5 comments about The Threepenny Opera (1994 London Donmar Warehouse Cast).

1. Slightly disappointed with orchestrational output, prefered 1954 wind instrumental version - too much piano in bass parts. However, full parts produced with no cut versions. Singing excellent with graphic feeling and characterization which mirrors German translation and undertones of the piece. Used as 3rd year music undergraduate presentation.



2. The wonderful thing about the Threepenny Opera is that every recording is completely different than the previous, yet each one is integral in acheiving an understanding of what this show is about. For instance, I adore the original Broadway recording with Bea Arthur, Lotte Lenya, Scott Merrill, Charlotte Rae and Jo Sullivan the most because of the glorious mono sound and the brilliant performances. But this Donmar version is much closer to the themes and styles of Brecht's sophisticatedly vulgar text.
   
   Some minor quibbles I'd say are the voices, orchestrations and the recording quality (it sounds like it was recorded in an ampitheatre), and I feel as if more clever rhyme-schemes were sacrificed and replaced with lyrics of shock value.
   
   I can't say I'd stop at this recording, but it is a must-have for Threepenny afficinadoes. For me, the absolute most wonderful version that is SHAMEFULLY NOT ON CD is the Shakespeare Festival recording with Raul Julia and Ellen Greene. I am so fortunate to have a copy of the LP and to me that is the definitive recording.



3. I have to confess that The Threepenny Opera is my all-time favorite musical piece. I love the music & I love the message. I just can't hear it enough & I can't listen to enough versions.
   
   This is definitely one of the very best performances I've heard. The acting, the singing, the instrumental performances, the language are all spectacularly perfect. I just wish I'd gone to London in 1994 to see this version. Must have been the experience of a lifetime.



4. I worked on this show last year, we used this translation. Imagine my surprise when I tried to download parts of it and found them to be sugarcoated! This is the only version that actually uses rhymes that arent down right silly, and captures the terror and evilness of the German. Compared to this slick, painful adaptation the other versions have no spirit.



5. The Donmar production is to be congratulated-- their Threepenny is a scream from hell. In setting this production in the present/near future, they have driven home the issues even further than the Foreman version does. Mac is no longer an orientalized rogue from the past; he is a cutting edge serial killer and rapist who works in collusion with the police. Jeremy Sams's lyrics capture the spirit of the piece perfectly-- they are harrowing. If you are looking for Brecht in its rawest, most meaningful form, it's on this cd.

5 comments about Broadway Cares - Home for the Holidays.

1. This CD features Broadway stars singing Christmas songs. They all sing great, not surprisingly. Most songs aren't done in a very swinging style, but they are enjoyable in an easy listening kind of way.



2. I looked for this CD at all the stores and could not find it. This year the date is November 10th, and I ordered two, one for myself and one as a gift. I can't wait to hear the whole thing. I've enjoyed the sample songs on Amazon's website.



3. The biggest disappointment I've ever experienced in a holiday music CD. However, the good news first, such as nice to hear Christmas Time Is Here (from Charlie Brown) in a format other than cartoon, though this version does get a little bluesy rather than contemplative. As well, the Minnelli & Cumming version of Baby It's Cold Outside is wonderful fun (even though it's probably not a great song for Liza's Ss). Patrick Wilson is wonderful on the traditional (and fast-paced) We Need A Little Christmas. Other than maybe going WHOO! there's no surprise there. Victor Garber, normally wonderful and someone I look forward to, puts such a downer on his variation of I'll Be Home For Christmas I had to stop listening to it altogether. The mix of traditional holiday with "seasonal" fare, like New York State of Mind is well-conceived, it's just the individual interpretations may not be to everyone's taste, certainly not mine, as I found the majority of songs to be overwrought, like a bunch of over-eager kids in audition mode. Sam Harris on Merry Christmas Darling had me gritting my teeth.



4. This is by far my favorite Christmas CD. The singing and arrangements are lovely, and the mix of songs is wonderful. Standouts (on an album of standouts) include Alan Cumming and Liza Minnelli having fun with "Baby It's Cold Outside," a version of "Peace on Earth/Little Drummer Boy" that is a haunting prayer for our times, and a beautiful and sad version of "I'll be Home for Christmas."
   
   If you're looking for a Christmas album to entertain children, this probably isn't it. No Frosty or Rudolph here, and the arrangements have an adult contemporary feel. But if you are looking for something to help you unwind after the kids have gone to bed, this CD is like a warm fire on a winter's night.



5. this cd is unlike any others that i have. it has all of my favorite broadway artists (daphne rubin-vega, patrick wilson, billy porter, lillias white) and so many tony award winning stars as well like liza, alan cumming and gary beach. they are all singing their favorite holiday songs. it was also great to learn that all of the artists donated their time to record this cd as benefits for bc/efa.

5 comments about Barbara Cook at the Met with Special Guests.

1. This has become an instant favorite of mine. Barbara's performance is just stunning. From the choice of songs to the superb arrangements, everything is in place to show off her musical mastery. She moves so effortlessly from joyous classics like Gershwin's Nashville Nightingale to bittersweet contemporary songs like Sweet Dreams and Eroll Flynn. What chokes me up is her unique ability to inhabit and reveal the soul of each song without sacrificing the natural beauty of her singing voice. I don't know what I was doing without this album for so many years. This is a must for any fan of the American songbook and any lover of show stopping, musical theatre-inspired singing.



2. Musical icon Barbara Cook took the stage of New York's Metropolitan Opera House on January 20th 2006, for an unprecedented event: for the first time in its 123 years, a non-classical female singer was granted a solo evening, as part of its official season. Ms Cook had as her special guests four-time Tony Award winner Audra McDonald, and the multi-platinum recording artist Josh Groban. (The evening required no advertising: it sold out its 3700 seats within five days,) And, luckily enough for us, and for posterity, the evening was recorded live.
   
   Cook's voice has somehow largely withstood the test of time. At 78, with five solid decades of performance behind her, in theater, cabaret, and concert, The New York Times called it "better than ever." She still presents each song with intensity, poignancy and intimacy; perhaps with more elegance and vulnerability gained over the years. And while she may have a little more trouble reaching for her high notes, she does reach them. In a program that lasted nearly two hours without intermission, she charmed the standing room only crowd with a program of classics from the likes of Cy Coleman, Dorothy Fields, Stephen Sondheim and George Gershwin, along with a couple of songs by new talents she likes. Her still silvery-voiced soprano was backed by Eric Stern on piano, Peter Donovan on bass, and Jay Berliner on guitar: many of the arrangements were made by Wally Harper, her longtime musical director and pianist, whom she'd recently lost.
   
   The duets with Josh Groban and Audra McDonald, were effective. "Move On," one of Barbara's duets with Groban, is a particular highlight of the record: you can hear the real-time, live audience just lapping it up. Furthermore, Cook, who offers master classes to aspiring singers - a friend of mine was overwhelmed by having been granted one - generously granted each of her guest stars solos. Groban's take of Stephen Sondheim's "Not While I'm Around," from "Sweeney Todd," must be considered another musical highlight : it's one of the composer's most beautiful songs, for openers.
   
   I've once had the thrilling experience of attending a Barbara Cook concert live, in New York's Brooklyn College. Whatever her secret, she makes you feel like she's singing directly to you, individually. Catch her performance live if ever you can: if you can't, take comfort in this marvelous recording.



3. Dinner at The Palm Steakhouse with a friend.... $235
   
   Martinis at the Waldorf.... $184
   
   Feeling good, Putting on your virtual Tuxedos and spending the evening with Barbara Cook at the met.... "priceless"



4. I can't believe Barbara Cook is in her late 70s. Her voice is still unbelievably beautiful.



5. Barbara Cook and The Met were made for each other, Although fans of Miss Cook probably have heard everything she sings in this concert, it still is an historic treasure. The only thing missing form this performance is the late Wally Harper, with whom she collaborated so brilliantly for over 30 years. Barbara Cook's intelligent "take" on any song, combined with a technical precision that remains impeccable, is an American treasure. I prefer to visit her in an intimate cabaret----but she glitters even in the cavernous Met.

5 comments about Broadway - The American Musical (PBS Series).

1. Of course there should have been much more. I remember there been a Metropolian Opera series called CAST ALBUMS- 100 YEARS that was put out for a limited time only and had like five volumes.
   As Peter Filichia noted they left out SHE LOVES ME, BRIGADOON and SWEENEY TODD. Also nothing from PACIFIC OVERTURES, BIG RIVER, CHESS, CRAZY FOR YOU, JEKYLL & HYDE, TITANIC, THE SCARLET
   PIMPERNEL, FOOTLOOSE- THE MUSICAL, THE FULL MONTY, URINTOWN...
   But they couldn't have put it all. I would have done without Lee Remick's
   "Anyone Can Whistle", because the show was a flop. I guess because it was Sondheim's first "serious" show...



2. The first three discs were only OK. I had forgotten how much better the later Broadway musical recordings were. The last two discs were very good, maybe because I could relate better to the shows or perhaps the productions were better.



3. Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.



4. This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.



5. THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

5 comments about Mandy Patinkin.

1. This CD was a gift to a friend that had never heard Mandy sing.
   She thought that he was an actor only and new him through
   The Princess Bride and Yentyl. She is quite sheltered living in a very small town with one theater, only a couple of tv channels, and three
   restaurants.
   She is now a Mandy fan and loved the recording and his interpretation
   of the songs he sings. She was so enthused that she bought Evita
   and Bernstein's New York, which I recommended. Loves them both.
   He is a gifted artist and since I have seen him five times on stage in concert I always look forward to seeing him again and again.



2. I first bought this CD for my wife, but now I think I like it even more than she does. Patinkin has a strong and melodic voice and really seems to enjoy the songs he sings. He frequently adopts a style that creates the character in the song. So many artists simply record what they think will sell best. It's a real treat to find one who sings what he (at least seems to) enjoys so much.



3. What more to say? This album is from Broadway's finest singing actor, though not often seen outside TV these days. So this collection is doubly welcome--Patinkin singing in a vast range of song styles, and all superbly. Just listen to Once Upon a Time and you will see what I mean--every note, every word perfectly realized. Patinkin at his best. To find his equals you would have to go to crossover singers from the opera stage, such as Bryn Terfel, Thomas Hampson, Samuel Ramey. He's in their league in his perfection of execution and realization of the composers' meaning. Bob Finley, Palm Springs, CA



4. A number of reviewers reviled Mandy Patinkin and I accept that yet I am completely enthralled and deeply moved by many of his songs. He does not sing rock, blues, country etc nor does he croon. I would venture to call him a Broadway singer since I know that is his background, though I confess I've never been there and don't even know if that makes sense. He is descriptive and interpretative. His voice is gentle and melodic and can also boom like a sonic blast basically riveting me in my chair with awe as tears well up. Go figure! He brings forth a compelling intimacy to his songs that I really don't know how to describe. As though the timbre of his singing tells a story as much as the lyrics. It works for me so much I can't fathom those that revile his music. Its like he's from a different generation. Perhaps a different genre. That may be more my lack of exposure to the rest of the world, but who knows?



5. Mandy, Mandy, Mandy. This debut album from the versatile Broadway (Sunday in the Park with George) and Movie (The Princess Bride) star might shock you, and so may this review. Mr Patinkin's range is exceptional, and the way he floats with ease into his upper-register is breath-taking. His falsetto! Stunning! His emoting! Stunning! This solo debut! Stunning! By that, I mean that I was stunned by this solo debut. Mr Patinkin has the bloodiest sleeve in the industry with this album. Take a listen to it, but be warned; you just may cringe from the amount of open heart running down his sleeve, because there's a lot of it, and it's free-flowing.
   He introduces us to his emotional state of mind with "Over the Rainbow" the standard that to this day has never been done better than by Ms Judy Garland, post-Oz. It's a nice rendition of it, but you can hear him almost congratulating himself for having such a beautiful voice. In my mind, I envision his voice on the ceiling of the room with Patinkin reaching towards the ceiling trying to make love to it, literally wrapping his body around it, coiling in it and then popping out every now and then as if arising from extasy with a hefty, sigh of passion. And this takes the fun out of his performance. I thought that this would be kept minimal on this CD. I was wrong. Arriving at Sondheim's "Pretty Lady," I realized that he's very much in love with his voice. He loves it so much that he uses it as 3 different people, overlapping in harmony. This is one of the most memorable numbers from Pacific Overtures, and I liked the Original Broadway Cast version much better. He did, however, keep his emoting to a minimum on this track. Then it hit me. Full force. I could hear the opening of the Sondheim standard, "No More." I love this song. It is my favorite song in "Into the Woods." In the show, it's a song about greed, running away from your problems, loss, and generally breaks my heart everytime I see the show, or listen to the never-outdone Original Broadway Cast recording. It's about yearning and hoping, and even a loss of hope. Mandy Patinkin ruined this song. I'm not going to paint a pretty picture about what he did to this song, but it is awful. His emoting is like a brick wall of hearts thrown at my face. The laughing at the end of phrases is so planned and intentional that it brings to mind the word "pretention." This is such a tender song occurring soon after the Baker's Wife is killed. And Mandy Patinkin is laughing. What kind of interpretation is that? It made my skin crawl.
   The thing about Mr Patinkin is this: He is a fantastic character actor with a phenomenal voice. He just needs a director to reign him in. For when left to his own devices, he relishes in his voice and forgets that someone has to listen to him, someone who maybe wore white that day and didn't want blood on their sleeve.

5 comments about Songs Of The South/Songs Of The Sea.

1. Not a huge Luboff junkie here but I can't pass up anything with Thurl Ravenscroft on it....Big fan of anything he touched.



2. For those who know this music from the LP days, it is enough to say that the remastering and transcription to CD are very well done. If anything, the sound is better than on the original LP releases.
   
   For those to whom the music might be unfamiliar, a bit of description is in order.
   
   These are rearrangements of old songs--both traditional and composed--including several well-known Stephen Foster numbers and some ancient traditional ballads and sea shanties. The Norman Luboff choir stands somewhat apart from the tradition of the great choirs of recording history, in that the arrangements are weighted very strongly toward the male voices. In many of the songs the female voices are completely absent, leaving a mens' choir. In others the female voices play a very minor role, serving only as understated accents to the overall harmonic structure. The result is a very smooth, liquid sound, even in the livelier numbers. Apart from that, the Luboff stuff is very much in the tradition of the Fred Waring chorale, the La Sierra Collegians under John T. Hamilton, and other masters of the choral art, although he makes frequent use of folk-type instruments in accompaniment, such as the harmonica. accordian and acoustic guitar--all of them presented with elegant simplicity. Luboffs harmonic structures are frequently more modern, sometimes even a little bit dissonant, without ever becoming unpleasant. Some of the chord progressions are quite unique and interesting in the context of traditional and folk music.
   
   This release is a complete transcription of the two original LP releases of 1956 under the same titles. For those of us who owned, wore completely out, those recordings, this is a very welcome replacement. Of the various albums recorded by Luboff in that period, I liked Songs of the Sea least. Not that it is less well done. It is technically fully the equal of all the others. I just didn't like the songs as well. My favorite, I think the best work Luboff ever did, is Songs of the West. I enthusiastically concur with the other reviewers that that album MUST be re-issued. I hope the delay is in the spirit of seeking perfection in the remastering. The music deserves the very best that modern technology can offer.
   
   In the spirit of full disclosure, I have to report that Luboff rehearsed his group on the campus of the White Memorial Hospital in East Los Angeles, where my wife was a student nurse and my sister worked in the medical records department. It was a wonderful privilege to be able to stick one's nose into the rehearsal room and watch the great musicianship of Norman Luboff as he coaxed such wonderful sounds out of his singers.



3. The music is great, but the recording is not good. After returning the first copy because of dead spots and a repeat, I received a second copy that was still defective. I decided to keep this second copy as one defect cured itself and the other is just a brief skip. Amazon's handling of the problem was fine as they did replace it and then offered a refund.



4. All of this music I find soothing and uplifting. Some of it evokes a nastalgic journey back to my youth. I love the harmonic blend of voices.
   
   Dang, I wish the Songs of the West album would be released on CD !
   
   BB



5. They're beautiful songs with not less beautiful voices, it's a great pleasure to hear them all, they're very well sung and the Choir is perfectly conducted by Mr. Luboff.
   My only Wish is that Columbia Records or Collectables bring out again on CD every recording they had with Songs of the West.

5 comments about West Side Story: 50th Anniversary Recording.

1. Great sound quality but If you are stuck on the original sound from the movie or broadway, this isn't totally the same.



2. The energy, sound recording and ensemble makes this wonderful recording a must for West Side Story lovers. However, the lead lady, who is usually known for her pop singing, does not have the voice quality to match the lead male, whose voice is superb. To lift the sound of her voice to an acceptable quality, the sound engineer employed much too much echo or reverberation. It sounds odd when mixed freely with other voices that don't have the same treatment. It becomes really annoying in some songs. Luckily it does not spoil the bulk of the music on the CD, which I fully recommend.



3. As a Hayley Westenra fan, I didn't exactly come into this unbiased. She is indeed in top form, and for one trying this kind of performance for the first time, genuinely amazing. I was expecting to be put off by the international cast and the "wrong" accents, but let's face it - opera has been doing this as far back as any of us can remember and no one complains. West Side Story is timeless and every bit as much of a classic in every sense as Carmen or La Boheme. These are classic, though not purist, performances, and they are very, very good. I especially appreciate the orchestra's adherence to the score. Too often in revivals the perpetrators seem to think they can improve on the score/orchestration and end up butchering it instead. Not so here. This is a thoroughly enjoyable recording, but I certainly don't intend to toss out the others.



4. I do like the original, but musically speaking, this recording is far superior. To start with, the two young leads have amazing voices. The first Tony and Maria were adequate, but not excellent. Kiri Te Kawana and Jose Carreras have excellent voices, but they sound too mature for the role of the teenage lovers. Hayley Westenra and Vittorio Grigolo are both young AND accomplished, and they bring such beauty and passion to the roles Tony and Maria.
   
   The rest of the cast is great too. In fact, I wasn't expecting to like "The Jet Song" or "Cool," but Will Martin's compelling tough but strong trained voice brings real life to the Riff character, and I can't imagine anyone else doing a better job of it. Another standout is Connie Fisher's incredible performance of "Somewhere."
   
   The only reason for criticism of this magnificent album would be the international cast. None of the singers are American (Vittorio Grigolo is Italian, Will Martin and Hayley Westenra are from New Zealand and Connie Fisher is Welsh, I believe.) Personally, I don't have a problem with Vittorio's accent, I think it's kind of cute, but the "real" Tony wouldn't have one. Hayley doesn't look or sound Puerto Rican either. Oh well. These singers were chosen for their vocal abilities, not for their nationality.
   
   This is a classy yet accessible version of this famous musical. Everyone did a fantastic job, and I'm sure I'll listen to it again and again in years to come. Of the three major recordings of "West Side Story" that I have heard, this is the one I like best. The main reason I like it best is because Hayley and Vittorio who have such natural yet technically perfect voices; truly a match made in heaven!



5. I was really looking forward to this cd, but once I heard Vittorio sing Tony's part it kind of seemed cheap. I am a fan of Vittorio's, but why did he sing a classic piece of music and sound like he just got off the boat?
   This completely took me out of the production. Who's idea was it anyway??

5 comments about Anyone Can Whistle (1964 Original Broadway Cast).

1. A terrific show. An excellent CD. Most of the songs are better than anything on Broadway today. It is a shame that it is the paying public that decides what will be a hit or a failure. Alot of the shows that the public makes hits are really bad just like TV shows.



2. The previous reviews have said pretty much all there is to be said about Anyone Can Whistle, its history, the performers etc. By now all musical theater enthusiasts will know about this show and know whether they like it or not. The musical itself is kind of difficult, certainly a bit snarley (not a surprise with Sondheim), certainly dark and frankly a bit convoluted. The score however is a gem and the performances by the OBC are legendary.
   
   What I want to comment on is Columbia's remastering of the original material. The sound quality is phenominal, much brighter and clearer than the LP and first CD issues. The first CD issue added the cut "There won't be Trumpets" and it is still here. This go around they have restored all the missing snippets of the Cookie Ballet, which by my count consist of one variation and about 40-50 miscellaneous measures. There are still a few missing bits which you can find on the concert recording with Bernadette Peters and Madelyn Kahn. Then there are the 6 Sondheim tracks. There is a reason that he cut some of these numbers and changed others before production, because his later thoughts on them were better, but still they are interesting to hear once or twice. The sonic fidelity needs again to be mentioned. I heard things on the CD that I never heard on the LP or the one time I listened to the first CD issue. A first rate transfer. THANK YOU COLUMBIA FOR YOUR OUTSTANDING JOB.



3. The first time I played this soundtrack, I found the lyrical content and subject matter off-putting, and the performances (save for the always great Angela Lansbury) to be servicable at best. Being a Sondheim fan however, I gave this sountrack a second chance. And then a third and fourth...tenth and many more to come. Anyone Can Whistle is now one of my favorites. It is very edgy. And very sharp around those edges. The music often reminds me of Prokofiev and a little even of Shostokovich. Repeated listenings helped me to see how the musical ideas develop. There are some beautiful moments of music that are a bit hidden by the lyrics being sung. And when I realized that the story was about just how insane and bad the Characters in this musical were, rather than indictment of society in general, I was able to digest the lyrics more easily. The extra tracks of Sondheim singing at the piano also do a great service to better understanding the score from the original soundtrack. Perhaps if Anyone Can Whistle had been better cast, it would have run longer. But again, if you are Sondheim fan, this is a must for your collection.



4. I wonder how many Sondheim fans have actually seen this dreadful show. Somewhere in the 90's I saw a revival in Los Angeles. While the performers could not hold a candle to those performing on the cast album, it was painfully clear that the show itself was tedious, overwrought and not half the fun that I'm sure was intended. In a number of post-mortems the show was referred to as "a bitter pill" or condescending and I couldn't agree more. Who's crazy and who isn't and calling the audience nuts, even if they've chosen to come and see your show, is a little much for anyone to take. I personally found the whole affair to be insufferable.
   
   Taken on its own,however, the music on this album is wonderful and beautifully performed. I understand that Remick and Guardino were not as good vocally on stage as this album suggests but I guess it doesn't make much difference. They certainly sound fine here. Ultimately, the show is a true bomb but like a few others I could mention, the score on its own makes for enjoyable listening.



5. What a complex, unexpected, unwelcome show for 1960s Broadway! And how fascinating to hear it today thanks to the, as ever, fine Goddard Lieberson produced OBC Album; a prized museum piece.
   
   Arthur Laurence (a McCarthy witch-hunt-victim) must have been embittered, eager to retaliate with a vengeance here; and his sophisticated, ever willing to innovate and experiment, young collaborator Stephen Sondheim backed him up with a (some of them, indeed bizarre!) mixed bag of musical numbers. The impetus ranges from Brecht, Offenbach, Viennese Operetta through the likes of Ionesco, Pinter to the more conventional (Me and My Town recalls the Marilyn & Boys "Heat Wave"; "Come Play Wiz Me", the saucy Sellers/Loren doctor song). All told, a Broadway musical imposing such adamant, incisive, lunatic angle on US executive corruption was then, indeed, audacious at all risks.
   
   The core of this (then doomed) effort is the number called "Simple"... and simple it is not at all: an extended, frantic, absurd, sardonic ensemble-scene leading to the end-of-Act-One "you are all mad" idea where the audience were impelled to see themselves as reflected on a mirror, lights on the house, the actors on stage facing and applauding them. What would today audiences see? Do they acceed to (and welcome) experiment and innovation so much more nowadays, as Sondheim's later (comparable) opus, ASSASSINS finally and successfully evolved from 'Off' to 'On' Broadway stage?
   
   Recording sessions must have been sweaty for Lieberson, for Sondheim, not the least for musical director Herbert Greene, as principal love couple struggled to comply with their pitch range, syncopations, machine-gun lyrics and proper voice technique as well as the required emotion. Lots of the latter abounds though, not unlike every original cast album recorded days after its premiere, this one recorded the day after the show folded! And quite a cookie chase it had been: sundry internal squabbles during previews; director Laurents' continual --desperate, stubborn-- re-stagings and cuts (like the marvelous "There's Always A Woman" which Kaye Ballard and Sally Mayes recently recorded beautifully in the album "Unsung Sondheim"); the quarrels between producers and creators (a fist-fight is legendary); an actor's death of heart attack during rehearsals... Whatever, the Sondheim Cult has proclaimed this album 'a must' and so it must be.
   
   'Whistle' producers' later comments that neither Guardino or Remick could sing are exaggerated; flaws included, they could deliver a song with plenty of charisma. And a little less Sondheim tough, convoluted writing might have eased it all. Exquisite blue-eyed Lee Remick, whose acting talents rendered every word she sang so clearly defined and felt, couldn't cope with the syncopated vocal line in most of "There Won't Be Trumpets" but we can forgive her, after all, the song was cut for the premiere and, although recorded, also from the 1964 released vynil album. (Had they computer mixing and Pro-Tools facilities then, some of Remick's voice track could have easily been shifted to fit the orchestra; also some pitching repair would have delivered them all flawless.) Whatever, I never heard a more moving rendition of "Anyone Can Whistle" than Remick's (or Sondheim's own voice & piano bonus track demo). That Guardino couldn't utter "Everybody Says Don't" very fast was not such a sin then, as the world hadn't as yet experienced Sondheim's virtuoso speedy lyrics ("Getting Married Today" or the Seurat-inspired numbers for Patinkin were still in God's mind... let alone the Ballad of Czgolgosz.....) still, Guardino's singing is ripe, heavy-cigaretted and seducingly charming... The renderings of his songs in the 1995 Carnegie Hall Concert Revival sound epicene in comparison.
   
   Last but not least, Angela Lansbury's debut in music theatre whose casting alone is worth cherishing this recording, where she coped bravely and astoundingly with the whole bravura, dazzling span of her material, introducing her distinct, bewitching, everlasting performance magic.
   
   A Sondheim/Laurents flop well worth cherishing.

5 comments about I Do! I Do! (1966 Original Broadway Cast).

1. wonderful show and cast and memories for those who were lucky enought to see the broadway show. the sound track will harken one back to those glory days of Broadway.



2. "My Cup Runneth Over" was the reason I bought this cd. I have almost worn that track out in just over a month. Mr. Preston & Ms. Martin are at their best!



3. I saw this show on Broadway forty years ago this spring and I thought that I had died and gone to heaven.
   
   I grew up in the fifties listening to my folks Hi-Fi recordings of musicals and started playing the trumpet in grade school because of Prof. Harold Hill/Robert Preston in the Music Man. I jumped off beds, trees and the garage trying to fly like Peter Pan/Mary Martin did on the once a year telecast of Peter Pan.
   
   But when I had the opportunity to see I Do! I Do! in New York City on my high school senior trip, I grabbed it. It was a wonderful introduction to New York theater and started me on a road of enjoyment of theater in general that has lasted these four decades.
   
   Upon returning home, I found the LP recording and have played it periodically ever since. Having run across the CD recently, I am now finally listening in stereo without the skips and hisses that have accumulated over the years.
   
   While I still remember the visual action, I have played this recording for many people who have enjoyed the show from just the music.
   
   It is definitely a prize to behold!



4. When you have Mary Martin and Robert Preston and very clever and charming score, well success was a no-brainer. Actually back in 1967 my then girlfriend bought us tickets for my 18th birthday. Robert Preston was my hero and he didn't disappoint. He and Ms. Martin were a delight and quite memorable. The recording of this show is a must for any collection. By the way, my girlfriend became my wife and 35 years later we still are singing "I Do! I Do!



5. One of the biggest Broadway hits of the late-60's, I DO! I DO! featured tour-de-force turns from stage veterans Mary Martin and Robert Preston. Based on Jan de Hartog's THE FOURPOSTER (which originally starred husband-and-wife team Hume Cronyn and Jessica Tandy), the score was written by Tom Jones and Harvey Schmidt. The story follows a married couple from the wedding to retirement, and is a total delight. From the frenzied opening of "Together Forever/I Do! I Do!", to the jittery honeymoon ("Goodnight"), to parenthood ("When the Kids Get Married") and the sobering realisation of the passing of time ("This House").
   
   Mary Martin (in her first big Broadway show following the flop of JENNIE) and Robert Preston (following the lukewarm success of BEN FRANKLIN IN PARIS) imbue their characters with life and vitality to spare. This is a fabulous show and excellent cast album. I DO! I DO! ran for 561 performances.

5 comments about Isn't It Romantic.

1. Michael Feinstein is a Romantic's Romantic! He's able to capture gut level emotion with his words, voice and piano. His song 'My Favorite Year' is one that will bring an Old Flame right back from the dead and have it blazing before your eyes once more! He's gentle yet powerful and there is a humble quality about his presentation that makes you just want to embrace him. Very easy to listen to, yet provocative.



2. Michael Feinstein came to my attention in 1988, twenty years ago. Then,
   using cassette tapes, I listened to his remarkable renditions of George
   Gershwin's wonderful music. Accompanying himself on the piano, Michael
   Feinstein has a talent for making each piece of music evoke warm and
   heartening feelings in the individual listener or in a group. A dear friend and I had the pleasure of attending one of Mr. Feinstein's performances at the Colonial Theater in Boston. . .standing ovations followed the close of each performance. Mr. Feinstein has a gift, that being the ability to use his voice as its own instrument. . .lively, emotional, sad, humorous.
   ISN'T IT ROMANTIC? has been a favorite of mine since college days, eons ago. You will never regret your purchase of this superbly well remastered
   CD. Sing on, Michael, sing on!



3. This particular Michael Feinstein CD is among my favorites. His voice is as smooth as velvet, and the selections include not only very familiar and much loved standards, but also some new (to me) songs that fit perfectly with the overall theme of romance. A little candlelight and a glass of wine (optional)and you have yourself a beautiful romantic evening. I've sent several people copies for just that purpose. That's how I was introduced to it, too. Enjoy.



4. "Creating this album of romantic songs has truly been a labor of love. I have never before experienced such unconditional dedication and commitment from so many different people, all working toward a single goal. Collaborating with Johnny Mandel is a dream come true. He is a genius, a tireless worker, a gentle soul and a lovable man. It has been a privilege to work with him. If you have the feeling that I had a ball doing this album, you're absolutely right!" ~ Michael Feinstein ~
   
   This collaboration between Michael Feinstein and Johnny Mandel is one of the best-ever Feinstein recordings of all-time. Mr. Mandel, who is a brilliant composer/conductor/arranger and has done several film and television musical scores and known as one of the best Sinatra arrangers, did a superb job on the stunning arrangements. The Oscar-winning composer also produced this album and chose the best studio musicians in this project most notably one of my favorite pianists, Alan Broadbent.
   
   Presented in this "labor of love" album is a dozen of songs interpreted in sheer beauty and perfection. Mr. Feinstein has always been very resourceful in compiling songs that he would record and his musical knowledge is simply amazing. All his liner notes have been so informative and give accurate details about the origins of each song. He collected some of the best works from Richard Rodgers, Oscar Hammerstein, Larry Hart, Sammy Fain, Harry Warren, Jerome Kern, Burton Lane, and the Bergmans, among others, to offer another remarkable album not only for his fans but also for everyone who enjoys fine music.
   
   My top favorite from this collection is a sentimental gem of a song by Rodgers and Hammerstein, "No Other Love," a song I've been hearing from my parents' collection (versions from Perry Como and Ella Fitzgerald) when I was growing up and so glad to hear a new charming version with fabulous arrangement. I totally embrace and welcome new interpretations of nostalgic songs that now give new significance to life in general. Some of the choice cuts are "Isn't It Romantic," a medley of "I Can Dream, Can't I"/ "I'll Be Seeing You," "A Fine Romance" and "Wasn't It Romantic," a uniquely beautiful version, which showed-off his creative style of singing and his ear-catching vocal artistry.
   
   Mr. Feinstein is so privileged to be the first artist to record a meaningful song by Johnny Mandel/Alan and Marilyn Bergman "Where Do You Start?" It's a song that has the most poignant lyrics from this collection.
   
   "Where do you start?
   How do you separate the present from the past?
   How do you deal with all the things
   you thought would last, that didn't last?
   With bits of memories scattered here and there
   I look around and don't know where to start . . .
   
   Which books are yours?
   Which tapes and dreams belong to you and which are mine?
   Our lives are tangled like the branches of a vine that intertwine
   So many habits that we'll have to break
   And yesterdays we'll have to take apart . . .
   
   One day there'll be a song or something in the air again
   To catch me by surprise and you'll be there again
   A moment in what might have been
   Where do you start?
   Do you allow yourself a little time to cry?
   Or do you close your eyes and kiss it all goodbye?
   I guess you'll try. . .
   
   And though I don't know where and don't know when
   I'll find myself in love again
   I promise there will always be
   A little place no one will see
   A tiny part deep in my heart
   That stays in love with you."
   
   You'll enjoy this CD. It's truly a labor of love.



5. If you want to fully enjoy the grand nature of this CD, pour yourself a glass of VERY GOOD WINE, be sure it is poured into WATERFORD, lower the lights, light the fireplace, then sit down and enjoy!...You will be lost in the magic of this performance.