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9 of 9 people found the following review helpful.
Terrific value, beautiful quality.
By A
This CD is a wonderful value with top-notch recording. The Cherubino character (mischievous lovestruck youth) is especially delightful on this CD. I fell in love with “Sul Aria” in The Shawshank Redemption, and later saw this opera live. Though it’s only a highlights album, I found it rather complete, with solid linear notes (plot summary for you to follow along), and ALL of the beloved songs I had remembered. I recommend this one!

7 of 7 people found the following review helpful.
Decent Selections
By an amateur soprano
I first purchased this album because one of my favorite Le Nozze di Figaro pieces is in it, and the price is just right for any college students to own. Voi Che Sapete(for instance) is sung by Ingrid Kertesi, a mezzo soprano whose voice is gorgeously, and clearly flowing through the entire piece. Diction done by Ingrid Kertesi is marvelous because any Mozart opera lover can defenitely hear every consonant in this piece. Other selections from this album are also excellent in sound quality.

5 of 5 people found the following review helpful.
Exceptional recording
By William E. Olson
The quality of this recording is exceptional. Naxos recordings are often played on classical music stations for good reason. The performances are excellent.

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158 of 163 people found the following review helpful.
“Suivi”
By A. Casalino
Bond…James Bond is the name. And the game is extreme Baccarat. Ian Fleming’s 1953 novel – premier introduction of the post WWII, fantastical cold war intrigues of Her Majesty’s Secret Service’s Master Spy, Agent 007, Bond – is a riveting read.

I first read CASINO ROYALE, as well as a few others in the series, while in my early teens – back when I’d only read stories in order to immerse myself in the plot – to find out what happens next, essentially – not caring a jot about writing style, descriptive detail, or character development. Back then, I found it curious that the Bond of the books was so different from the Bond of the movies (THE SPY WHO LOVED ME and MOONRAKER being the contemporary releases of that time.) I wondered, for instance, why the James Bond in the movies didn’t have black hair and why, in the books, he wasn’t funny at all…Indeed – well, so much for my pre-adolescent review.

Now, more than 20 years later, indulging on a whim, I’m reading the series again. And I must say I am thoroughly enjoying it – but not for the same reasons I had when I was young. I’m actually nearly through it in its entirety – and must say that, though they’re all very good, CASINO ROYALE has a palpable raw depth rarely visible in the rest. I can now see and appreciate the fine quality of the writing, the extraordinary sculpturing of an ideal action hero, and the magical lure that has begotten the most well-known, long-standing film series of all time. And, yes, these books are great fun!

“M,” head of the British Secret Service, hands Commander Bond what appears on the surface to be a posh assignment: thwarting an enemy Russian spy, Le Chiffre, in his attempt to win an exorbitant 50 million francs – KGB funds which he had lost through an ill-advised investment in a chain of brothels. Agent 007 lives an intensely hard lifestyle, and he’s known to be the best gambler in the Service. He’s therefore assigned to break Le Chiffre’s bank at the baccarat tables of the Casino Royale, in the French Riviera.

SMERSH, the Russian Secret Service in charge of all diplomatic killings for the Fatherland, is right on to Le Chiffre. Though he’s very desperate, Le Chiffre happens to be a first rate baccarat player. He plans on winning that 50 million francs at any cost, employing a couple of potent assassins enforced to help see it through.

Though James Bond must face Le Chiffre as a force of one at the baccarat table, he has his own team of assistants: Rene’ Mathis of the French branch, American CIA agent Felix Leiter, and the beautiful Vesper Lynd of the S branch of British Intelligence. Vesper is officially the very first Bond girl – and she utterly mesmerizes our master spy: he sees her as an entity of wonder.

Truly, this story does not own any of the qualities that could easily be made into a movie. There’s plenty of tension, plenty of action, and quite a lot of romance to boot. However the tension is mainly in the climatic card game, which, minus the author’s excellent descriptive prose, would appear tedious on the screen; the action is definitely intense, but includes a harrowing torture scene which should not be witnessed by the squeamish; and, well, without the advantage of being able to follow the thoughts of our hero, a film version of this story might easily cause the romance to appear as carelessly thrown in.

Vesper’s an intriguing Bond Girl, though. Her fateful role exacts a twisted surprise ending, which inevitably sets the tone and atmosphere of Bond’s future relationships with women. This is perhaps the only book of the series wherein Bond takes a good, hard look at the moral portents of his own place in his profession – sort of a teasing glimpse into the window of his heart – but only that peek – as it seems thereafter shut fast and hard. Keen, sharp, dark and moody: James Bond remains ever the quintessential Man of Mystery.

42 of 45 people found the following review helpful.
Enter James Bond
By IA
It’s hard to believe the book is nearly 50 years old but it is. This novel marks the entrance of James Bond into the world. The real Bond doesn’t have much to do with his movie counterparts–he’s colder, more ruthless and has no charm or humor. He’s also a deeper character. 10 years later at the end of the Bond cycle he would grow and become more humorous and personable, (See “You Only Live Twice”) but here meeting him may be like taking a cold shower if you’re only familiar with Connery, Moore, and etc.

As the prototype novel of the Bond series “Casino Royale” has less action and more concentrated violence than the future books. Its mood is claustrophobic but it’s grasp of defined character is somewhat airy. Bond is not quite fully fleshed out–what we can grasp is that he believes himself a professional but often loses or comes close in both love and business. He speaks like a misoygnist but falls very badly for women; he plays cards like a pro but needs to be bailed out. The other characters are also compelling–Leiter and Mathis are agreeable national stereotypes, while LeChiffre is the first of Fleming’s great villains–subtly monstrous and grotesque to the point of being king devils, not people. Fleming never wrote a convincing female character until he spoke in first person for the heroine of “The Spy Who Loved Me,” but Vesper Lynd is one dimensional in a non-shameful way.

Fleming’s style isn’t yet fully formed, but it’s still evident. No one has written better scenes of torture (And this undoubtedly one of the most harrowing torture scenes you’ll ever read) or card games than Fleming, and as an action writer on the whole he was undoubtedly a master, and deserves to be acknowledged as one. At the moment his literary reputation is quite low. Fleming was hardly the reactionary super-evil crypto-fascist, rabid-racist, hyper-misognyist, ultra-snob that some have claimed him to be (In books full of astoundingly stupid errors and lazy readings), and the coming years will hopefully force many to fully note his many flaws and his considerable strengths. He deserves the same ranking as Chandler or Hammett–minor artists, but artists none-the-less.

The biggest difference from the later novels is the degree of moral exploration Bond undergoes. The novel’s supposed climax is engineered to come very early, and Fleming daringly gives an entire chapter for Bond to afterwards think–he actively questions his job and the role he plays in the entire Free World/Soviet struggle. Beyond that he questions the nature of evil. After CR, Bond never attempts this sort moral exploration again, and the future novels as a result aren’t as deep. There’s a reason for this….

Fleming’s master stroke was his realization that a convincing adventure tale in the spy genre could not arise from the conflict between the ideologies of the Soviets and the West. It was too much of a gray area and Fleming did not want to be a political writer–he wanted to create myths and fairy tales for adults, and he turned out to be the best writer of the century in doing so. So Fleming decided that Bond would not fight against Communist spies but rather the organization of terror that made them spy–evil fantasy villains–so he created SMERSH as Bond’s opponent. He would use them as villains until the lessening of cold war tension enabled him to create an even less political replacement–SPECTRE.

The first part of the novel thus details Bond fighting against Communist agents, but Fleming builds the climax early. Afterwards he builds another tale dealing with the ramifications of the first. During this he has Bond question his role, and by the end, with its shocker finish, Bond has renounced the role he has questioned and decided to from now on go after the force that makes spies spy. Having created an all-purpose group of fairy-tale villains for Bond to fight in future novels, Fleming has no more need for any further moral exploration by Bond–the knight doesn’t bother wondering whether he should slay the dragon.

That I think is why Fleming’s friend Raymond Chandler always said that he had never bettered “Casino Royale” and to an extent I agree–the novel marks the point where Bond is in between the realistic world of betrayals and moral ambiguity and the thrilling world of surrealistically evil villains and larger-than-life exloits. Bond never returns to this point again, and we are deprived of the pleasure of seeing him walk that edge.

28 of 30 people found the following review helpful.
Bond’s Rough Beginnings
By M. L. Asselin
Like many, I have long enjoyed the Bond films as a kind of escapist entertainment, excusing its less than “enlightened” view of women as first a reflection of the times and then later as a knowing skewering of the attitudes of those times. (This isn’t to say that I haven’t appreciated the “Bond women,” which makes me something of a hypocrite, I guess.) The recent movies have tried to capture some of the kinetic excitement of contemporary action flicks, while giving at least a token nod to the change in contemporary social mores by losing some of the sexism of the early films (e.g., “M” is now played by a woman). The first films, though, are enjoyable, too, for reflecting some of the popular sensibilities of the Cold War and of the 1950s lounge culture. The hero is the archetypal 50s playboy: an epicurean man of action and big appetites who is often sardonic and self-absorbed.

As the first Bond novel, CASINO ROYALE exhibits some of the traits of a first novel: without being too clumsy about it, Fleming introduces the essential elements of the Bond stories: Bond himself, “M,”, “Q,” SMERSH, Felix Leiter, Miss Moneypenny, and the whole Bond-lite version of the world of espionage. You get a sense that Fleming is still working out a style. The writing borrows from pulp fiction, and rarely rises above it. The novel draws fairly well a picture of the main character, James Bond, though the character has little depth at all. We don’t really *know* Bond, we just observe him, and sometimes experience his own, usually shallow, thinking. He’s sort of like a shark: dangerous, menacing, cruel, and single minded; he acts quickly when he needs to, but otherwise moves deliberately. Unlike a shark, though, he is particular about what he drinks and eats (and smokes). What might strike the casual Bond movie fan, though, is Bond’s apparent lack of interest in women–certainly, at least, when there’s work to be done. This is not the Bond who’s jumping into bed with a bevy of Bond beauties at every turn.

The plot is simple; most of the action takes place around a card table. The scene played around the game Baccarat, however, are surprisingly effective. Fleming explains the game, and the tension created by the circumstances of Bond’s particular games is palpable. The actual “action” scenes, such as they are, are less intense–this includes the de rigueur car chase.

There are two elements of the novel that are particularly disturbing. One should be aware of these elements in reading this novel, and especially in permitting children to read it. One is that the strongest violence in the novel surrounds the torture that Bond undergoes. Though 1950s sensitivities prevent the writing from being very explicit, the scene is nonetheless intense and with deep, underlying sexual overtones.

Second is the novel’s pervasive misogyny. I mention above that the reader is not presented in CASINO ROYALE with the promiscuous Bond. No, women do not rise even to the level of one-dimensional sex objects. Rather, women in the CASINO ROYALE world are what distract men from their work, and when things go wrong in that work are usually the cause. The one love affair that Bond has, though apparently genuine as far as he is concerned, is largely driven by his need to discover that torture has not made him impotent.

What I found particularly interesting is how Fleming explains, late in the novel, why his Bond novel is not a traditional espionage novel: it does not focus on actual spying, but on the threat that causes it. “The business of espionage could be left to the white-collar boys. They could spy and catch the spies. He would go after the threat behind the spies, the threat that made them spy.” Fleming’s Bond is not Le Carre’s Smiley: Bond, his apparent intellect notwithstanding, is out to eliminate the threat, not the spying.

CASINO ROYALE, with the caveats given above, is an enjoyable read: there are fine elements to the story, and it is a kind of time capsule for an earlier popular spy fiction, one that leads later to a more sophisticated, and more intellectual engaging, body of espionage literature.

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1 of 1 people found the following review helpful.
Just fantastic – everything I had hoped for and more!
By baquila
It’s impossible to overstate how incredible this book is. A bit about me and why this book has been so perfect for me:

I have a mathematics background up to University Sophomore Level Calculus. I have 3.5 years behind me as a full-time web developer working from home, and a lifetime as a computer hobbyist. I’m 40 years old. I have been curious for some time now about the prospects of someday working my way into the more advanced fields of code writing – including computer simulations with real-world physics, virtual reality, augmented reality, and gaming. I drove big rigs for 15 years and started to fiddle a bit with the idea of building a trucking simulator as a learning tool. After making some quick educated guesses about the mathematics behind the movement of the vehicle and having surprisingly good luck with the basic animations (straight DOM and javascript stuff – no canvas or flash), I decided I wanted to dive in completely to learn the animation and mathematics behind real-world simulations and see how far I could take it.

Foundation HTML5 Animation with JavaScript seemed the best option, and wow did I strike gold! I had no experience with the canvas element, and no experience with computer animations or applying mathematics to computer simulations. I decided Javascript was my preferred language for this foray. Within the first 30% of this book, you’re going to be shocked at what you can do. You’ll be able to create graphics that react to real-world forces like gravity, friction, and acceleration. You’ll be able to calculate linear and angular velocities, distance between points, and add/remove/modify entire forces of nature with fewer than 5 lines of code more times than not. You’ll be able to draw and fill all manner of shapes, textures, and colors including gradients and various opacities. And a ton more – and you’re only 30% of the way through! It just gets better and better and better.

The author (Billy Lamberta) has the most pleasant teaching style imaginable. Not once did I think a new concept was taught out of order. Not once did I feel that a lesson wasn’t covered well enough for implementing it in the succeeding lessons. The book is so well written that to me it almost felt like floating down a quiet stream in the summertime – you barely notice the movement, but suddenly you look up and you’re 10 miles downstream building all manner of real-world physics models and animations.

My favorite thing about this book is that the author teaches the underlying mathematics and drawing principles in such a way that they’ll apply to any drawing platform out there. He specifically uses the canvas API for this book, but once you know how to do the mathematics, you can apply it to any platform. Another thing I loved was that Billy always shows you the easy way and the more advanced way of doing something when there’s different ways of implementing it. For instance, you can do the more advanced (and processor-intensive) calculations to determine the real-world forces of friction, or you can simply multiply the current velocity by say .9 and it has the exact same effect. Your choice. If you have the processing power and need the simulation to be true-to-life, you know how. If you’re looking for a more frugal use of resources and it needs to simply appear life-like, you also know how.

The fact that he teaches the fundamentals of the underlying mathematics and drawing principles means that the information will never become out of date by a platform change or underlying technology change.

Who this book is for: If you’re looking to get into the gaming arena, real-world physics simulators, virtual reality, augmented reality, graphic design, or related technologies and you want a solid understanding of the underlying mathematics and drawing principles which can then be applied to any platform, this is the book for you. You need a pretty solid (intermediate) background in Javascript – enough to understand the basic principles of functions, methods, objects, looping, and array manipulation. And although the math isn’t super intensive, it’s enough that you had better love math. A solid background in Trigonometry and/or Calculus will help tremendously, but you can learn to apply the mathematics if you’re determined enough. If you don’t learn the underlying concepts, you’ll never be able to apply them to your own simulations and graphics. I know my background in Mathematics and Javascript has helped me learn this stuff far more quickly than I would have otherwise, and it has definitely helped me use these principles in a creative context.

Who should avoid this book: People looking for the “quick and easy” method of building simple animations or games. If you love to use software that does the job for you and boasts features like “Learn to build games without having to write code” – this book is absolutely not for you – run away – run far, far away. I personally love to learn things from the bottom up. I want the nitty-gritty details and deep understanding of the underlying concepts so that I can apply them to my own unique projects. Memorizing a few formulas or using “quick and dirty” software will never allow you to truly build the amazing, unique graphics or physics simulations that you are imagining. The more unique and challenging your projects, the deeper your understanding needs to be of the fundamentals. The mathematics and drawing principles covered in this book surely will allow you to be as creative as you’re capable of being, without pigeon-holing you into a certain platform or method of doing things.

Truly fantastic!

0 of 0 people found the following review helpful.
Incredibly well written a MUST own
By P. Stema
This is my favorite Javascript animation book

The book basically explains HTML5 Canvas with Javascript! Very hot topics ideed!
This is by far the best book for leaning how to program realistic physics-based motion. It’s amazing how it breaks down all the fundamental concepts of movement into easy bits of math! Mr Lamberta also explains concepts such as gravity, collision detection, matrices, even 3D!!! There are examples of how to code for each concept and clear explanations on how they work (physics). There is even some touch based code so you can apply the examples to devices other than the desktop I keep my copy of this book as close as possible and constantly refer to it!!!!!!!

Highly recommended, Highly recommended especially if you are interested in programing HTML5 games

1 of 2 people found the following review helpful.
MUST OWN for any HTML5 game developer
By Jason A. Salas
This is a phenomenal book on computer animation theory and techniques in JavaScript, which is a “literary port” of the book _Foundation ActionScript 3.0: Making Things Move_ by Keith Peters (http://amzn.com/1590597915). I’m very fond of the book’s coding convention – pure JavaScript (no third-party libraries), independent examples, and really fun exercises.

The book covers the necessary trigonometry and physics theory and math formulas needed for proper kinematics, and has a healthy treatment of 3D graphics. Considering how complex the material can get, the book’s voice stays friendly and uses a comfortable pace.

This is a really well done tech book.

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