5 comments about Anything Goes.

1. I'd wanted this album for a while, and once I got it, I couldn't stop listening to it. The songs are great, the performers are just as wonderful, and it makes me sad I was never able to see the show live. I smile and laugh during many of the songs, and based on the tone of the singer, I can almost see the physical movements that go with that part of the song.
   
   My favorite song by far has to be 'You're the Top' as sung by John Barrowman and Sally Ann Triplett. It's fun, as well as speaking to the tone and feel of the time. I also enjoy 'It's De-Lovely', as yet another fun song, but one that speaks to love and romance.
   
   Overall, the whole album is great, and just shows that no matter how old a show may be, even in this modern world we live in, they can still be wonderfully entertaining.



2. I was looking for a new recording of this, my favorite show, and there it was. Little did I know that once I put the disc into the player, I would be treated to an amazing cast recording!



3. Yep, this cd is just as I remember the show at the National. Very, very good & fast delivery.



4. My husband and I saw this play in London last April and fell in love....Cole Porter's music is magic. The show was fantastic and I was so glad to be able to order this cast recording. Sally Ann Triplett and the entire cast are marvelous. It's "De-Lovely!"



5. This is the ultimative ANYTHING GOES-Score! The whole cast is outstanding (especially Sally-Ann Triplett and Anette McLaughlin)and they belt out their songs in a way like never before! But the Arrangements make this CD worth buying! The WHOLE Score is here (including a longer Overture, a differents Interlude and some new Arrangements like for example a little gospel-like part in Blow, Gabriel, Blow and a Tango/Chardasz-Section in Gypsy in Me). The Score is complete and refreshing. Even the Sailor's Chantey has got a new and interesting musical interlude.
   Everybody who loves ANYTHING GOES has to buy this Soundtrack!

   P.S.: I hope my English is well enough to understand...

5 comments about Evening at Carnegie Hall.

1. I was at this concert, and it was a remarkable evening. Though the selections on this CD are not every song performed that night (unfortunately missing are the two songs from "Carrie", one solo by guest Linzi Hately and one duet - not included I believe due to difficulty in keeping the singers and orchestra together while performing that difficult music live) - but what we do get is the essence of that evening, and these selections are excellent. The album starts off much as the concert did, with a few standards and Broadway gems, some mellow, some sweet, but this is all just a warm up for what's coming. By the time it gets to Mary Chapin Carpenter's "Come On, Come On" Betty is simply bewitching. The painful memories of that song are painted with Betty's voice in a way that I think only she can acheive. This is the song on the album I have played over and over. Listen also to her medley of "Hi Lily Hi Lo/I Can Let Go Now" which spins the songs into a musical journey that Betty illuminates with shear beauty. Equally magical is her verison of Billy Joel's "And So It Goes". But if the ballads paint pictures of love lost and dealing with pain, Betty outstandingly secures her place at the top of the muscial theater with "Pirate Jenny", "Rose's Turn", "As If We Never Said Goodbye", and "With One Look". Fierce, undaunted, at times almost pushed out of control - her voice rides these numbers from the low to the high, at every moment executing the difficulties of each song without fail. For those of you who were not there, in the second half Betty sang 3 songs back to back and called it something like the "Musical Theater Monster's Medley" where she literally had the orchestra play a 60 second vamp while she changed costume, wig, and accessories in full view of the audience and then launched into each song (I know Rose's Turn and With One Look were two of them, but the third escapes me). It was stunning then, and it will be stunning forever, since the evening was captured so beautifully on this CD.



2. If you like real Broadway belting don't miss the unique voice of Betty Buckley. This is one of her best recordings. My favorites are absolutely ferocious renditions of"With One Look" and "Rose's Turn"- sung back to back. She brings down the house. Many other performers have done the songs on this cd, but Betty Buckley is an original and this cd is phenomenal.



3. The only problem with Betty Buckley is that she isn't nearly as well known as she deserves to be, considering the length and quality of her career. This album of somgs from her 1996 AIDS benefit concert at Carnegie Hall is simply flawless. Naturally, it's heavy on music from Broadway, the London stage, and film scores, but she sings one Mary Chapin Carpenter song, "Come On, Come On," that comes from none of those sources and is guaranteed to give you chills every time you hear it. If you're tired of recordings by singers of little talent and less style, listen to Betty Buckley for fifteen minutes and you'll feel as if you'd never heard real singing before. She is an original, and she has the best voice in theater of this or almost any decade.



4. From start to finish this live performance is outstanding. From the opening number where she combined Hello Young Lovers with Almost like Being in love - which she sings brings back memories of Judy Garland's Carnegie Hall performance. The concert carries forward into sadder places with songs like I can Let Go Now, and Every Day A Little Death, some where along the line you will shed a tear. However nothing can be more breath taking than when Betty Buckley towards the end of her brilliant performances sings With One Look, only to be followed up with Roses Turn, she truly captures Broadway at its best with the combo of those two songs. The one draw back is I know this was not the whole concert and I would love to hear it all.

   I own several of Ms Buckley's albums, some are ok, others are not - but I must say nothing beats her live.




5. Of course, we all know that Betty is fabulous. I for one would like to do something to get the entire concert released. I wasn't at it, and I want to hear the rest! Oh well. The strength that Ms. Buckley has is her acting. Don't get me wrong, her singing is mindboggling, but that is just a given with her. It's her portrayal of each character that comes through in the recording. It makes you feel like your are watching with the rest of the audiences (and makes you wish you had been!) If anyone knows anything about how to get a video, or audio recording of the concert in it's entirety, please email morwitz@andrew.cmu.edu and tell me how. Thanks

5 comments about The Act (1977 Original Broadway Cast).

1. THE ACT opened on Broadway at the height of Liza Minnelli's popularity. She had proven herself to be one of the few "triple threats" (she had already won the TONY Award for Flora The Red Menace, she had recently added an EMMY for Liza With a Z and the OSCAR for Cabaret).
   
   When THE ACT opened, the thought of Liza appearing live was too good a lure for the public to ignore. It seemed a natural and from the moment it was announced, people were proclaiming it another classic (it followed hot on the heels of A CHORUS LINE which had just reinvented the American musical). Almost immediately, THE ACT was in trouble. Liza Minnelli had prolonged absences due to illness (no understudy as the show was considered an opportunity to see and hear Liza, not an understudy); then the book was deemed too weak to sustain an audience (even an audience that was hell-bent on seeing Liza) and finally came a dual crushing set of blows: a few of the songs were "pre-recorded" so all Liza Minnelli did was lip synch them on stage/ no Original Cast album was going to be recorded (which, when considering the numbers had already been recorded, was quite absurd).
   
   Finally a small label released THE ACT on vinyl and the public got a chance to hear the score. It was strong and, if the book had at least half of its strength, would have made it a success. Here you can hear the very good music that Liza capably delivered and resulted in her second TONY win.
   
   BoBo's is a curious tune and Liza's rendition of it could be almost chilling at times ("So lonely here a heart can break/ bet a dime you'd never hear it"). "Shine It On" is also good fun. The best of the numbers are: Arthur In The Afternoon (no relation to the Arthur films she later did with Dudley Moore) and the hit from the show: City Lights which was so good, Liza was nightly commanded to do an encore.
   
   In a nutshell, it was a weak show (which explains why it has not been revived) that was quickly forgotten. However, it was a triumph for Liza Minnelli who proved that she could carry it. With this CD, you get the best of it - Liza's voice was fine and strong; never sounding husky as it does today.
   
   This is an album that Liza fans should give a try. It may not be spectacular but it is interesting.



2. Back in 1977, I attended three performances of The Act, and each time Liza was super collossal!! She WAS the show, and she was onstage most of the time. I rememeber fans asking when the score would be recorded. I even wrote her myself and received a personal reply from Liza saying it would be done soon. It turned out to be a wonderful package, great vocals and cover photo that is quintensential Liza! City Lights is a favorite of mine. Liza won her third Tony Award for this show. The transfer to CD is faithfully captured. Many budget CD's from Europe have released this score on various labels. A must have for Liza fan!!!



3. City lights, oh, I long for those city lights,
   the bulbs of those beaming brights beckoning me there.
   Be there.
   Take the crickets and go sho** 'em,
   urban crises, how I love 'em!
   Grime and grit and pretty city lights.
   Walking lanes to pick a daisy,
   that could drive a person crazy.
   Home-made bread lies here like lead,
   and Polly's peach preserves--
   oh, please, my nerves!
   City lights, how I long for those city lights,
   the bulbs of those beaming brights beckoning me there.
   Be there.
   Sties and stables sure are smelly,
   let me sniff some Kosher deli,
   brightly lit by pretty city lights.
   Pluck your lilies of the valley,
   let me sally up some alley
   dimly lit by pretty city lights.
   Country air means zilch to me;
   I won't breathe nothing I can't see.
   So let me quit and hit those pretty city lights.
   Hit them city lights!
   Love them city lights!
   
   The soundtrack to The Act starring Liza Minnelli really rocks you with musical numbers by John Kander and Fred Ebb; they always saw to it that Liza's talents looked their best. This CD gives us the electric numbers from The Act which mostly features Liza's superlative vocals. This is a must have for Liza fans, theater fans and anyone who just plain enjoys well written words and music.
   
   "Shine It On" reflects the relentlessly upbeat and optimistic look of Liza's character in this play, Michelle Craig. The brassy, jazzy musical arrangement sports that '70s Vegas flavor; and there's an excellent piano arrangement as Liza belts this one strong! Liza's excellent diction bolsters her performance, too. "It's The Strangest Thing" gives us Liza singing a sensitive love song with passion and panache. Liza's character, Michelle Craig, sings of her love for her man. Moreover, "Bobo's" has a feel somewhat like a Cabaret-type number as Liza sings to celebrate the existence of Bobo's, a great piano bar and hangout place. Liza sings about the people in the bar and the musical arrangement makes good use of the brass and percussion. Great!
   
   "Arthur In The Afternoon" is a playful, amusing number about a woman who finds great satisfaction and happiness now that she's enjoying a romantic affair with a man named Arthur. Liza sings this to perfection; and the funky late '70s beat works well for this tune. "The Money Tree" showcases Liza's character singing of how her man just won't come back to her; listen for the excellent arrangement for piano and strings on "The Money Tree."
   
   "City Lights" is a highlight of this soundtrack album; and it's just about my favorite song on this CD, too. "City Lights" features Liza singing of a country woman who yearns desperately for the happy times she enjoyed when she lived in a big bustling city. "City Lights" is flawlessly performed by Minnelli and I predict you'll like this number very much.
   
   "There When I Need Him" is another love ballad delivered passionately by Liza; and "My Own Space" features Liza singing beautifully with just a piano. "Walking Papers" gives us a great number with Liza's character Michelle singing of how her troubles are now in the past; she looks ahead to a bright future. "Walking Papers" showcases Liza singing passionately and the backup chorus vocals work wonders for this upbeat number. "Walking Papers" is also a strong ending for this album.
   
   The liner notes give us a miniature replica of an advertisement for The Act; and the artwork reflects good judgment.
   
   Liza Minnelli gave blood for her performance here in The Act; and it shows. Liza made every number shine brighter than silver and gold. What a great album!
   
   Thank you Liza--and everyone else including the musicians, too!



4. Liza had so much talent and energy,no one knew what to do with this ball of FIRE.I remember readying the review of "THE Act" in Newsweek,and they said the same thing.I didn't get to see this play,(even though i got to see Liza in concert that year)but had to buy the album,and later the CD."BoBo's" is my favorite cut."Authur in the Afternoon"and "City Lights" were two of the songs Liza sang when I got to see her live in concert that year,and 2 show stoppers.This album was almost not made.No record label would produce it,and it was recorded in a couple of days to save money.If you are a Liza Minnelli fan,you have to get this CD.



5. Anyone lucky enough to experience the Magic of Minnelli in the Kandler-Ebb classic "The Act" which was specially created to showcase Liza's kaleidoscopic talent, knows that this Legend has no peer then or now on the live concert stage and each time I attended this incredible event standing ovations were far too many to count and all well earned by Miss Minnelli. From the exhuberant opener "Shine It On", it is apparent that Liza is in peak vocal form singing with all of the passion and greatness that is her trademark. Romantic and reflective make "It's The Strangest Thing" a wonderfully appealing ballad while "Bobo's" is fun and energetic. Liza wearing a beautiful red dress came twirling down a pole and "Turning" became a beautiful and flowing ballet that turns into an engrossing up-tempo spiritual! "Little Do They Know" is a cute number for the chorus while love in the afternoon to relieve stress with a personal trainer make "Arthur In The Afternoon" a Liza classic which she would continue to include in her concerts for a number of years to great effect. Torchy and soulful make "The Money Tree" a passion filled stunning masterpiece as Liza pours everything she has into this greatly sung song and follows with a equally engrossing tour-de-force performance of "City Lights" which builds into a classic dance routine with Liza being lifted high into the air by a troup of dancers while belting out this showstopper making this one of Liza's major classics...full and rich yet tender and passionate is Liza's breathtakingly beautiful vocal on the winning "There When I Need Him" making it easy to see why so many fall in love with Minnelli's magical voice. I cannot think of any other singer who could bring so much to these songs as Liza does...she is simply incomparable throughout this great collection! "Hot Enough For You" is funky fun and the chorus does a reprise of "Little Do They Know" while Liza readies for the finale which is the reflective ballad "My Own Space" which is just a sublime Liza vocal with piano which is always a special treat! A soaring and soulful "Walking Papers" end this classic Tony Award Winning Show in a great spiritual fashion that has Liza singing with a great deal of passion and unmatched vocal brilliance. Anyone who appreciates a truly great singer will not want to miss this classic as Liza Minnelli is in peak form showing off the range of her remarkable talent~Viva Liza Minnelli!!!!!

4 comments about Film Music of Sir Malcolm Arnold, Vol. 1.

1. I purchased this CD about three years ago primarily for the Bridge on the River Kwai music. I had bought the original soundtrack album very soon after seeing the film (in 1957). The thought of having another copy recorded with modern-day technology made the purchase irresistable. One slightly negative (for me) comment about the music is that this is not a re-recording of the original soundtrack. This is a concert suite arranged by Christopher Palmer. The music is "basically" the same. Mr. Palmer has re-arranged much of it and the sequences of events are out of sync with the original. Apart from these differences the music is still awsome sounding! The other pieces on the disk are all well worth listening to for Arnold enthusiasts. Whistle Down the Wind is charming. The Sound Barrier has that Arnold juxtapositioning of the stern and dramatic with the bubbling and warm-and-fuzzy tunes that he is known for. The Hobson's Choice music has a lot of Arnold's humor in it. Upon first hearing, I thought the music was rather "corny" but repeated listenings have allowed me to find the deeper things in it. The Inn of the Sixth Happiness is pure Arnold from beginning to end. The grandiose London Prelude opening, the tender Romantic Interlude section, the stirring and ominous Mountain Crossing, and the "This Old Man" tune at the end make this piece, as well as the entire album, a joy to listen to. If you are a Malcom Arnold fan and would like a sampling of his film music, this CD should meet your needs very well. Five stars!



2. This music is amazing! I gotta admit that I bought this Cd mainly because of the tracks from "The Bridge on the River Kwai", but all the other tracks are also very good. My personal favorites are "The Bridge on the River Kwai March"( last track of the Bridge on the River Kwai section of this Cd), the Overture/Shoe Ballet from "Hobson's Choice", and the last track on this Cd, the "Happy Ending: Mountain Crossing-the children". That track is one of my favorite pieces of music ever. One comment on the orchestra that is playing it all: They are great. They play really clean, stay on the beat, and I am sure that they play the music just like Sir Malcolm Arnold intended it to sound. The London Symphony Orchestra is doing a great job on this Cd. This Cd rocks and well deserves five stars!



3. Malcolm Arnold's film scores stand on a par with his concert music; they are of equally high quality. Of the five films represented on this CD, the most prominent would have to be the 1957 best picture Oscar winner, The Bridge on the River Kwai. But, having said that, it would at most have to be considered as first among equals, as the other scores represented are also well-done and well-performed. For film score buffs, this CD should be a keeper.



4. This album will be a delight to baby boomers like me who were taken to the movies during the late fifties and sixties to see these films. The films seem a little dated now but the scores of Arnold bring out tear jerking emotion, nostalgic pangs and jolly japes, all in the blink of an eye. The heavyweight David Lean 'The Bridge on the River Kwai' item is probably the movie you are most likely to see repeated on TV; who can forget the defiant and physically broken Alec Guiness standing up to the Japanese Camp Commander? Yet, paradoxically, although the Colonel Bogey March was very popular when the movie was relaeased, it probably will not be the most played item on the CD if you buy it. Arnold's fecund imagination comes into its own with the 'Hobson's choice' with the brilliant orchestral character sketches of the grumpy and drunken Charles Laughton character on the deep brass, or the thrilling optimism as our hero sudenly realises he can make it. The 'Whistle Down the Wind' offerings are sheer musical poetry that underline the pathos we all feel of our lost childhood vision of Jesus and the haunting theme stays in your head a long while afterwards. The 'Inn of the Sixth Happiness' and 'Sound Barrier' items are wonderful and will be enjoyed again and again as Arnold's imagination jumps around the orchestra in its different tones. A brilliant buy!

5 comments about Standard Time.

1. I saw Sam Harris years ago when he won on the Star Search talent show and absolutely fell in love with his voice. This cd is one of my favorites because it has fantastic music, but it also allows Sams voice to shine. He has a fabulous vocal range and his voice is so clear. If you like some of the older songs, such as Blue Skies or Moon River, you will love this cd. It also contains Somewhere Over the Rainbow (from Wizard of Oz)which he does soooo well. I love when he hits that last note towards the end of the song. It's fantastic. (I think that is the song that he sang on Star Search when he won the competition.) I highly recommend this cd for anyone.



2. IF YOU BUY THE SINGLE CD VERSION HERE, PLEASE KNOW THAT IT'S AN UNAUTHORIZED COPY.
   
   Please note that this is available as a double-length cd. Featuring all tracks of DIFFERENT STAGES and STANDARD TIME, produced, arranged and conducted by Peter Matz.
   
   You can find this at Sam's official site at a normal price.
   
   
   
   Enjoy!



3. Sam Harris' work with the late Peter Matz is exemplary. Sam has an amazing instrument, which, I think, he's been guilty of misusing in the past (for effect), but under the masterful watch of Peter Matz, Sam shines.
   
   The arrangements are all excellent and Sam's performances on these tracks catapults him to the top of the list of those people who CAN and SHOULD be interpreting the standards of the Great American Songbook. I challenge anyone to find a better cover of "Who Can I Turn To" or "Blue Skies."
   
   He's grown into a great artist from those Star Search days and I can only hope that he'll find producers like the late, great, Peter Matz who can help him shine.
   
   Buy this one and enjoy!



4. I was first introduced to Sam Harris as most were through his winning year on Star Search. A good friend of mine, performed at many clubs in L.A. before managing a Cabaret in town. What a treat this place was. Seeing Sam Harris, Linda Eder and many others before hitting it big on stage. Met Sam a couple times at a couple performances. This CD reminds me of some of the performances I saw live on the Open-Mike nights. Wonderful.
   My favorite song on this CD is Let Me Sing. What a fun uplifiting song. Always makes me sing along in my car. All songs and performances on the CD are terrific. Treat yourself to this CD - you will be pleased. I can almost picture them being performed live. I miss those days.



5. I originally heard of "Standard Time" from watching Oprah Winfrey a few years ago. I have had this CD ever since. My copy has a song called "That's All" on it. I am really glad that I have that song, because it is one of my favorites on the CD. I have given this CD as a gift several times and recipients are delighted with it.

5 comments about A Stephen Sondheim Evening (1983 Concert Cast).

1. This is an excellent compilation of songs, both well and not so well known, which is performed by a first rate cast of performers. This 1983 concert features great vocals with minimal though effective accompaniment. In my opinion, Liz Callaway gives a definitive version of "What More Do I Need?" (Saturday Night) and "The Miller's Son" (A Little Night Music). George Hearn and Victoria Mallory turn in a beautiful rendition of "With So Little To Be Sure Of" (Anyone Can Whistle). Angela Lansbury is accompanied by Stephen Sondheim on the piano to deliver her rendition of "Send in the Clowns," which is one of the better and heartfelt sung and is definitely worth a listen. Selections from all of Sondheim's major musicals except Follies are featured.



2. I like this Sondheim Revue. The performers are good, and I appreciate that they don't try to be "clever" with Sondheim's music. They just performs it as it is written.
   
   The orchestrations are...well...slim. But the synths aren't disturbing, except in Miles Gloriosus.
   
   Otherwise some rare SJS gems are included here. And Angela Lansbury's Clowns is one of the few versions of this song worth listening to (it's not a bad song, but done so many times:P).



3. This is one of the better Sondheim tributes, but because RCA cut out 2 numbers from the original 2 lp set to fit on one disc, I can only give this 3 stars. I owned the original lp set, and wasnt aware of this omission until after I bought the cd. One of the best songs on the original, You're Gonna Love Tomorrow/Love Will See Us Through with Liz Callaway (among others) from Follies was cut. Inexcusable! There were several other lesser songs they could've cut instead if time was a problem. (Poems and There's Something About a War being two of them) In small print in the booklet it says the 2 cut songs are available on Collected Sondheim. Yeah, like I want to shell out 50 bucks to get those 2 songs when I have everything else on that compilation? If you havent heard the original set, you'll probably love this recording and there is a lot to love, including Angela Lansbury singing Send In the Clowns with Sondheim on the piano. But if you have heard the original LPs, Buyer Beware! Shame on you, RCA!!!



4. This recording is really realllllllllly bad. The songs are terrific, of course, although the selection seems rahter arbitrary. And it is terrific to have a recording of lost gems like House of Marcus Lycus and Invocation. But otherr than that, this CD just stinks! The arrangements were scaled down to a piano (which really seems like its being piped in from a different concert hall) and a wince-inducing synthesizer. The voices are uniformly distant and tinny, the result - i assume - of poor mic placement. And WHO is this Stephen Jacob person, and how did he get it into his head that he's a singer? Every time he opens his mouth - I kid you not - I shudder. I was kind on this CD - I give it 3 stars only because it has some great songs on it, and Judy Kaye's Another Hundred People is very very good. But other than that, this is worthless.



5. I was at this concert, and this recording captures the excitement that the performers generated that night. A lot of Sondheim's best songs, and a generally strong group of singers. It's unfortunate that the CD release is missing two of the numbers that were performed that evening (and were included on the original LP release). Judy Kaye's "Being Alive" is a particularly glorious highlight of this CD.

5 comments about The Disney Album.

1. I have had this album on cassette since I was very young, and just two years ago the tape broke, I have been without this amazing album for too long. If you want to hear definitive interpretations that you will love for ever, this album is the one for you, if you find it, get it and don't ever get rid of it.
   
   Please Re-release this album!!!!!



2. This is a delightful, beautiful and nostalgic album, with some of the very familiar Disney songs to some not so familiar. I wish I had another copy of it. Perhaps one day, it will be re-released, and I will be able to afford it. Though, actually, it is priceless. Five stars plus!!



3. Barbara Cook's Disney album is one of the finest popular recordings ever made, exquisitely sung to shimmering arrangements. Cook's artistry, intelligence and taste glow in this album, which provided the model for Barbara Hendrick's similar and also absolutely first-rate collection. It's a crime this album is out of print.



4. I bought two copies of this CD when it first came out as gifts for my sister and my cousin. Sadly, I didn't get a copy for myself, but my sister made me a tape. I love Miss Cook's voice, and the wonderful "re-arrangement" of some of the classic Disney tunes. I also love some of the more obscure tunes on this CD, such as "Sooner or Later". I recently bought a used copy through Amazon, which is in great condition, and I am so happy to have it, if for no other reason than to be able to play "Baby Mine" for the child I hope to have.



5. Ever been busy doing something or other, when in the background you hear something rather special and you have to stop and listen? Well, this is the one that does just that. Miss Cook is mesmerising, these versions of Disney classics are simply staggering, her voice is quite amazing, with mind-blowing orchestrations played to perfection. Beg - Borrow - Steal to get a copy! Am I going 'over the top'? Simply listen and you too can be in heaven! Should her record company ever come to their senses? This is 'The Recording' to re-issue.

5 comments about Passion (1997 London Cast).

1. No, No, No, Absolutely AWFUL. I am a huge fan of Passion and it is my favourite Sondheim score. Please do not waste your money on this garbage. Maria Friedman is terrible and after listening to her ridiculous over acting I am happy to throw this CD in the bin. NO feeling, NO Passion. I would give this no stars if I could.



2. I own the DVD and CD of the original Broadway cast performance. Jere Shea, Marin Mazzie and Donna Murphy are al great. I bought this recording to see what new actors could bring to the musical. The performances are as good as the original cast and, more importantly, there's more dialogue on the CD (this is a concert version, I believe). The additional material adds depth to the recording and the CD is a must for any Sondheim fan. As an aside, the extended version of "No One Has Ever Loved Me" that was cut from the U.S. production (the audio is available on the DVD) is included in the London recording. It doesn't sound as awful as it does on the CD.



3. I have not seen either the broadway or London version of this show. There is not a song that really stands out but it has moved up to my second favourite musical of all time. As I said there are no catchy numbers but it is addictive. It was like reading a book and not wanting to put it down. Michael Ball, Helen Hobson and Maria Friedman are excellent. I wish with all my heart that I could have seen this on the London stage. If you like musicals you will love this.



4. 
   
   I found the American orchestra slightly synthesized where as the London recording has a wonderfully classical orchestration that fits the piece to the tea. The numbers flow from one to the other without any detectable breaks. As others before have said, I find the whole piece more operatic than musical theatre. I imagine that opera companies will take to performing Passion like they've done with Sweeney Todd and A Little Night Music. His composing ability is at its top form comparable to any modern classical composer.
   I do challenge the people who say the musical contains no songs to look deeper than the surface. There is the Love that Flies duet, I Read solo, I wish I could forget you, and Happiness. Everything, the song, the dialogue, and the music, is about the scene. The craft of construction is more Wagnerian than pop like your Stephen Schwartzes (who I like by the way). Each is crafted with beautiful melodies that twist the subtle changes in lyrics. As an example "just another love story that's what they would claim" to "Just a simple love story needn't end the same" (probably misquoting, but you get the idea). Georgio with the same theme makes an about face in his concept of love. Sondheim has used his lyrics extremely well in revisiting the same melodies with new shading completely changing the meaning. The desperation and pain in Fosca with the first statement of the melody is restated by Georgio as his desperation and pain toward the end of the musical. The king of lyricists, he remains strong and firm with scepter in hand.
   I found that the London cast tends to act more and read lines less. Some of the scenes on the Broadway recording sounded read as opposed to really acting the musical. Maria Friedman's voice is rough and dispirit while singing and husky while speaking. I believe it works well for the tragic Fosca. Michael Ball, clearly the star of this recording whether you are listening or just looking at the cover, dominates the recording with vocal power. Jere Shea's Georgio is a wilting flower compared to Ball and his force of will. He is no victim in this recording. Helen Hobson has a nice soprano voice, a good contrast to Friedman's, but sinks into the background in this recording. I read once, as said by the director of the Kennedy Center's production of Passion in 2003, that the musical requires a balance between the three leads. He said Donna Murphy so wonderful in her performance destroyed the Broadway production because she overshadowed the other performers. That is why I don't find the dueling divas in this production distressing. It is the conflict between Georgio and his choice of Clara or Fosca. I am not sure what Hobson could have done to be more prominent, but she does a good job in the recording.
   The first time I listened to this musical I hated it. I didn't get it. It wasn't until the third time I listened to it; I actually began to enjoy the skill and craftsmanship. Passion is not a passive musical it requires active listening. Now I think it is wonderful and endearing.



5. Vastly inferior to the wonderful Broadway cast recording. Both of the female leads in the London cast are not up to par as vocalists or as actors. Michael Ball gives a rather one-note performance with nowhere near the "passion" of Jere Shea. A travesty of a brilliant score.

1 comments about Dreaming Of A White Christmas.

1. I now own all of Jim Nabors' CD's. I could listen to his singing 24/7. His voice is so pure and he enunciates so well, I can hear every word he sings. Thank you Jim Nabors for sharing your gift from God with the world, and especially me. "DREAMING OF A WHITE CHRISTMAS" by Jim Nabors is one of his best. The recordings are so clear, as if he were singing in the same room as I am sitting.
   Anyone who loves to listen to a great voice, plus songs we all love to hear, buy one or all today.

1 comments about The Music of Cole Porter: Jazz Piano Essentials.

1. Concord has put together another winner with this Cole Porter entry for its Jazz Piano Essentials series. Hank Jones, Dave McKenna, John Hicks, Kenny Drew Jr., Fred Hersch, Dick Hyman, Allen Farnham, Cedar Walton and Gerry Wiggins are among the 14 keyboard artists offering standards by the great composer on this budget-priced CD. Great sounds and great value!