5 comments about The Best of Jack Jones.

1. ... there's no argument that Jack Jones has one of the greatest voices ever recorded in the adult easy-listening format, right up there with the likes of Engelbert Humperdinck in terms of being very precise in his vocal delivery... it's unfortunate that his abilities were not pushed further beyond balladeering, because "Wives And Lovers" veers slightly on the swing side and it sounds terrific - uptempo stuff really suited him. The "Love Boat" Theme was a nice change of pace for a guy who was taking himself too seriously for way too long.



2. I heard "Roses and Lollipops" on the "Music of your life" radio station, and I remembered Sid in "Officer and a Gentleman" saying, "Jack Jones, we need you now." He was right! I was very pleasantly surprised with the quality of this man's voice- I wonder if "Wives and Lovers" wasn't so politically incorrect, that he might not get the recognition he deserves? The smoothness and dynamic range of his voice is wonderful, and this collection is very easy to listen to. His version of "Impossible Dream" is particularily inspiring. If you like great vocalists, get this CD.



3. Jack was very popular in America in the sixties, during which decade he recorded initially for Kapp, before switching to RCA in 1967. Like many other American singers, Jack found it hard to gain acceptance in Britain although he eventually achieved that in the seventies. Even then, he never had a UK hit single though he had several hit albums. To some extent, this mirrored what happened in America, where his albums were more successful than his singles.
   
   This album, focusing on Jack's early music, contains the songs that established his reputation in America including Wives and lovers, The race is on, Call me irresponsible, Dear heart, Lollipops and roses, Lady and The impossible dream. Jack was also a brilliant interpreter of other people's song as he shows with fine covers of Alfie, People, Bewitched, From Russia with love, Strangers in the night, I will wait for you, Michelle and If you go away - most of these songs will be familiar to fans on both sides of the Atlantic, whether or not they've heard Jack's versions. Other outstanding songs include Day in the life of a fool and Our song.
   
   Committed fans should note that some of Jack's original albums are now available on twofers. Thus, some of the rarities referred to by other reviewers are not quite as rare now.
   
   You'll need to buy another compilation to hear Jack's music for RCA, but as a sampler of his music for Kapp, this British budget collection is as good as you'll find.



4. Our Song... as another reviewer rightly said, is a high point on the album, and this is quite possibly the only place to hear it on CD at this time.
   
   Jack always delivers, and this is a very strong collection of songs. Opening with one of my personal favorites, A Day In The Life Of A Fool, Jack treats us to some classic covers, including the Bacharach-David masterpiece Wives And Lovers, Lennon and McCartney's Michelle and McKuen/Brel's If You Go Away.
   
   Jack has never been afraid of taking chances, and his jazzy treatment of Michel Le Grand's I Will Wait For You, is just one of the delights from this Classic Jack era.
   
   Sadly, this does not contain my fave Jack cover And I Love Her, but I could forgive anything of a man who flew out with the USO to share his genius with the troops in Nam.
   
   But then, that's Jack.



5. What more can I say that the title of teh record doesn't already say... This is a great set of Jack's greatest hits, and shows why he's considered to have the greatest set of pipes in teh industry. his vocal control is amazing, and these arrangeemtns are swinging and tasteful for the 1960's. Jone's appealing baritone always uplifts standards and even inferior material. a great set of hits.

5 comments about Into the Woods (2002 Broadway Revival Cast).

1. My flatmate and I listened to this recording, both being fans of the OBC. And we were constantly looking at each other in disbelief. We both couldn't get over Vanessa Williams lack of expression and the number of times the recording sounded a little off.
   
   revival casts are meant to improve on the first, this one matched at times and came lower other times.
   
   only buy if you're a fan. the packaging is equally disappointing. For a show so rich in texture, i would assume a more mature sense of design.
   
   i definitely would only listen to this one more than twice if i were to stage the piece.



2. This was just appalling. The singing was substandard and all performances were flatter than the scenery in a high school production. I don't know why Stephen Sondheim authorised this recording as it is heinously inferior to the OCR in every cconcievable way. I have burnt copies for all of my most loathed acquaintances.



3. Into the Woods is definitely one of my favorite musicals of all time. I first saw the OBC on video a very long time ago. Not only was the music outstanding, but it was hysterical and also heartbreaking! Even though all the cast members should be considered equal in comedy and dramatic...the witch is the best character in the show. It allows the most laugh out loud moments and also the most teary-eyed. Bernadette Peters in the original was perfect, nobody would ever be able to play the role like she did ever again.
   
   Now I do give Vanessa Williams credit for attempting to make the role her own, and I take into consideration that she wanted to be more serious...I mean she has to do something different, because you had Bernadette create this role. So I decided to give it a chance. But sadly, it didn't even come close! Not only were the acting skills not there but her songs were transposed! I know many people transpose to make songs suitable for their voice, but my personal opinion is if you can't sing it, the song/role isn't the song/role for you. It's kind of sad when having everyone around you singing in the written keys, and your the only one who can't.
   
   Maybe it's a little harsh but looking at the script and lyrics, and even the story, it's meant to be satire towards fairytales (in other words funny, then serious comes in the second act). Also, Williams isn't the only mediocre performance. With the exception of Cinderella, every cast member made mediocre performances. But thank goodness I still have my original broadway cast, because it will still always be one of my favorite shows.



4. First off, revivals tend to be bad. Think about that. Why does it seem like whenever there is a revival, it tends to be bad? Is it because the acting is just worse? Maybe, but for EVERY show?
   
   The reason, is because fans of the show like the original. It is very hard to go from listening to a show and getting used to all the little details of the singing and music and then go and hear something totally different. Something WRONG.
   
   But it isn't wrong. It's just different.
   
   Baker: He has a GREAT voice, but character-wise, doesn't show the "nervous" baker we all know and love. But for the second act, his voice seems naturally suited for "sad songs".
   
   Baker's Wife: She as well has a great voice. She does, however, lack the comedic acting of the original wife, as well as that she tends to sing with "fake energy" as I put it. Maybe it's just the recording's fault...
   
   Jack: WAY too young. I think Jack should sound young...but that guy sounds like he's ten. AND THE VIBRATO!!! Giants in the sky is just a never ending stream of vibrato. He DOES bring a fresh way of singing Jack's parts into the mix, however.
   
   Little Red: Too Annie. I prefered the Original big time, although this recording has some good moments. She is also too innocent, whereas the original was anything but.
   
   Cinderelle: PERFECT casting. She is absolutly amazing.
   
   Rapunzel: Great Voice...I haven't seen her act, so...
   
   Witch: Leave the real criticsm at the end, eh? Anyhow, Bernadette made the witch one of my favorite characters, so I was in for an unforutunate suprise with our good friend Vanessa Williams. She has no where near the chops to sing the witches parts, and the parts where she sings at the original key and octave are few. She has a somewhat "prettier" voice, but even then, she takes the premise of being a witch, and does it the WHOLE TIME. Her "gentle" moments with Rapunzel still give the feeling that she is more or less cackling at her, despite Peter's ability to actually change dynamics and become a softer, NICER witch.
   
   Overall, this recording is very nice and polished, BUT sondheim does not do nice and polished. The entire point of this show (in my opinion anyway) is the fact that sterotypical characters (the witch being the evil cackling old woman" in reality are everything but (little red and her rather "large" body type for example. If I saw this show, I'd no doubtly hate it.
   
   But as a recording, go ahead and buy it, as the pros definately outweigh the cons.



5. I gave away my original Broadway and London cast albums of this recording after I bought the revival, because I believe it to be much better. Now, I am a classically trained vocalist with a speciality in music theater, so I tend to focus more on a singer's quality of tone. I never understood why everyone loves Joanna Gleason, because I have never liked her. She has too harsh a voice for my taste. The woman who plays the baker's wife in the revival has a much better singing voice, as does the baker. I felt that Chip Zien tended to do a lot of overacting. Come to think of it, I find it hard that Into The Woods is supposed to be a dark musical, when the main characters are those in fairy tales, so I can see how this show was interpreted 2 different ways. I saw a college production of the show and loved it, although I feel it's a bit overdramatized. I do love Kim Crosby and Laura Banati equally, and though I liked Bernadette Peters as the witch, I feel Vanessa Williams plays the role more seductively than Peters ever did. I will say that Peters did a better job of going between the emotions of tenderness for Rapunzel, and her own conniving, sinister desire to reclaim her beauty, while making it look like she was trying to help everyone else attain their own dreams. In the London version, I found Julia McKenzie to be far too operatic for the role. I never liked the narrator in the original cast because he wasn't a good singer. Although I do not particularly enjoy the narrator-s speaking voice in the revival, I do think he is a better singer than the one who originated the part. The other main difference between all 3 cast albums is Little Red Riding Hood. In the original production, I felt she sounded, as one reviewer put it, "Annie-ish". In the London version, as another viewer put it, she sounded like a "bratty, snot-nosed little girl.) I hardly think this is the interpretation to go with. I find the little girl in the revival cast to give the best interpretation. Sweet and innocent, as a child of that age should be. And this child can actually sing! If you want to see the varieties of interpretive choices, look at how many different ways Mary Lenox was played in the "Secret Garden." Anyway, The common link between all 3 cast albums is Jack's mother, who, as the story says, is supposedly an old woman, and this was achieved with great success. So I hope this was helpful, and though all 3 recordings have strengths and weaknesses, it is my personal oppinion that the revival is the best overall.

5 comments about Fame the Musical (1999 Original American Cast Recording).

1. As Carmen sings, this is not the movie, not the TV show, but the musical.
   
   My son's school put this on 2 weeks ago and I am hung up on it big time. The script noted that this was not the movie, but I rented that and, basically, it was, with a few modifications. I don't have a problem wth that.
   
   OK, so it dealt with "tough issues" differently, but, hey, no one died in the movie. Carmen did. And from an overdose. After being taken avantage of. OK?
   
   I agree with some reviewers that the soundtrack (I have the '03 Broadway one) lets you relive the play. It does not recreate it. I have listened to it every day since I bought it (much to my son's dismay). And frankly, the white Irsih girl who played Mabel kicked *** twice as well as the woman from the B-way production. And the pro Tyrone was better. Life is like that.
   
   Overall, the tunes are sung in a heartfelt manner and I would say that a person who has seen the play will enjoy the soundtrack.



2. I think that this cd really rox it has almost all the songs from the real play. Its awesome. I like all the songs on ecspecially the song called lets play a love scene. I also like the song called Pray I make it to P.A. Ilove all the songs but those are the two I like the most!!!!!!!!!Again I think the cd ROX!!!yeah!!!



3. I have just bought the orignal Fame c.d which I was really happy about.Does someone know if there is a c.d just with music from Fame? so that you can sing with the c.d.
   Thanks



4. This CD is one of the best out there. The music is outstanding and the voices are electric!! It diserves more credit than its given. GO FAME!!!!



5. People seem to think that the Fame soundtrack was better. All I can say, and please excuse me for it: what are you on? I have seen both the play, performed very well by people in Fairbanks (you rock, ppl!) and the movie. And everyone in my family agreed that the movie cannot possibly compare with the play.
   I will admit that the title song is one of the best songs in the world. But it's not like they took it out of the play. And while Out Here On My Own had a very pretty tune, in the lyrics department it could not hope to compare with songs like Teacher's Argument or In LA.
   Frankly, there were three good songs in the movie and one that has a good dance scene to it but is not really worth listening to. Of those three good songs, one is in the musical and the other two, while still good, just aren't enough to make me agree that the movie soundtrack could ever compare to this soundtrack.
   Some people say that the play doesn't touch on important issues like the movie does, and perhaps that is true. But that, it seems to me, is irrelevant while discussing the music, as the music in the movie wasn't about any issues any more than the music in the play is. Another concern is that the lyrics are simplistic. Well, so are the lyrics in the movie. And so are the lyrics to most Abba songs, and most Tatu songs, and most songs in other musicals, say, the Music Man or to some extent Oklahoma and Showboat. Does that make us like them less? You want good lyrics, you go watch something with Sondheim or Cole Porter lyrics.
   My favorite song on this would probably be Lets Play A Love Scene. Although Fame, Teacher's Argument, and Bring On Tomorrow are excellent. I rather liked In LA, although I maintain that the person in Fairbanks did it better. I Want To Make Magic was very good on this CD, although the song usually sets my teeth on edge for some strange reason. While I dislike the song Can't Keep It Down, I have no complaints about the singer's voice.
   All in all, this would have to be one of my favorite soundtracks. You want deep lyrics? Go somewhere else (but not to Fame the Movie). You want beautiful and often amusing tunes? Here's a good place to look.

5 comments about Two By Two (1970 Original Broadway Cast).

1. I am a big fan of Danny Kaye so I was delighted to find this CD, but after listening to it all the way through once, there is only one song I would listen to again. It probably won't see the light of day again until I donate it to the local library or sell it in my next yard sale.



2. It's Danny Kaye playing Noeh -- how GREAT IS THAT -- beautiful music



3. When I first got this CD I figured I wouldn't like it just because it was old and the subject (The Noah Story) isn't all that interesting, and then I started listening to it and thought I was really going to hate it becuase Noah's voice is not something I would consider nice to listen to. However, after I listened to the whole thing I found I really liked it. I think that this should be revived because it's quite nice. Some of the lyrics are a little odd, and its got religious underlyings, but it could be revamped and a new broadway hit. This CD is something that almost everyone would enjoy, orchestraitions are very much in the older musical theater style, but the songs are funny and catchy, and tell a wonderful story. Definitly one for the collectors and more serious Broadway listners. Favorite song: "Something Somwhere"



4. While I had heard the title, I had little knowledge of the work until there was a rumor that my favorite rep company might perform it. Since there seems to be a surge of Rodgers works, South Pacific at Stratford ON and perhaps at the West End next year, I the CD to become familar with the music. It realy is a fine rarely heard work. Moreover, the accompanying booklet gives the history of events, Danny Kaye's injury, recovery and subsequent abandonment of the script that brought the performances to the end. It is well worth hearing the music, but it would take a strong lead to perform.



5. Great music and story. Appropiate for all ages. Fun to sing along with and fun to act out. Brings new understanding to the Noah's Ark story.

3 comments about And the Winner Is...Capitol Sings the Best Movie Songs.

1. And the Winner Is...Capitol Sings the Best Movie Songs is an excellent CD of great vocalists of the twentieth century singing their hearts out; and this makes a fine compilation of some of the best movie songs ever. Of course, it's not a complete retrospective; but as a single CD it does a very good job. The sound quality is excellent and I like that artwork, too!
   
   Helen O'Connell sings "Lullaby Of Broadway" from Gold Diggers of 1935 with a lot of feeling; the guys on backup vocals enhance the natural beauty of this number but make no mistake about it--this is Helen O'Connell's number and she really does it up right! Listen also for Nat King Cole to perform "You'll Never Know;" he sings this with a tempo that is a bit faster than I'm used to but it all holds its own very well. Great! There's also June Christy singing so sweetly on "When You Wish Upon A Star" from the 1940 Walt Disney movie Pinocchio. I love it!
   
   The Lettermen do a spectacular job with "Love Is A Many Splendored Thing;" they harmonize to perfection--and beyond! ""Love Is A Many Splendored Thing" is clearly a major highlight of this album. Another major highlight is the immortal Judy Garland performing her signature song "Over The Rainbow" from The Wizard Of Oz. Judy's voice is rich, warm and vibrant; this is a stunning recording by Judy. In addition, Johnny Mercer and The Pied Pipers do a great job with "On The Atchison, Topeka & The Santa Fe" by The Harvey Girls released by MGM in 1946. "On The Atchison, Topeka & The Santa Fe" features Johnny Mercer squarely front and center--right where he belongs!
   
   Nat King Cole sings "Mona Lisa" with panache; and there's no one who could sing this tune better than Nat King Cole ever did! The strings are used to great advantage in the musical arrangement, too. Peggy Lee also outdoes even herself on "The Days Of Wine And Roses;" what a voice Peggy Lee had!
   
   Dean Martin does a great rendition of "Baby, It's Cole Outside;" I love the way he croons! Dean's excellent diction and his uncanny sense of timing greatly enhance his performance. Bobby Darin aces "Call Me Irresponsible" practically effortlessly; and that brass sounds great. Ray Anthony & The Belvederes perform "Thanks For The Memory" with heart and soul; and the CD ends strong with Dick Powell & Winfred Shaw again performing the soundtrack version of "Lullaby Of Broadway."
   
   Overall, this album gives us so much talent it's well worth the price you'll pay for it! I highly recommend this album for lovers of classic pop vocals and people who enjoy show tunes will appreciate this CD as well.



2. I love the way this collection kicks off and ends with "Lullaby of Broadway," and what's sandwiched in bewteen is all good, too. I even like the overblown swoon of the Lettermen on "Love Is a Many-Splendored Thing." The real highlights, though, are a live Nat King Cole "Continental," Peggy Lee's "Days of Wine and Roses," Bob Hope's "Buttons and Bows," Tex Ritter's "Do Not Forsake Me", a swinging Bobby Darin "Call Me Irresponsible"...I could go on. If you like this kind of thing, you'll love this CD.



3. An excellent CD. You'll find yourself listening to it when the kids are asleep, and you'll feel like a child again as you stir up movie memories.

5 comments about Civilian.

1. This is a great CD by a very talented man. The tracks are varied and will either get you up dancing or have you deep in thought. Be sure to check out his other album Model Prisoner Enjoy!



2. Loved this album, if you are a fan of Adam I would recommend a purchase for the CD rack



3. After hearing Adam in the Theater, then in the movie Rent I needed to hear him on his own. This is a great CD and I recomend it to anyone.



4. I love Adam's unique voice and style, my favorite tracks being Beautiful Song, 10,000 Miles, No Trace, Book of Endings, and I'm With You (beautiful lullabye!). I first experienced Adam's voice in Rent, and had to buy his CD. Highly recommended!



5. I first saw Adam Pascal in "School of Rock", and recognised him immediately as Roger from Rent, a musical I've been obsessed with for 5 years now.
   
   And the minute I heard his voice I remembered one summer when the radio played hits from Broadway. During the "break", they played songs by Broadway's most successful artists, and sure enough, that's when I first heard Adam's voice. I heard "Mother's Child", and being Indian, was touched when he sang in Hindi.
   
   His voice reaches out from the speakers, grabs your heart and wrenches it open and heals it at the same time. He can touch your soul with his wonderfully accurate and fresh portrayals of modern living and every human's struggle with finding their own life. The harshness in his voice is laced with tenderness and softness, but you can't ignore the edge. He doesn't pretend, he hides nothing.
   
   After hearing "Mother's Child", I got "Model Citizen" and "Civilian", as well as the soundtrack to "Rent" and "Aida" which have all blown me away.
   
   Buy this CD, you will love it!

5 comments about The Trees They Grow So High.

1. Buy!!! It is a must have. Just sarah and a piano. Doesn't get better then that.



2. While I DO own many of Sarah's albums, it is usually because I enjoy the arrangements and choices in material, not because I am a huge fan of her vocal technique. Far too often, she sings with an overly breathy tone and lacks continuity of resonance in the lower mix and upper passagios. That said, she obviously enjoys the music she sings, and is a good interpreter of much of what she sings. Her we hear here tackle completely naked classical arrangements of folk tunes, many of which are not familiar to American audiences, and are quite broad ranging in style, content, and vocal demands. Having sung many of Britten's arrangements in the past, I can tell you that they are certainly NOT easy pieces, and Sarah navigates them with an ease and simplicity often lacking in recordings of these pieces. I am still not a huge fan of her voice from a classical standpoint, but she does justice to these arrangements without being overwrought and bombastic. The rating would be higher if I enjoyed her voice more, but it really is an excellent recording of many of these pieces.



3. I really can't understand all the negative reviews for this CD. If you're expecting something like Sarah's later operatic pop albums, of course you're going to be disappointed. This is a completely different genre. I've listened through the whole album several times and thoroughly enjoyed it.
   
   "The Trees They Grow So High" is a collection of folk songs, sung by Sarah as she is being accompanied by a piano. Some of the lyrics are very poignant (The Trees They Grow So High, The Ash Grove, Oft In The Stilly Night) and others rather amusing (The Plough Boy, Oliver Cromwell). Hearing them almost gives you a sense of stepping into the medieval era.
   
   I would definitely recommend this album if you like simple folk songs, but it isn't something that would appeal to every fan of Sarah's work.



4. Even more due to my idolizing of composer Benjamin Britten, than for my acclaim of Brightman as a singer, I purchased this recording. I have heard a number of recordings featuring Britten's folk songs, and this is one of the better ones.
   
   The songs are just what they are called, folk songs. Don't expect any virtuostic singing or composing in this recording. The becautiful old songs are brought to new life by the thoughtful and sensitive singing of Brightman and the accompanying of Parsons.
   
   If you like big and modern sounds, this is certainly not the recording for you. However, if you appreciate the diversity of Brightman and her ability to sing everything from opera to Broadway to rock, this is a perfect addition to her works.
   
   In addition, if you are a respector of Britten's work, this is an excellent addition to your Benjamin Britten collection. The songs included are some of the more beautiful and well known of his folk songs. The vast majority of songs included are from his english language collections, and some will be well known by you even if you are only now discovering this collection of works.
   
   For accomplished and aspiring sopranos, this is an excellent reference collection, containing a wide range of tempos, ranges and styles as well as some linguistic variances. Sarah uses a nice straight tone for the majority of the songs, with only a touch of vibratto, which is what would be the standard with these folk songs. Keeping in mind that Britten was composing during the era of lots of vibratto, he was also sensitive to the appropriate voicing of the works that he composed and arranged. I would certinaly not sing these pieces with a strong vibrato.
   
   In addition, the phrasing and the ease of diction is an excellent representation of an artist keeping in mind the stylistic theme of the folksongs. However, in the french pieces, I would have liked to hear a bit more refinement in the voice. A small complaint, and hardly deservice of the loss of a star.



5. Guys, if you don't know, what it is - besides the obvious - don't buy it. I almost regretted the purchase and started to enjoy it only after I overcame the shock. On this LP Sarah Brightman sings English songs that were popular in the XIX century and the musical tastes changed since then rather dramatically. So check out the samples first!

5 comments about John & Jen (1995 Original Off-Broadway Cast).

1. Wow, wow, wow. This show is so great, with just two Cast members, and a small orchestra this show hits a home run. The show centers around John and Jen (go figure) but John her brother dies, and she blames herself partly, so when she has a son she names him John and tries to reincarnate her brother. It is such an amazing show. I strongly suggest getting this show no matter who you are. Listen to it all the way through, and see if you aren't moved. This show is great also in that the music tells the story perfectly. Jen's voice can be a little sharp, but over all its fine. Jon's voice is absolutely lovely. This would get a 4.5 stars if I could give it. And again this isn't just for Broadway lovers, but everyone! Favorite Song: "Every goodbye is Hello"



2. This music, with only a few exceptional moments, is just another example of the same meandering theatre pablum we've been hearing for too many years. Unexceptional melodic phrases leading to long held notes -- this same rank formula over and over and over and over and over and over and over and over and over and over and over and over, ad nauseum. The writers try to be as brilliant and "important" as Sondheim on his worst day, resulting in lyrics so jam-packed with MEANING that one simply grows tired instead of inspired. [I kept thinking that this work was like Craig Carnelia on his best day, which isn't an admirable position.]
   
   Musicals nowadays are either dry as dust [like this one] or relentlessly wacky fun, like "Avenue Q" -- where are the shows that had drama and comedy combined? "Most Happy Fella," "She Loves Me," even, dare I say it, "Fiddler on the Roof" -- works with tremendous heart, admirable skill, and a nice dose of humor. I'm all for the art form growing and improving and changing, but not into dour, humorless works like this. I'm not a fuddy-duddy, but why has the term 'musical comedy' become anathema?
   
   Miss Carmello is again in top form; she makes the most of this limited material. Mr. Ludwig, however, manages to be utterly bland and utterly annoying; one dreads hearing him after a very short while. Though his basic vocal technique is solid, he has a notably limited range of vocal colors/expressions.
   
   I got this recording in hopes of finding new material; the pursuit proved fruitless. Ho hum.



3. I heard bits and pieces of this musical online. I became interested in the fact it was about a brother and sister, and that relationship affected their lives. So I bought it. My sister and I are close and seeing these songs reminds me of hard hitting times we both have face.
   
   As I've learned this is one of Andrew Lippa's earlier musicals. His level of talent is immense here. His melodies are great. But there is much for complexity in the music, but his words seem to bring the music to a whole new level.
   
   I loved this musical because it really pushes the boundries and helps us reflect on our relationships with others. Also, it shows how the future is reflected by the past. It forces you to realize not to live in the past nor forget...but to grow from the past.
   
   The vocal strength and talents of the cast ring true the words..."Actors are to writers as angels are too God." If you get the opportunity buy this cd...it's worth every penny.



4. I was lucky enough to see this show performed by a very professional community theater company in New Jersey and it was executed beautifully. It was one of the most touching stories yet manages to combine realism with incredible humor. The music runs the gammit from cute & funny to haunting & powerful. This is simply a must-have cd.



5. Just heard this at a party at the Univ of Cinn. Brilliant lyrics.
   It's like Sondheim with a heart. Great voices. You can imagine the entire musical as you listen. Carolee can bring you to tears.
   Highly recommend it.

3 comments about Voices of Light.

1. OK, quibble all you want with Dawn Upshaw's French pronunciations...I'm told the French find American accents "sexy." Upshaw and Kalish bring remarkable interpretive skill to these performances. The Debussy "Chansons de Bilitis," set poems by one of the composer's best friends to music of exquisite, almost erotic playfulness. Similarly, Faure's "Chanson d'Eve" is a remarkably beautiful late work of serene detachment. I'm not a big fan of Messian's music, but Upshaw and Kalish certainly make the most of these difficult and "ecstatic" songs. All told, with the delicious Golijov song tossed in, a lush treat.



2. The otherworldly presentation by Dawn Upshaw and Gilbert Kalish of songs by the under appreciated spiritualist composer Olivier Messiaen in the company of other composers of luminosity songs such as Claude Debussy, Gabriel Faure and the contemporary Osvaldo Golijov is one of the most unique and successful recordings to appear in a long time. Upshaw remains a clear voiced soprano who cares deeply about exploring repertoire to challenge her large audience: her recitals are never retreads of standard warhorses.
   
   This recording is simply from another place that seduces us into a level of transcendental meditation. Not only do Upshaw and Kalish weave their expected magic with the Debussy and Faure cycles ('Chansons de Bilitis' and 'La Chanson d'Eve'), but they also evoke all of the special mysteries for voice and piano that Messiaen wrote so well. The moments of music seem to taper off into the ether of another world. And the single Olijov 'Lua descolorida' is so stunning that it leaves us wanting more.
   
   A beautiful collection of songs, superbly performed, and beautifully recorded. Highly Recommended. Grady Harp, December 2004



3. I can't really speak to the technical side of this album.
   But it is gorgeous. Yes, rather challenging material. But I think she really shows the 'link' between a 'conservative' composer like Faure and Debussy & Messaien. & the addition of the Golijov also shows his indebtedness to the French school (it's a beautiful piece in it's own right too IMO). Gilbert Kalish adds really inciteful accompaniment. If you
   like her album of Debussy's FORGOTTEN SONGS, you'll love this I think. But even fans of any of her others will
   like it too. One of the most thoughtful performers today-- she really has an interesting discography, & for me this is
   a definite highlight.

5 comments about Into the Woods (1991 Original London Cast).

1. This cast is talented and has a very even quality, but the principals lack the spark of the 1987 Original Broadway Cast's principals. Worth a listen especially if you are working on the show, since everyone is familiar with the Original Broadway; this provides another good perspective.



2. Wow, just listened to this and was HIGHLY disappointed. Most of the tempos are too slow, which makes the songs drag, and there's some seriously odd choices made in casting people who can't sing very well (I'm looking at you, Narrator).
   
   The British accents are fine, (aside from Rapunzel's prince, who seems to be Italian) I don't think they really make the show work "better", though. The cast seems to be taking it all much too seriously- there are dark moments, yes, but it is a comedy.
   
   Certainly it's instructive to listen to it back-to-back with the OBC, if only to see how different 2 recordings of the same show can be.



3. The London cast is my favorite cast recording of Into The Woods. The recording sounds fresh and clear. The cast is a good one, they're no Peters or Gelson, but they make some great choices. The only voice I can't stand is Rapunzel's Prince. His voice is really far in the back of his throat. It's hard to capture the feeling and emotion into a recording but this is the closest you can get out of all the recordings. I highly suggest this recording with the original broadway in second and the revival DEAD LAST



4. After sampling both the original Broadway cast recording and the London cast, I chose this one for a few reasons:
   
   1) The orchestra is better. It seems fuller and more nuanced than the one in the 1987 Broadway version.
   
   2) Track divisions. The original Broadway recording is annoying in the way it combines different songs onto the same track. If you're a big fan of "Giants in the Sky" or "Last Midnight" you have to fast forward through the previous song(s) to listen to it. The London recording is much more convenient that way.
   
   3) The prologue is divided up in 9 tracks, instead of being on a single 12 minute track like the Broadway recording. Not only is this convenient (see #2), but it's also divided the way that the vocal score is.
   
   4) "Our Little World." Many productions cut this number. Not only is it a funny, catchy song, but it's also great character development for the witch and Rupunzel.
   
   There are downsides. "First Midnight" is a little more muddled and isn't the same as it is in the vocal score. The narrator is a little annoying, and some of the accents grate on the American ear. But overall it's a great recording.



5. First off, what is wrong with you people? The London Cast is WAY better than the revival (like, how bad is Vanessa Williams?) and I think it is also better than the Original. The accents totally work--it makes the musical, for me at least, so much darker and Grimm-brothers like than the chipper American version. I am not a huge Bernadette Peters fan. I think that her voice is nasal and sounds like a 5 year old. As for Red Riding Hood, some people say that the British girl is just shrill. Um, isnt that the point? Shes a bratty, snot nosed little girl. The voice works perfect. Our Little World is probably my favorite song in the production and isnt even on the original soundtrack.
   Don't get me wrong, the Original American version is REALLY GREAT, but I am obsessed with the British version.
   the revival kinda blows. I saw it when it was on Broadway as well. . .and . .well it blew.