following review helpful:


A little heavy on the syrup  Aug 21, 2003 By Daniel Fineberg
Claus Ogerman's orchestral arrangements worked to great effect on Jobim's instrumental recordings in the 60's, because they didn't have a voice to contend with. They aren't exactly detrimental to Gilberto's "Amoroso", but they are pretty much superfluous. The problem with any backing for Gilberto is that it only serves to detract from his voice and guitar work. He's at his best when he's playing solo, or with some spare drums. Nevertheless, one can't be satisfied doing the very same thing over and over, and these recordings from the mid 70s and early 80s are very good indeed. The second half of the disc features Joao with Caetano Veloso and Gilberto Gil, two guys--like many Brazilian musicians--who fell under the influence of Joao. They come together beautifully on "Bahia com H", "Aquarelo do Brasil" and "Disse Alguem"--a very peppy Brazilian reworking of the standard "All of Me". The earlier sessions--the ones with Ogerman's strings--feature Jobim's "Triste" and Joao's signature reworking of the Gershwins' "'S Wonderful". All in all, very good stuff.

9 of 10 found the following review helpful:


A true master class...  Mar 11, 1999
As a singer I must say that João, one of the greatest singers of all time, is a true professor. He is a soulful artist, and we can notice that the first time we listen to his voice. Very touching!

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