Vangelis - Best in Space

Artist: Vangelis
P: 1979 / 1984
Even though quite short at some 40 minutes, Vangelis actually manages to capture all the diverse elements of Chinese culture, landscape etc. on this album, at least in the way it comes across to Westerners in the form of the archtypical century-old image: its tortured history (in 'Chung Kuo'), their whacky side (as in 'The Dragon' and 'Yin & Yang'), the delicacy of their art (as in 'The Little Fete'), the tranquillity of its country-side (as in 'The Tao Of Love'), its vastness (in 'Himalaya') and probably much more.
Adding to the atmosphere, the album-cover apparently shows Vangelis himself swimming in sort of jade/turquoise-coloured water.
The authentic "Chinese" sound was designed especially for this album only and manifests itself through the use of gongs, acoustic guitar-like sounds, various high ethereal sounds, all very pretty in a delicate way. However, some traditional western instruments are also used - on 'The Long March' Vangelis shows us how good a piano-player he can be and old friend Michel Ripoche has a nice violin-part in 'The Plum Blossom'.

Artist: Vangelis
P: 2012
Perfect collection of his favourite melodies with one new Bonus Track.

Artist: Vangelis
P: 1979 / 1987
This album is an ideal introduction to Vangelis' music. It both contains genuine melodic classics such as "Hymne" and "L'Enfant" and more ambient pieces; i.e. the quiet (slightly romantic) "Rêve", "Mouettes" and "Irlande", the eerie (but almost hypnotic) "Chromatique", and the more dramatic "Flamants Roses". All the tracks are some of the most memorable pieces Vangelis has ever composed. Highly original. And therefore a work that will stand the test of time(!).
"Opera Sauvage" is an album that most people will appreciate, whether they like electronic music in general or not.
Although the album-title could suggest otherwise, there's nothing operatic about this album as instead it presents a selection of instrumental pieces accompanying Frederic Rossif's films, this time supposedly about the diversity of human cultures. Vangelis would later turn the simple tune 'Hymne' into a real choral hymn for the Rotterdam concert and 'Portraits' album. 'Reve' could possibly rival the love theme from 'Blade Runner' as the most romantic music Vangelis ever wrote - a very powerful piece in a subtle way. 'Mouettes' is a beautifully pure short piece - its clear high-pitched instrumental voice is used on virtually all other tracks as well.All tracks up to the last are very tranquil - 'Flamants Roses' starts out in similar fashion aided by some harp-playing by Jon Anderson (strangely enough - I've yet to see another occurrence of this on any other of his albums, solo, Yes or otherwise) but after some 5 minutes the musical fireworks are turned on and the album gets closed out with a great dramatic section.