A diverse and sparse series of songs, most of which revolve around falling out of love and disillusionment with the world in general. Although these themes could lead to Carnival Love being one of the most depressing albums ever, Amy Correia's fragile, singsong voice carries each track gently along, leaving the listener with an unshakable feeling of hope. Reminiscent of Mary Lou Lord or Victoria Williams, her little girl voice belies a worldly brashness and wry knowledge that lends itself well to her sparse poetry. A good first album which will surely lead to even more successful efforts in the future.
If you love Shakespeare, and / or Brahms, Schubert, Schumann, Berlioz and R. Strauss, you need to have this superb album in your collection. Walker is the most gratifying performer in opera and lieder, for beauty of voice (ravishing, audible silk); technique (perfection), intelligence (never-failing); phrasing (absolutely unsurpassed); and interpretation – Walker does not merely "sell" a song, or act convincingly, she etches her performance on your soul. Just listen to her interpretation of the excerpts from MacBeth, set to music by Joseph Horovitz: Walker is a candidate for best Lady MacBeth. One wonders what she would do with the part as straight drama. If that isn't enough, she caresses the Schumann and the Berlioz, nails the Brahms (no accompaniment – totally exposed voice), and slinks away with the tango "Under the Greenwood Tree."