Roger Waters
Ça Ira

Finally, the long-awaited day has arrived. After a gestation period of about 16 years, on September 23, 2005, Roger Waters' opera "Ça Ira" has hit the shelves of record stores.

It is a three-act opera based on the libretto by the French composer Etienne Roda-Gil, with the story set during the French Revolution.
The album was released in three versions: a double CD in English, a double CD in French, and finally, a double SACD in English with a DVD showcasing Waters and company during the album's recording.
Many wondered if this gamble by Waters was a lost cause from the start, given the genre he was venturing into. However, in my opinion, Waters won this bet. "Ça Ira" features engaging and majestic music, with the orchestra comprised of top-tier musicians (nothing compared to those mediocre orchestras of "Atom Heart Mother"), and the three soloists—baritone Bryn Terfel, Chinese soprano Ying Huang, and tenor Paul Groves—deliver outstanding performances.

The album begins with sound effects that are prominently featured throughout the album—flawless sound effects, as always, when talking about Roger Waters.
The first real music is heard in the second track, the overture, which is beautiful and captivating music that grabs you from the first listen. It continues with other tracks where you can hear the young Marie Antoinette, who, even as a child, sets her mind on becoming queen. Truly memorable tracks include track 8, "Let Us Break All The Shields", where the three soloists sing in unison, offering an excellent vocal performance; other memorable tracks are track 12, "Slavery, Landlords, Bigots At Your Door", with moving music and an applause-worthy tenor performance by Paul Groves.
Another beautiful track is track 20, "My Dear Cousin Bourbon Of Spain", which is nothing but the melody of "Every Strangers Eyes" derived from "Pros And Cons".
It continues with track 23, "To The Windward Isles", featuring African rhythms.
Nonetheless, the album consistently maintains high standards, the music is majestic and evocative, the English libretto is crucial to better understand the opera, and what emerges is the work of an intelligent, eclectic artist who is not content with the successes he has had in his career, yet is still ready to take risks.