5 comments about Girl with Orange Lips.

1. It was brave of Dawn Upshaw, who could have made her career in charming soubrtte roles and crossover pop, to lend her public fame to a really tough colleciton of modern songs. None of this music is immediately tuneful, and some (the wroks by Kim and Delage) is tough listening by any standards. The colleciton is held together by its exotic atmosphere and the delicacy of the poetry.
   
   I must confess that I rarely pull this CD out, but Upshaw's voice is so lovely and her singing so committed and intelligent that I have no excuses. She has made a challenging, serious, and veyr worthwhile recital.



2. 'The Girl with Orange Lips' sung by Dawn Upshaw, backed with a rather eclectic colleciton of musicians, is the kind of album Ms. Upshaw should really be doing. Like 'White Moon', it is a collection of unusual songs from far corners of 20th century repitoire, rather than an essay on the more familiar material which is done so well by the heavyweights such as Renee Fleming, Anne Sophie von Otter, and Cecilia Bartolli, not to mention songs of the modern European and American stage owned, in my mind, by Ute Lemper.
   
   Unlike another reviewer, I really prefer 'White Moon' to this album on a visceral level, although I listen to both at least once a year.
   
   My only criticism is that as original DVD releases go, it seems a bit short, but this only reinforces the fact that I would like to hear more of Ms. Upshaw do this material in a single shot.



3. This might be my favorite recording by Dawn Upshaw, and she's done some wonderful work. The slightly startling title is taken from Earl Kim's song cycle Where Grief Slumbers, one of the highlights of a very well-conceived program. Of Kim's gorgeous set of seven songs, the real stunner is "Ophelia," with a dramatic a capella opening that Upshaw handles immaculately, before the harp and strings enter with their mellow accompaniment.
   
   The Ravel Mallarme songs show Upshaw in sparkling, sensuous form, and I also loved the four Delage works, perhaps because of their relative rarity. But the entire program is quite interesting, and further, most of these works have not been recorded to death -- a great compliment to Upshaw's programming instincts.
   
   In every track, Upshaw radiates confidence and produces a beautiful range of tonal colors matching the vivid writing, and offers exceptionally clear diction (although I can't vouch for the accuracy of her French). Nonesuch provides excellent sound quality, capturing the clarity of her voice as well as the gentle, outstanding accompaniments by the well-chosen cast of instrumentalists. For those inclined toward unusual repertoire, this can't be recommended too highly.



4. Thank God for musicians who are dedicated to expanding the repertoire which we are able to hear in performance and on recordings. So many artists are afraid to venture into 20th century art song/chamber repertoire and we have in turn been left wanting.
   This is simply one of the most amazing recordings I've ever heard. Dawn Upshaw's voice is clear as a bell and deep with emotion--and her technique does not waver here, it is entirely classical and fabulous. I cannot praise her choice of repertoire more--every cycle, every song is entirely unique and remarkable. Earl Kim's cycle is breathtaking.
   Don't walk, run. You need this.



5. I have all of Dawn Upshaw's discs but this is still my favorite (maybe White Moon is a close second). Upshaw brings together masterpieces of the early and late 20th century in various chamber ensembles, linked together thematically/stylistically by an international flavor. The two Stravinsky pieces (Poems of Balmont & 3 Japanese Lyrics) albeit sound like Stravinsky, retain an eastern-sounding aura to them. The same can be said of the Delage 4 poems. The true find on the disc are the Earl Kim "Where Grief Slumbers" songs. Taking his text from the symbolist poets, Rimbaud and Apollinaire, Kim fashions a suite of some of the most contrasting and emotionally powerful songs. Earl Kim's setting of 'Ophelia' is perhaps the most moving. Upshaw performs the entire 5 minute song a capella until nearly the end when the strings enter; one can almost hear her drowning.

   Upshaw is a true pioneer of the operatic/vocal world. Some of her predecessors like Jan DeGaetani helped pave the way, but Upshaw has picked up the mantle, trying to fuse the repertory in such a successful way that listeners can ultimately and only benefit. Vocally it doesn't matter if she's singing Mozart, Ravel, Stravinsky or Kim, she meets the challenges head on and is able to communicate through her heart and mind. She can soar between octaves and registers with the greatest of ease connecting phrases as if anyone could! Everyone should take notice and give it a spin.

5 comments about My Favorite Broadway - The Love Songs.

1. My Favorite Broadway - The Love Songs
   
   This is a wonderful DVD and it came very fast from the shipper and I
   
   am looking forward to watching this as I originally had it on VHS and
   
   now have changed formats to DVD.



2. From October, 2000: Approximately 19 performers participate in "MY FAVORITE BROADWAY: THE LOVE SONGS."
   The results range from the sublime to the absurdly ridiculous. The show is a wildly uneven grab bag of Broadway songs. You'll have to take what you get, and either suffer through, or skip, several mediocre selections of song and perrformer, as I did. The title is rather mis-leading: A few songs aren't love songs, two songs are from musical films, not Broadway musicals -- and the descriptive phrase "my favorite broadway" is used rather loosely, abused, and
   put to the test, here. A few songs and performers, in fact, represented my least favorite Broadway musicals.
   
   The sublime aspects feature Rebecca Luker, Chita Rivera, and Julie Andrews. Ron Raines sings a surprisingly touching rendition of Lerner and Loewe's "GIGI" from the film of the same name. And it's a treat to see Chita Rivera and Brent Spiner (Data from "STAR TREK: THE NEXT GENERATION") sing a medley of songs from Chita's 1960 Broadway hit "BYE BYE BIRDIE."
   
   But for every magical performer like Chita Rivera, there's one like Linda Eder. Miss Eder, or "She Who Would Be Barbra Streisand", blasts through her Broadway medley in bombastic style. Also like Barbra Streisand at her very worst. Eder is so in love with herself, she does not need or necessarily want an audience. It gets worse! After Eder mercifully exits, Michael Crawford appears to sing "Music Of The Night" for the UMPTEEMPTH TIME
   in his career! He can no longer hit the high notes. This time, Crawford is frightening without his "PHANTOM OF THE OPERA" mask and make-up. Robert Goulet butchers the beautiful "This Nearly Was Mine" from Rodgers and Hammerstein's "SOUTH PACIFIC." Earlier in the show, Goulet ruins his own "If Ever I Would Leave You" Las Vegas style. Hostess Julie Andrews is nevertheless forced to gaze adoringly at her "CAMELOT" co-star from 1960.
   
   What on earth is Barry Manilow doing here? And why is Linda Eder front and center when wonderful Rebecca Luker, Marin Mazzie, and Peter Gallagher are stuck singing song snippets in brief medleys? Tom Wopat, who can't dance a step, barely survives "Lullaby Of Broadway"; even though he is surrounded by dancers.
   
   Michael McCormick and Michael Mulheren sing "Brush Up Your Shakespeare" from "KISS ME, KATE" which, of course, is not a love song, but after Eder and Goulet, it is a joyous relief! Chita Rivera sings Kander and Ebb's "How Lucky Can You Get", from the film musical "FUNNY LADY", the stinker Streisand sequel to the original "FUNNY GIRL." Chita Rivera turns a stinker into a showstopping tour-de-force!
   
   Michael Crawford redeems himself by revisiting "MY FAIR LADY" with Julie Andrews. A radiant Andrews shares several stories about the show's creation. Originally, she sang a song called "Shy." (She recites the lyrics). Lerner and Loewe decided "Shy" was too overt a romantic expression for a show based on George Bernard Shaw. They replaced it a few days later with a song that did stay in the show-- the divine "I Could Have Danced All Night." For a few glorious moments, Julie Andrews returns to Eliza Doolittle's Cockney accent and performs "The Rain In Spain"/I've Grown Accustomed To Her Face/Embassy Waltz." with Crawford. Now that's real Broadway magic, and worth
   the price of the DVD. Still, I'm glad I bought a used DVD for around $13.00 instead of a new DVD at full price.



3. 
   A star-studded performance of Broadway love songs. Although I cannot recognise most of these great artists, I am most impressed by their great performances and stage presence. To name a few of the impressive numbers: The elegant Julie Andrews's lyrics reciting was special; The Three Mo' Tenors, singing La Donne E mobile followed by Let the Good Times Roll, mixed fun and serious singing superbly well. Joan Hess's wonderful dancing against the piano accompaniment of Smoke Gets in Your Eyes was graceful, nostalgic as well as modern. Her beautiful stature is like a painting. All in all, this is an eye-opening and highly entertaining experience and the DVD quality, both audio and visual, is excellent.



4. I liked the DVD which I basically got for two reasons: Julie Andrews and Michael Crawford. I was introduced to new performers on Broadway, which I do not have the opportunity to visit at all. The quality of the CD is great.



5. This is one of those things where you have to have to aquire a taste for it. Sure there are some songs that are definitely a good add to any Broadway collection, but if you're a classical Broadway fan you might be a little...disappointed.
   The singers include-
   Nathan Lane
   Chita Riviera
   Michael Crawford
   Robert Goulet
   Bebe Neuwirth
   Marin Mazzie
   Barry Manlow
   Adam Pascal
   Brent Spiner
   Rebecca Luker
   Peter Gallagher
   Tom Wopat
   Heather Headley
   Ron Raines
   Jeffrey Denman
   Joan Hess
   Brent Spiner
   Linda Eder
   Michael McCormick
   Michael Mulheren
   and of course, Julie Andrews, who provides us with some of her memories from "My Fair Lady" and briefly sings in "The Rain in Spain".
   
   It is fun seeing some of the women who were in the Leading Ladies make a return (Linda Eder, Marin Mazzie, Rebecca Luker, Bebe Neworth, Julie Andrews, and anyone I've forgotten) but if you have not gotten the Leading Ladies (though you should!), this is lost on you. Some of the songs have been jazzed up and were better left alone. Other songs too do not really fit into what you'd think of as a "love song" category-do "Lullaby of Broadway" and "Brush Up Your Shakespeare" speak "love" to you?
   
   Though it is definitely worth buying to see such stars as Julie Andrews, Michael Crawford, Chita Riviera, Robert Goulet, and Barry Manlow (if you're a fan) if you're expecting love songs from Rodgers and Hammerstein, West Side Story, or Jule Styne you might be a little disappointed.

5 comments about The Witches of Eastwick (Original 2000 London Cast).

1. I love original cast recordings. They capture the flavor of any show. The one thing that bothers me of this cast recording is the show never made it to Broadway. And the cast and the music sparkles
   
   Ian (Deadwood, Lovejoy) McShane as Daryl van Horne (the Jack Nicholson role in the movie). McShane strolls thru the music with his bass voice as Rex Harrison or Peter O'Toole may have done. The witch trio is played by Joanna Riding, Maria Freedman and Lucie Arnaz (yes Lucille Ball's Daughter). All together mesh this music with the emsemble numbers.
   
   John Demsey and Dana Rowe's Lyrics & Music are tongue and cheek, not know if this a tribute to other broadway styling or an original try.
   
   On the whole, I wish someone would put this on Broadway NOW-it is witty and funny..and since the Producers is closing on Broadway, its time! Cameron Mackintosh's last musical Mary Poppins flopped-this may be a shot in the arm. And McShane has finished with Deadwood--Its Time!
   
   Get this soundtrack NOW--so when someone smart brings this back, he know the music and will love to watch this on stage--ITS TIME for this BEWITCHING Musical to reappear on stage!
   
   Bennet Pomerantz AUDIOWORLD



2. I saw this show in both its original and revised incarnations. Strong score, weak book.
   
   This recording is a must for musical theatre performers -There's some great, underused audition material here. Buy the CD, and then get the vocal selections (still in print). Break a leg!



3. This recording is one of those that you listen to and smile throughout. The leading ladies all have such amazing presence, it makes you want to join them in their songs. I would say the best song on this recording is Evil, sung by the character Felicia Gabriel; such witty lyrics and a tune, worth purchasing the recording in and of itself. BUY IT!!!!!!!!!!!!! I assure you it will not let you down!



4. This Score's just awsome! I haven't seen the show yet, but it seems to be as funny and as bewitching as this Soundtrack. Perfect Singers, a Mix of many great Music Styles!
   OUVERTURE: Great Orchestra Track - Standard Overture, but very nice.
   EASTWICK KNOWS: A classical Opener with a very beatyful "Preprise" of LOOK AT ME and a heavenly ending.
   MAKE HIM MINE: Some kind of Softrockballad with perfect musical arrangements and three very well singing leading ladies.
   I LOVE A LITTLE TOWN: Nice Melody, funny little piece - but it doesn't really make the Story go on.
   EYE OF THE BEHOLDER: Some kind of sweet, quiet Tango, filled with Passion.
   WAITING FOR THE MUSIC: As passioned as EYE OF THE BEHOLDER. It's played only by Violins. Very nice.
   WORDS,WORDS,WORDS: At the Beginning it's just boring, but the End of this Song makes it worth hearing.
   DIRTY LAUNDRY: Very nice and funny, some kind of 60's Jazz Music?
   I WISH I MAY: Again the three leading ladies do their best. The slowly beginning and headblasting ending 1. Act Finale.
   ANOTHER NIGHT AT DARRYL'S: Super!!! Great Jazz/Swing-Theme with a sexy singer, a real Showstopper!
   SOMETHING: A Classical love duet. Funny to hear something like that in a Musical!
   DANCE WITH THE DEVIL: Wow!!!!!
   EVIL: Another great Swingin' Song. But I don't like his slow beginning.
   LOOSE ENDS: Don't like it that much, it's too boring. But it's got a nice Melody!
   WHO's THE MAN: Great Swing/Jazz again!!! And the lyrics are awsome!
   THE WEDDING: Not the best musical Number. But it's needed for telling the story.
   SOMETHING REPRISE: The only Reprise on this CD. I'd like to have a few more....
   LOOK AT ME: The three ladies at their best! An astounding Mix of LOOK AT ME and MAKE HIM MINE - a good Finale for this CD - but not the real Finale of the Piece...
   Everybody who loves Musicals ... no, everybody should buy this CD, everybody. Buy it!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!



5. In the parade of really average new musicals (interestingly produced in both the United Kingdom and Australia by Cameron Mackintosh) this one is not much chop either. An ambiguous, boring score by Dana P. Rowe makes a weak story...well...weaker. The jokes are high standard musical comedy (you'll be falling asleep by the end of the overture...which happens to be the most spectacular moment in the production). The production elements once again save this disastrous combination of boring melodic constructs and catastrophic lyrical "undertones". The three most uninspiring roles for women in late twentieth century music theatre are here to be beheld in this chaotic, messy, technical jumble. We know where Mackintosh's millions go when the three leading women rise from a complex tangle of metal cable above the audience, hovering stupidly while they settle into their harnesses.

   In the professional Australian production (Princess Theatre 2002, Melbourne) leading lady Marina Prior (Phantom of the Opera, Les Miserables, Noises Off, Secret Garden, The Pirates of Penzance etc...) was cast in one of the lead female roles, to much disappointment as the music was so hideous. Famed Australian theatre and film performer Geraldine Turner was cast as the mid-American conservative Felicia Gabriel, which saved the show.

   The early demise of Cameron Mackintosh's "The Witches of Eastwick" in Melbourne signalled the closure of a sad chapter in musical comedy history.

   Appalling, almost laughable.

No comments about Old-Time Radio Famous Westerns with Booklet.

5 comments about Gentlemen Prefer Blondes (1949 Original Broadway Cast).

1. Time has certainly damaged this musical; still, it's very nice to listen to thanks to Carol Channing's singing presence. The musical is sparkling, nostalgic and quite charming. Some songs will certainly run for ages such as "It's Delightful Down in Chile" and the most famous "Diamonds Are a Girl's Best Friend", a B'way musical icon for all times. I would recommend this CD to collectors of rare items since it has more historical than musical relevance. And that certainly counts from a cultural viewpoint.



2. This is a show and score fondly remembered for being stronger than it really is. The best numbers (Diamonds are a Girl's Best Friend; A Little Girl from Little rock) are steller but there is some filler material (Just a Kiss Apart, I'm A-Tingle I'm A-glow)and things go flat whenever Ms Channing isn't there.
   
   Broadway collectors will want the CD because it uses several alternate takes, some of which are longer than those heard on the original Lp release. Alternate takes are used for: Bye Bye Baby; I Love What I'm Doing (includes introductory dialogue not on the Lp); It's Delightful Down in Chile; Sunshine; You Say You Care (has an extended ending); Homesick Blues (includes introductory dialogue.)
   
   The booklet contains excellent notes on the history of the production, and a detailed synopsis. This show was already dated in 1949 and not of sufficient quality to warrant a full scale revival, but the original cast recording preserves the performances of one of the big Broadway hits of the 1940s.



3. GENTLEMEN PREFER BLONDES is the classic Broadway musical that launched the career of diva Carol Channing, and proved to be the zenith for playwright Anita Loos.

   Ms Channing plays the role of dizzy flapper Lorelei Lee to perfection and is ideally-parterned by Yvonne Adair as sidekick Dorothy.

   Interestingly, Ms Channing sings most of her songs without her trademark "grate". She occasionally slips into her raspy tone during "Diamonds are a Girl's Best Friend", but her "Just a Little Girl from Little Rock" is a crisp, clean delivery (this was a good decade before starring in HELLO, DOLLY!).

   Yvonne Adair has a lovely singing-voice, used to best advantage in Dorothy's main big number "I Love What I'm Doin'". There are also great numbers like "I'm Atingle, I'm Aglow", "Maimie is Mimi", "You Say You Care" and "Homesick Blues" that never made it to the splashy Marilyn Monroe/Jane Russell movie (that was entirely different than the stage show, but just as delightful).

   The cast also features Alice Pearce (best-known to musical-buffs as Lucy Schmeeler "girl of mystery" in ON THE TOWN), Jack McCauley, Eric Brotherson, George S. Irving and Reta Shaw.

   Later followed by a rather-predictable 1995 Broadway revival starring K.T. Sullivan and Karen Prunzik.




4. "Mediocre?" Good lord, no. This is a delightful, underrated score. Styne is at his brightest and most tuneful, and Leo Robin (a Hollywood veteran) provides surprisingly witty and apt lyrics. The first reviewer complains that the songs aren't always related to the plot. Like the "integrated" musical is the only way of doing things! (And besides, if you bother to look at the script, you'll see that every song is appropriate to the character who sings it.) Buy this CD and enjoy such treats as "I Love What I'm Doing," "It's Delightful Down In Chile," and the wacky "Sunshine." But most of all, enjoy the truly incredible choral singing, courtesy of vocal arranger Hugh Martin, who puts the songs through all sorts of jazzy, improvised-sounding riffs and creates a unique choral sound that has to be heard to be believed. The sound is good. Get it.



5. Contrary to the other reviewer, I find that this score is terrific. Sure, it's not one of the top Broadway scores like a GYPSY, SOUTH PACIFIC or SHE LOVES ME in which every or almost every song sparkles with the same equal fizz, but this score is melodic and like most of the also-rans of the 40s and 50s, outruns todays musicals in melodic value and strong musical theatre writing. We cared about the characters then, not the scenery. I suggest you find out for yourself. And while you're at it, read Anita Loos original novel (also for sale at Amazon)--it may be the best and most hilarious media form for the zany Lorelei Lee.

5 comments about The King and I: A Decca Broadway Original Cast Album (Original 1951 Broadway Cast).

1. I have owned this recording for several years, and the vinyl lp before that.
   However, I have only recently discovered Amazon's customer reviews. So I decided to read them before I listened again. I was surprised by those who disparaged Yul Brynner's understanding of the role.
   Not so--according to the American Theater Wing, who awarded him a Tony.
   Not so--according to his co-artist, Gertrude Lawrence, who requested that his name be moved to above the title.
   Not so--according to the New York critics who reviewed the play. "His impulsive yet pathetic monarch is the most vital element of the show, which always lets down when he is not on stage." "Mr. Brynner lent such strength and realism to his role." "To an amazing extent, he gets depth, honesty, and complete credibility into an authentic characterization."
   Yes, even with remastering, it is still 1951 sound. Yes, many of the songs are abridged to fit the confines of the 78 rpm recording. Yes, much of the beautiful score is not included. For those, buy the 1977 recording with Constance Towers, which is also excellent. But do not disregard this one; it is an important part of Broadway's legacy.



2. A true musical theater classic. Wonderful melodies that will last for years to come.
   Other classics not to forget about are:
   Mary Poppins
   My Fair Lady
   The Wizard of Oz
   Chitty Chitty Bang Band
   The first Charlie and the Chocolate Factory
   The Sound of Music
   Oliver
   West Side Story
   Fiddler on the Roof
   Singing in the Rain
   The Wiz
   Little Mermaid
   Aladdin
   Beauty and the Beast
   Grease
   The King and I
   Oklahoma
   The Music Man
   South Pacific
   
   My Voice Students are always asking me for recommendations so I though I'd post it for all! We can't forget about these great musicals!



3. This was the first R+H recording i bought and i was enchanted by it from the very beginning. True, it has its limitations and it is certainly not my favorite R+H score,(one reviewer commented that this was the last of the great R+H musicals. Excuse me? Have you ever heard of The Sound of Music?) but it is undoubtedly a very necessary addition to any Broadway collection. The performances of the stars are incredable and the great collaborators are in their element, though for me this is more of a Rodgers triumph than a Hammerstein one. The soaring, romantic, exotic, colorful (etc, etc) music instantly captures each listener and is brilliantly arranged by their wonderful orchestrater Robert Russell Bennet. While the sound may not always be as good as it could be, one must take into account that the recording industry was still very much in its infant stages in 1951. Admitedly, the stars performances may not be as pleasing vocally as the could be, but they do extremely well in spite of this and are backed up by a stellar supporting cast. Doretta Morrow and Larry Dougles bring their own magic to what i consider to be one of R+H's greatest love songs, I Have Dreamed. Dorothy Sarnoff is magnificent in the soaring showstopper, Something Wonderful. Yul Brynner provides a fine rendition of A Puzzlement and joins Lawrence in that Wonderful closing number Shall We Dance, which it is impossible not to dance to. Lawrence's voice is weak but she still provides very pleasing renditions of Hello, Young Lovers and Getting To Know You. My one regret, (I can ignore the truncated numbers when the parts that ARE provided are so satisfying) is that there isn't even an incomplete rendition of the Uncle Thomas Ballet which is one of my favorite parts of the stage show. Still, that can be found on other recordings but the charm, the beauty and the freshness that can only ever be found on Original Cast Recordings, can't.



4. One correction to a review on this page. (Sorry) Yul Brynner was in his early thirties when this recording was made. (Born 1920). The only real value in this album is Gertrude Lawrence. Her star power was incredible, although this forced album does not allow her to completely shine. The recording technique is terrible. It's flat (not referring to pitch), the instruments are muffled, and everything is cut to fit either time for the 78 RPM's or for radio broadcast. Not a true representation of the great musical. I understand that this is 1951, but Columbia was light years ahead in recording technique (South Pacific-1949) The best representation is the 1977 Braodway Cast(RCA), which showed Yul Brynner in his return to Broadway. It is also the first recording with everything (except Uncle Thomas)to be uncut. Superb sound, and even some dialouge vignettes from different scenes, including a full Shall we Dance? Buy 1977, not 1951. Not recommending this recording.



5. THE KING AND I has always been one of Rodgers & Hammerstein's most popular shows. It has been frequently recorded receieving 4 New York cast albums, 2 London casts and 3 studio casts as well as the film soundtrack. Normally the first original cast is to be preferred but the limitations of the day prevent this 1951 recording from being definitive.

   Decca was not as advacnced in recording techniques as were some of the other labels and the sound quality of this disc is very tinny. Gertrude Lawrence's already thin voice is not helped at all. The lady has pitch problems and her celebrated stage presence just doesn't come across on the recording. Dorothy Sarnoff and Doretta Morrow at least have voices up to the demands of the music, but they too suffer from the flad sound of the Decca studio. Larry Douglas uses his voice to good effect and projects some warmth in his duets, while Yul Brynner is heard only in a heavily cut recording of "A Puzzlement" and for a few lines in "Shall We Dance." This last number, shorn of its dialogue and dramatic context is robbed of any meaning. It becomes just another number. Although this album was originally released in all 3 speeds (78, 45 and 33) the songs were heavily abridged to fit the 3 1/2 minute limitations of the 78 RPM format. All in all, it is not a satisfactory recording of the show.

   Those in search of the nearly complete score would be better served by the 1977 RCA cast album of the revival with Brynner in full command of the role.

3 comments about Marni Nixon Sings Gershwin.

1. ....like this. Marni Nixon, long noted as a "ghost singer" in various movies, put her name right up front on this one, and well she should. Originally released by Reference Recordings as an LP, this is virtually definitive Gershwin. Whether you like Gershwin's songs is up to you [a nurse I used to work with said that George never wrote two notes that belonged together; she's otherwise intelligent, and a great nurse], but if you like Gershwin, THIS is how these songs are supposed to sound.
   
   The individual numbers need no comment; if you're reading this, you already know them, though I'll venture you know some better than others. Lincoln Mayorga provides the kind of piano playing that every singer wishes they could be backed by, and Keith Johnson's engineering is, naturally, perfection in a vacuum tube. If George is your cup-of tea, this is an absolutely essential recording.



2. Marni Nixon has the one of the most beautiful voice in Musical Theater History. Her voice is rich and full of body. This CD is great to listen to not only because its Gershwin but because Marni brings in a natural beauty to Gershwin's music that does its justice. I highly recomment this CD!



3. The Gershwin brothers wrote so well that even I think I can sing their songs fairly well. Fortunately, my six-year old informs me otherwise. It is this consistent high quality that makes it difficult to critique professional singers' Gershwin output: It would be difficult to make this outstanding oeuvre sound bad.

   Marni Nixon, well known as the voice behind Audrey Hepburn in "My Fair Lady," is quite appealing on this collection of Gershwin standards and lesser-known gems. Accompanied by a sole piano, she effectively uses a number of styles: Operatic on "I Say Tomatoes" (though this song is a bit over-miked) and "Summertime," wistful on "But Not for Me" and "Someone to Watch Over Me", and expressive on the seldom heard (and very fun) "Blah, Blah, Blah" and "The Babbit and the Bromide." Overall, her singing is very smooth, sometimes intimate-but more often operatic and booming. Nixon has a sly, winking way on the best of these songs; her obvious enjoyment of the lyrics is simply infectious.

   But, with a few exceptions noted above, this is Gershwin straight... not a whole lot of interpretation, and certainly more pop than jazz. The piano is more than competent, but lacks imagination. Nixon sings well, and her operatic sound is beautiful, but, generally, she lacks the warmth and irony of, say, Michael Feinstein, or the range of Ella Fitzgerald. Fans of Marni Nixon will want to pick this up; fans of Gershwin (and jazz) may want to go elsewhere. Superb liner notes by Michael Feinstein briefly describe each song, often featuring Ms. Nixon's comments (e.g., about "Of Thee I Sing" she exclaims, "This is really big music hall stuff, Radio City kind of thing. Lincoln [the pianist] said it would be too corny, but I don't care. I want it big, an . . . epic saga!"). Enjoyable and recommended!

5 comments about My One And Only (1983 Original Broadway Cast).

1. It is only because of the dearth of good musicals on Broadway in the 1982-83 season that "My One and Only" was able to run for 767 performances. Other than "Cats," nothing memorable came out of that year.
   I listened to it on my headphones this morning, while I was walking. When I came home, I looked up the album to see what the story line was--it certainly was not even suggested from the recording. What did I find? Only a listing of the songs.
   True, the Gershwins were a great musical team. But this effort to make their songs into a story musical just did not make the cut.
   First, the orchestrations are overblown. Then, they intrude on the vocals, which is not such a bad thing, because Tommy Tune and Twiggy are not singers anyway. Yes, Tune is an excellent dancer; but dancing does not translate to an audio recording, even though the attempt was made here.
   If you like the Gershwins' music, if you like Broadway musicals, there are a lot of other much better possibilities.



2. I saw this on Broadway eons ago....loved it then (especially the splash/water dance routine) and love it now....Gershwin sung with fun.



3. This CD is terrific the Gershwin music was wonderful. The All the stars were wonderful as was the tap dancing. I recomend this this to all lovers of Broadway Musicals as well as new comers to Broadway Musicals.



4. MY ONE AND ONLY features a Tony-winning performance from Tommy Tune with Twiggy Lawson singing the timeless standards of George and Ira Gershwin. 10 years later, another musical featuring Gershwin material would open on Broadway, CRAZY YOUR YOU, and would prove to be more successful. Still, MY ONE AND ONLY is an enjoyable musical and worthwhile cast album.
   
   True, Twiggy is a less-than-thrilling singer; still she has a feeling for the material and sings with a verve and spirit which makes up for her technical shortcomings. Tommy Tune is fine, but always comes across better in person than on disc. Standout numbers include "How Long Has This Been Going On?", "S'Wonderful", "He Loves and She Loves" and "I Can't Be Bothered Now".
   
   MY ONE AND ONLY lost out on the Best Musical Tony to CATS, and Twiggy lost out on the Best Actress Tony to Natalia Makarova (for the revival of ON YOUR TOES).



5. I received this album about 15 years ago, listened to it for a few years and then managed to lose it in one of my many moves. The songs have stayed with me, though, and I still sing them when I'm in that singin' mood. Little Jazz Bird is my infant son's favorite song (and guaranteed to calm him down when fussy). I just love the music. I was pleasantly surprised to find that Twiggy could sing (and in a range that I can sing along with). I never saw the play, but I loved the music all the same.

No comments about Command Performance.

5 comments about High Fidelity (2006 Original Broadway Cast).

1. The book is great. The movie is great. The musical, with a clip here, more
   oomph there, clip a few places...should be great.



2. My friends and I just don't know why this show wasn't a big hit: reasonable story line (as Broadway musicals go); fine acting; really good production values; and -- as this album shows -- really good, clever songs.



3. I saw this show in previews and was fairly impressed, but after listening to this album a few times, I realize what a fantastic gem of a musical this really was. The music soars and the lyrics are the smartest and funniest I've heard in years. It helps if you relate to the material, which is directed at underachieving 30 somethings. Right now, I'm particularly fond of "Ready to Settle". A rare bonus is that all of the tracks are great.



4. Alright, I really wanted to like this recording, Hi Fidelity is one of my favorite books and I love the movie very much. The cast recording is highly disappointing. The lyrics are bad, really bad. The music is catchy and if you are a fan of the book and or movie its kind of neat to hear the parts of the story in song but honestly the only good part of this cast recording is leading man Will Chase playing Rob.



5. After listening to this CD you are going to ask youself how did this play not have an extended run on Broadway. The score is a jewel in the tradition of "RENT." I can't get a number of the melodies out of my head. This score has it all! Excellent and fun lyrics and catchy tunes. I just can't understand critics. If a musical isn't completely unique it gets trashed. I read some of the reviews and could not believe what I read. Good Songs, Good Acting, Good Chemestry, Good Creative team, etc, etc, etc. So what was wrong? Well, the answer, is nothing! So if you want to listen to a wonderful musical score and scratch your head on why the producers turned chicken and dumped a wonderful play you must purchase this CD.