The book is funny, but unlike others here I didn't laugh so hard that I drove through a construction zone. I don't mind rough language in recorded books, but in a book with such an emphasis on her family, I thought the potty-mouth was out of place.
I bailed out on this book about two hours in, but came back later and started over, and I was glad I did. This was the first Nesbø novel I have read and I was interested enough is his dark, psychological plot that I want to read more of his work.
This is a beautifully written book, and even if you know how it is going to end it is a joy to hear how the author creates the arc of Charlie's experience. The narrator does a fine job of creating the characters in the story, but mostly in finding the perfect voice for Charlie each step of the way.
This is the fourth of Greenberg's composer series that I have listened to, the others being on Shostakovich, Stravinsky, and Bach. While Mahler is my least favorite composer of the four, I thought that these lectures were the best I've heard so far. Greenberg connects Mahler's life with his music in very compact chunks that made me want to hear more. As usual, Greenberg's lecture style is charming and amusing and he moves the lectures along at a good pace.
While I enjoyed these Bach lectures, I didn't like them as much as the Stravinsky and Shostakovich lectures by Greenberg because of a surfeit of Music 101. There were times when I wish he would have said, "Anyone who ever took Music Theory and got a C+ or better can skip to the next lecture." But I guess when you're talking about Bach you can't assume everyone knows how a fugue works or what secondary dominants are or how many strings are on a violin. In spite of all that, Greenberg's presentation of the Goldberg Variations was fabulous, and I will listen to those four lectures again. Greenberg is a charming lecturer, and you want to invite him over for beers and small talk about Bartók.
This is my second of the Great Courses and they have both been great. Though I was familiar with USSR history in the 20th century, and with Shostakovich's music, these lectures put it all together for me by showing how the music connected with the horrible history. I quite enjoyed the reader. Some might think him over-dramatic -- and I must say, he reminds me a bit of the guys on "Car Talk" on NPR -- but I enjoyed his enthusiastic take on things, in spite of some ouchy French and German pronunciations. This series is highly recommended and I will listen to it again.
Well this was a pleasant surprise! I was looking for something different from the kinds of books I had been reading, and never having tried one of these courses, decided to take a flyer. I was worried that this might be boring, like a college lecture, but I found every lecture to be informative and interesting, and the reader had just enough smart-aleck humor about him that the lectures were often funny. The series of lectures is quite long, but it's the sort of thing where one might take a break and listen to something else, then pick this one back up without getting lost; however, even though I planned to do that, I tore through these lectures like a page-turner mystery, and look forward to listening to them again.
The reader for this book is just awful, but Audible also has this book with Dick Hill reading. I only made it about 30 minutes, but realized that I had heard it already (the other version).
I bought this book in a hurry assuming that Will Patton was the reader. I gave up after about 9 minutes, the quickest I've ever given up on a recorded book.
When I haven't done this before: when I got to the last sentence of the recorded book I immediately downloaded it to my iPad for another read. For a Christian, the book is illuminating and challenging. The political history of Jesus' time is something we don't hear about in church, but it is crucial to understanding his intentions and his fate.
I only made it half way, so if there was a plot in the second half I missed it. The reader would have benefited from a little research into the pronunciation of composers' names.
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