And I think, was it necessary a compilation of a trilogy (that it is not, because as we already know, it exists a fourth delivery, and there will be a fifth, sixth...) whose record issues have been quite complete and are easily found everywhere? Well, it seems that Mr. Robert Townson (that as the fan will know, is the producer of Varése Sarabande) and Joel McNeely thought that yes. The CD is formed by suites of the first, second (both signed by Danny Elfman) and third delivery (this one by Elliot Goldenthal), as well as the main theme of the television series by Neal Hefti that, in its day, swept hearings in all the world televisions. But we must talk by parts:I. - Batman (1989): With this suite the fan prove again that this is, without doubt, the better score of all. Formed by nine cues, starts with its Main Title, to which has been added an arrangement in its final whose authorship do not know. This data contrasts with other that for me is irremissible, and is that the great Waltz to the Death, it does not appear in its complete version, but in a shortened one without its spectacular final.
II. - Batman Returns (1992): In this second delivery, also filmed by current cult director Tim Burton, repeats in musical labors his eternal friend Danny Elfman. In its suite appear the choirs of the great Royal Scottish National Orchestra used, to my understanding, with certain overdone and crying way; it is formed by seven cues and it is perhaps the most monotonous of the three (the same as with the original score).
III. - Batman Forever (1995): In this sequel there was director change and they went from the craftsman Burton to the videoclipper (and somehow bowl) Joel Schumacher, with also a change in the musical paragraph. It was beed Elfman and arrived Goldenthal -the which, curiously, never it has sounded so Elfman as in this third part, as well as in the fourth delivery Batman & Robin (1997)-. This suite formed by five cues, is a re-recording of the already existing one in the previous CD of Varése Sarabande Hollywood 95 (VSD-5671). Is, with the first suite, the most potent and spectacular of all.
To close the CD it has been selected a restored version of the theme of the TV series that begun in 1966, composed by Neal Hefti, in the hands of David Slonaker, McNeely's usual orchestrator, whose arrangement transforms it thoroughly making difficult to recognize it. As final commentary it only remains to praise, as always, the extraordinary labor of the huge Royal Scottish National Orchestra, whose interpretation is potent and visceral, though in spite of all, I prefer myself the original versions. R.M.
