Hadley & Rubbra Sacred Choral Music, English Church Music Vol.3

1. Lenten cantata
Composed by Patrick Hadley
Performed by Cambridge Gonville & Caius College Choir with John Mark Ainsley , Richard Hill , Donald Sweeney
Conducted by Geoffrey Webber

2. I Sing of a Maiden for 2 voices & piano
Composed by Patrick Hadley
Performed by Cambridge Gonville & Caius College Choir with Richard Hill
Conducted by Geoffrey Webber

3. Song for Easter, A
Composed by Patrick Hadley
Performed by Cambridge Gonville & Caius College Choir with Richard Hill
Conducted by Geoffrey Webber

4. Cup of Blessing, The
Composed by Patrick Hadley
Performed by Cambridge Gonville & Caius College Choir with Richard Hill
Conducted by Geoffrey Webber

5. My Beloved Spake, anthem for chorus & organ (or orchestra)
Composed by Patrick Hadley
Performed by Cambridge Gonville & Caius College Choir with Michael Phillips
Conducted by Geoffrey Webber

6. Motets (3), Op 76
Composed by Edmund Rubbra
Performed by Cambridge Gonville & Caius College Choir with Michael Phillips
Conducted by Geoffrey Webber

7. Missa in Honorem Sancti Dominici for chorus a cappella, Op. 66
Composed by Edmund Rubbra
Performed by Cambridge Gonville & Caius College Choir with Richard Hill
Conducted by Geoffrey Webber

8. Hymn Tunes (3), Op 144 St.Colette (Prayer to Jesus)
Composed by Edmund Rubbra
Performed by Cambridge Gonville & Caius College Choir Conducted by Geoffrey Webber

9. Hymn Tunes (3), Op 144 St.Non's (That Virgin's Child)
Composed by Edmund Rubbra
Performed by Cambridge Gonville & Caius College Choir Conducted by Geoffrey Webber

10. Hymn Tunes (3), Op 144 Mater misericordiae (Queen of Mercy)
Composed by Edmund Rubbra
Performed by Cambridge Gonville & Caius College Choir Conducted by Geoffrey Webber

11. Magnificat and Nunc Dimittis in A flat, Op 65
Composed by Edmund Rubbra
Performed by Cambridge Gonville & Caius College Choir Conducted by Geoffrey Webber

Hadley & Rubbra Sacred Choral Music, English Church Music Vol.3,Donald Sweeney,Patrick Hadley,Edmund Rubbra,Geoffrey Webber,Cambridge Choir of Gonville and Caius College,Michael Phillips,Richard Hill,John Mark Ainsley,Asv Living Era,Anthem,Cantata,Choral,Classical,Magnificat,Mass,Miscellaneous,Miscellaneous Music,Motet,Orchestral,Religious / Contemp. Christian,Two Solo Voices (with or without Keyboard/Continuo),Vocal

Average customer rating: Score for Recent Broadway Bomb Composer becomes student. The Fourth Great Boublil & Schoenberg Musical Something of a Disappointment Delightful.

The Pirate Queen (2007 Original Broadway Cast) Manufacturer: Sony Classics ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music Similar Items: Curtains (2007 Original Broadway Cast) Legally Blonde (2007 Original Broadway Cast) 110 in the Shade (2007 Broadway Revival Cast) High Fidelity (2006 Original Broadway Cast) Spring Awakening (2006 Original Broadway Cast) ASIN: B000QTCY72 Release Date: 2007-07-03

Tracks:

1. Prologue
2. Pirate Queen
3. Woman
4. My Grace
5. Here on This Night
6. Waking of the Queen
7. Rah-Rah, Tip-Top
8. Choice Is Mine
9. Boys'll Be Boys
10. Wedding
11. I'll Be There
12. Day Beyond Belclare
13. Sail to the Stars
14. Entr'acte
15. Enemy at Port Side
16. I Dismiss You
17. If I Said I Loved You
18. Role of the Queen
19. Christening
20. Let a Father Stand by His Son
21. Surrender
22. She Who Has All
23. Sea of Life
24. Woman to Woman
25. Finale

Amazon.com

The Pirate Queen, with a score by Alain Boublil and Claude-Michel Schönberg (Les Misérables, Miss Saigon), took a critical beating when it opened on Broadway, but as this catchy cast recording demonstrates, that reception was really unnecessarily harsh. Set in the 17th century, the show (which closed after only 85 performances) tells the story of Grace O'Malley (Stephanie J. Block), an Irish ship captain and pirate who defied Queen Elizabeth I (Linda Balgord). The combination of that setting with the fact that the producers also brought us Riverdance means an overall Celtic flavor. But fans of Boublil and Schönberg should not fear. The duo delivers plenty of the over-the-top, super-emotional power ballads they're famous for--it's hard not to wonder what Celine Dion would make of songs such as "Woman" or "I'll Be There" (the latter sung by a man, but no matter!). Special kudos to Balgord, whose deliciously campy stage portrayal of Elizabeth I comes across well on "The Waking of the Queen," "The Role of the Queen," and two harpsichord-driven, vibrato-laden duets with Block, "She Who Has All" and "Woman to Woman." Also of note to fans of traditional singing is the participation of Áine Uí Cheallaigh (known from Riverdance) on several tracks. --Elisabeth Vincentelli

Customer Reviews:

Score for Recent Broadway Bomb.......2007-07-25

I actually flew to New York this past March, where I actually paid money to see "The Pirate Queen." I was hoping for another hit from the creators, whose previous shows, "Les Miserables" and "Miss Saigon," I had enjoyed very much. This time, they were doing a grand new show, based on a historical person, an Irish female pirate from the period of Elizabethan England. Sounds pretty dramatic, and I had high hopes for the score.

Well, the show was kind of dull, though the audience seemed to enjoy it. And the music? Well, let's just say it's not as tuneful as either "Les Miz" or "Miss Saigon." But it's not all that bad either. Heard separately on this CD, it actually sounds better than it did during its stage incarnation, and you got to give the singers credit; they're certainly giving it their all.

The problem with bad shows is that they're not really bad, just boring. However, I personally wouldn't be surprised if this CD has a better fate than the show, which has already closed. If you like their other shows, I think you'll find this pleasant. And, I wouldn't even be surprised if it ends up becoming some kind of collector's item in future, or maybe even some kind of legendary score from one of those flop shows that collectors talk about in hushed tones years from now.

Stranger things have happened. Remember: both "Candide" and "Follies" were also flops when they were first produced.

And, this score is certainly better than a lot of other over-praised dreck out there now....

Composer becomes student........2007-07-20

The score has genius of a student breaking into theatre.
After masterpieces of Les Miz,Martin Guerre and Miss Saigon what
happened?These are great works.
It is still worth listening to.

The Fourth Great Boublil & Schoenberg Musical.......2007-07-18

I had the pleasure of seeing Pirate Queen both in Chicago 2006 and on Broadway in 2007. While I was disappointed that the cast album is only one CD long instead of two, I was quite surprised by the high quality of the recording and the amount of music packed onto the disc (25 tracks). This is a must-own for any fan of musical theatre, and the most exciting new musical to open in the past several years.

As a musician, I enjoy the chance to hear Schoenberg's musical style evolve through the years, starting with his solo French pop album, his first musical, La Revolution Francaise, and then the big three, Les Miserables, Miss Saigon, and Martin Guerre. Pirate Queen is a worthy addition to that impressive body of work. As I listen to PQ, I enjoy hearing moments where a little feature of his style reminds me of one of those other pieces. But I can also hear how his writing has evolved; PQ is full of action, but it's imbued in placed with a subtle hint of melancholy that rivals the most touching moments of the other big three shows (much of this is due to the use of a flatted 6th scale degree, which is a recurring musical motif of the show). I'll mention a few key points here:

1. Overture: much as in Miss Saigon, here local color is added to the score through various Irish instruments. The overture sounds very Irish, yet still evocative of the original slow introduction of Martin Guerre (London version).

2. Entracte: it's all instrumental, and when I saw it in the theatre audience members were sometimes talking over it, but this is the most exciting music in the score. It's in 5/4 time, with plenty of 4/4 and 2/4 measures thrown in to keep it sounding on-edge. Wild, tempestuous music. The 5/4 time signature reminds me of the amazing overture to La Revolution Francaise -- although I like the PQ entracte even more.

3. Woman: this "girl-power ballad" has a unique sound compared with most of Schoenberg's other work, although the build up to the climax follows his trademark strategy of letting the orchestra play the main melody and while the singer comes in later and sings in counterpoint for a few measures. It's my favorite musical device of Miss Saigon, Les Miz, and Martin Guerre, and it shows up here too on the words "I'm meant to fly, sail unrestrained..."

4. I'll Be There: a huge bring-down-the-house torch song for a tenor. It's closest in structure to Why, God from Miss Saigon, including a rather exciting bridge section (here with a lot of electric guitar) and the 2/4 measures of descending bass notes leading into each chorus. This song is nearly perfect -- I just which it were longer (it's 3:16 but feels over far too soon). Schoenberg uses electric guitar melody rather sparingly, but it shows up in just a few key points in Les Miz, for instance, and features quite prominently in this song, sometimes in unison with the string section.

5. If I Said I Loved You: This is a gorgeous love duet in act 2, with some amazing harmony. It really builds in passion, and makes nice subtle use of that Irish sound in the orchestrations.

6. Sail to the Stars: This Act 1 finale is an exciting, intense chorus number. It doesn't compare with the end of Les Miz Act 1, both nothing really does. Instead it's a melancholy but intense funeral scene, and is surprisingly effective.

7. My Grace: This is sung by the Valjean father-figure in the show, and it sounds a lot like a song missing from Les Miz. But it has a unique PQ sound to it, with the flat 6 scale degree. It's extremely moving.

8. Here On This Night: Originally this was my favorite song in the show, although If I Said I Loved You recently stole the #1 spot. This is the main happy love duet from an early part of the show. A classic Boublil & Schoenberg love song, with a sound that makes me feel as if I'm at love on a ship under the stars. Like the best of their love songs, the melody starts on scale degree 2 over the tonic, like Sun and Moon from Miss Saigon.

9. She Who Has All: The most unique aspect of this show is the harpsichord + high operatic soprano role for the Queen. It's an amazing performance, not too much vibrato, so even non-opera fans can enjoy it. This track is a duet between the two lead women of the show, so we get a Broadway singing voice in duet with the opera soprano. Amazingly, it works very well. I can't believe Schoenberg combined these two sounds so effectively in a duet near the climax of the show. Impressive! The duet Woman to Woman also has some of this quality. And the rest of the queen songs have a great early-music harpsichord sound fused with the modern musical orchestra.

10. The Wedding: mostly orchestral (with some chorus), this is a big Irish step dance number. It has a great sound for Irish step music fans; it sounds pretty classic but more bass-heavy, like The Chieftans fused with a rock band.

11. Boys'll Be Boys: this is like Master of the House meets Gaston, only I don't like it as much. Sort of disappointing, but it's an important and funny number.

12. The Sea Of Life: a nostalgic song towards the end of the show, this sounds like what Turning in Les Miz should have been. Turning was always my least favorite part of Les Miz, but Sea of Life is incredible. In a subtle thematic move, the opening melody is the same as the solo flute in the original London opening of Martin Guerre, with a slightly different rhythm and added accompaniment. Even more surprising: probably just by coincidence, the middle of this melody includes 8 notes (with different rhythm) from the "victory" music from Pirates of the Caribbean 3.

All in all, highly recommended!! My only complaint (besides it's premature closing on Broadway for no apparent reason) is really that we can't hear all the additional material that 2 CDs would give us, such as Grania's father's death scene (a modified reprise of My Grace, sort of like the scene at the end of Les Miz), and a very pretty Lullaby Grania sings to her son in Act 2.

Something of a Disappointment.......2007-07-17

The songs in this album were just not that great. The lyrics were not very singable (and indeed some of them didn't even scan properly.) The music also suffered quite a bit from a lack of Irish instrumntation. Most of the music seemed to be just standard, cookie cutter Broadway show tunes and not very memorable ones at that.

The cast did very well, though, considering the poor material it had to work with

All in all, it looks like this play was a lost opportunity. The story of Grace O'Malley is a compelling one and deserves to be told better than it was here.

Delightful........2007-07-13

When I ordered this soundtrack, I completely ignored what the other reviews said (which is ironic because I expect someone to read mine: ) Thinking on my own was the right choice.

Do you like Boubil? Do you like Schonberg? If so, you will most likely like this recording. The farther I get into it, the more I love it!

The recording is powerful. The slow ballads carry its weakest attributes. There are power ballads left and right. Up beat and very cultural to the Irish heritage, this is a wonderful recording. It's not my favorite.

Personally, I would prefer "A Class Act" or "Loving repeating", two soundtracks I just bought and LOVE.

This could be be for you.

It's a good buy. 11 something for a power ballad musical. I currently have about 57 musicals, and I can honestly say this ranks in the top 15. However, that doesn't mean it's staying in my car forever. I am still waiting to receive "A View from Here". hehehe. I love musicals.

Average customer rating:

Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Romberg, Sigmund | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: In the Real World Famous Opera Duets Show Boat (1988 Studio Cast Highlights) Show Boat (1988 Studio Cast): Von Stade; Hubbard; Hadley; McGlinn A Song of Naples - Neapolitan Songs ASIN: B000003FQQ Release Date: 1994-08-16

Tracks:

1. Song of the Vagabonds
2. I'm Falling in Love With Someone
3. Streets of New York
4. Neapolitan Love Song
5. Desert Song/One Alone
6. Every Day Is Ladies' Day with Me
7. Donkey Serenade
8. Softly, As in a Morning Sunrise
9. Drinking Song
10. When You're Away
11. I Love to Go Swimmin' With Wimmin
12. I Might Be Your Once-In-A-While
13. Marianne
14. Serenade
15. Indian Summer
16. When I Grow Too Old to Dream
17. Gypsy Love Song
18. Golden Days - Jerry Hadley, Mario Lanza

Average customer rating:

In the Real World Jerry Hadley , Paul Gemignani , and American Theatre Orchestra Manufacturer: RCA ProductGroup: Music Binding: Audio CD Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta A Song of Naples - Neapolitan Songs Famous Opera Duets Send in the Clowns: The Ballads of Stephen Sondheim Kurt Weill - The Rise and Fall of the City of Mahagonny / Peter Zadek · Denis Russell Davies - G. Jones · C. Malfitano · J. Hadley - Salzburg Festival 1997 ASIN: B000003FMM Release Date: 1994-02-15

Tracks:

1. My Foolish Heart
2. Moon Is a Harsh Mistress
3. In the Real World
4. Lush Life
5. What'll I Do?
6. I Don't Remember Christmas
7. Here's That Rainy Day
8. Medley: There Must Be a Way/It Had to Be You
9. In a Sentimental Mood
10. She's Good for Me
11. Sonny Cried
12. Medley: Just a Boy/Distant Melody
13. What Would I Do?
14. My Foolish Heart (Reprise)

Average customer rating: A memorable album by Robert Shaw Great version Superb Brings back memories Apologies to Puccini.

Verdi: Requiem & Operatic Choruses Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Atlanta Symphony Orchestra | ( A ) | Featured Performers, A-Z | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw Fauré · Duruflé - Requiem / J. Blegen · J. Morris · Atlanta SO · Shaw Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw Mozart: Requiem / McNair, Watkinson, Araiza, Lloyd; Marriner Mozart - Requiem / Augér, Bartoli, Cole, Pape, Wiener Phil., Solti ASIN: B000003CUH Release Date: 1990-10-25

Tracks:

1. Requiem: 1. Requiem & Kyrie
2. Requiem: 2. Dies Irae
3. Requiem: 3. Offertory
4. Requiem: 4. Sanctus

Tracks:

1. Requiem: 5. Agnus Dei
2. Requiem: 6. Lux Aeterna
3. Requiem: 7. Libera Me - 1. Libera Me - 2. Dies Irae - 3. Requiem Aeternam - 4. Libera Me
4. Requiem: Spuntato Ecco
5. Requiem: Patria Oppressa!
6. Requiem: Fuoco Di Gioia
7. Requiem: Va Pensiero
8. Requiem: Gloria All'Egitto

Amazon.com

Robert Shaw learned from Arturo Toscanini, and in his stupendous 1987 recording for Telarc he managed to surpass the master on some points. He is unerring in his pacing and staging of climaxes, and draws phrasing and dynamics from the chorus that other conductors can only dream of. Points are made with exhilarating effect throughout the account: never has the bass drum in the Dies irae been as splendidly hammered as here, and the whooping brass in the Tuba mirum is breathtaking. The all-American solo quartet sounds a bit driven, especially the light-voiced Susan Dunn and Jerry Hadley, but their contribution is a strong one nonetheless. --Ted Libbey

Customer Reviews:

A memorable album by Robert Shaw.......2007-04-16

I sometimes wonder why any top choral conductor would want to conduct, least of all record, a piece where the soloists invariably command center stage at the expense of the chorus.

Robert Shaw (1916 - 1999), of course, is practically a god in the choral world. And while he has done well as an orchestral conductor, his claim to fame to most will always be his work with choruses.

So here we have an operatic requiem written by one of history's greatest opera composers, conducted by one of history's greatest choral conductors. How does it turn out?

The Atlanta Symphony Chorus is very, very good. Their sumptuous sound becomes even more memorable thanks to the stunning reverberation of Atlanta Symphony Hall. Their Libera Me fugue was literally a wall of sound that seemed for a moment to encompass your entire world. The Dum Veneris passage following that was the best I'd ever heard: all four parts were distinct and incredibly powerful.

The four soloists, however, really stole the show for me. Susan Dunn and Diane Curry displayed a lot of passion in Recordare. They also created a wonderfully blended sound through their Agnus Dei duet, probably the best blend I'd ever heard so far.

Jerry Hadley is definitely one of my all-time favorite Verdi Requiem tenors. He reminded me of Richard Tucker in his commanding Kyrie entrance. His Ingemisco possessed a ringing power that left me breathless.

Paul Plishka was probably the "weakest" of the four. In Confutatis, it sounded like he was punching his voice. However, he sounded very good in the Offertorio.

And speaking of Offertorio, that was truly a soloist high point for me. The four singers literally turned into a mini-opera; it was quite dramatic hearing their voices trade back and forth.

The sound of the orchestra was truly a pleasure to hear. This music demands power and virtuosity, and the Atlantans provided both in spades. And drum lovers will be quite satisfied with the almost violent sound of the bass drum in Dies Irae.

The album also features five popular choruses from Verdi's operas. If, like me, you got carried away listening to the Requiem soloists, here's your chance to hear this remarkable chorus without any soloist distraction. The "Don Carlos" chorus (sung in Italian not French) was a rousing affair. "Patria oppressa" was appropriately subdued and melancholy. Fuoco di gioia proved the virtuosity of these choral masters. "Va pensiero" was smooth and rich. "Gloria all'Egitto" featured the chorus in all its mighty grandeur. The orchestra provides excellent accompaniment throughout. You will thoroughly enjoy listening to these choruses.

The recorded sound is absolutely fabulous. The four sections of the chorus are much more evenly miked than on most CDs. The great engineering makes the orchestra an audiophile's dream.

The liner notes contain texts and translations. However, a previous reviewer has found that the "Hostias" paragraph is missing the words "Fac eas, Domine, de morte transire ad vitam."

The tracks use an index system which I suspect is not available on most DVD players, the result being that the Dies Irae is put on a single 36 minute track.

This CD was recorded in April 1987 in Atlanta Symphony Hall, Atlanta, GA. The Requiem duration is 84'23", so the tempos are about average for this piece.

Great version.......2007-02-26

There are version of Verdi's Requiems in that market. I consider this to be onre the best ones I have heard. What adds to this perfomance is the quality of the manufacturer's transfer.

Superb.......2005-10-20

I don't have anything to add to the excellent reviews, I just want to chime in with my vote. This was rated as the top recording of this piece when I bought it on recomendation of a tenor friend back in 1990 or so and it is probably the best sustained operatic performace I have found thus far. The power and the majesty of this piece needs to be heard to be believed. So... Buy it, make sure the neighbors are out, turn the lights out, it in your best listening spot, turn up the volume and press play.

Don't miss the final track on the second disk!

Brings back memories.......2001-05-04

How could I possibly top the splendid review by Dominic Grant below? And his later graceful apology for a mere typo? Well, I just cannot. But I'd like to share my own thoughts, anyway.

With all the flap over the recently released Gergiev recording of the Verdi Requiem on Philips, with its unfortunate choice of Andrea Bocelli - a pop singer masquerading as an operatic singer - as tenor soloist, it is once again - and always - a pleasure to turn to a truly definitive recorded performance, that of Robert Shaw. As points of reference whenever I turn to this performance, I always have in mind earlier recordings by Giulini and Solti, among others. (I include a truly visceral one by Karel Ancerl and the Czech Philharmonic, featuring Galina Vishnevskaya with a "Libera me" to die for, and the type of Slavic excitement that Gergiev tries for but fails.)

Verdi's Requiem is, without doubt, the most operatic of such works as have become part of the liturgical canon. But it doesn't necessarily follow from this that the best recordings are the ones which utilize operatic superstars. Were that the case, Solti's recording, with Joan Sutherland, Marilyn Horne, Luciano Pavarotti and Martti Talvela, would be unchallenged (particularly when one throws in the Vienna Philharmonic, as well as the typically excellent mid-60's sound that Decca was so good at). But, true to form, Solti just couldn't find the proper sensitivity and balance to make his performance the definitive one.

Shaw does what Solti could not do. In a work that requires efforts of equal quality by orchestra, soloists and chorus, there simply is no better chorus than a Shaw chorus. Shaw's four soloists, while perhaps not of the marquee value of the ones on the Solti recording, are outstanding. A previous customer reviewer certainly got it right when he said that Susan Dunn was a Verdi soprano to be reckoned with. And Diane Curry, Jerry Hadley and Paul Plishka are equally excellent. (Plishka, as I mention later, is one of my "memories.") Moreover, in a work which demands that the cataclysms of the Dies Irae and the tenderly supplicant closing pages of the Libera me be captured in proper proportions, none are better than Telarc at this challenge.

The personal friendship between Robert Shaw and the Cleveland-based Telarc team of Bob Woods and Jack Renner goes back to the days when Shaw was George Szell's assistant at the Cleveland Orchestra. Thus it was, when Woods and Renner introduced the "all-digital" Telarc label in the late 70's, that they turned to Shaw and his Atlantans as an enduring source for the recording of choral masterpieces. With the passing of Shaw some two years ago, it is now time that someone sum up his recorded legacy, which, under the aegis of Telarc, exceeds three dozen recordings. In my humble opinion, he will be remembered for a long, long time for three works that Telarc recorded with his forces: The Bach B Minor Mass, the Brahms German Requiem, and this Verdi Requiem.

Oh! The memories! For several years, at a time when Shaw's Atlanta forces were as good as they were to get, in the early 80's, I was fortunate to live in the Atlanta area, and to attend many of his concerts. And, in the fall of 1965, when Paul Plishka had just won a "young artist" award that was to lead to his Metropolitan Opera career, I was fortunate to have been a member of an amateur chorus which performed this work with a semi-pro orchestra and four young soloists. The names of the other three soloists were long ago relegated to the dustbin of history. But the bass soloist at that 1965 performance was none other than Paul Plishka. He's still banging the boards at the Met. One durable dude!

Once again, kudos to Mr. Grant for his superb review, and for his reminding me that I had some "unfinished business" to attend to.

Bob Zeidler

Apologies to Puccini........2000-12-04

Further to my review of the 18th of June below,it's just been brought to my attention by a kind reader that I have inadvertently ascribed the composition of the famous aria,"Nessun Dorma" from Turandot to Verdi himself.First of all,my sincere apologies to Puccini (probably still revolving in his grave !),and my apologies to you for grossly offending your musical sensibilities as you pass this way.That will teach me to spend a little longer editing my reviews before submitting them !

Average customer rating: An American Treasure DON'T DESPAIR. IT'S BEEN REISSUED!!!!! An American tragedy.... Gorgeous! Defective disc.

Show Boat (1988 Studio Cast): Von Stade; Hubbard; Hadley; McGlinn Frederica von Stade , Jerome Kern , Jerry Hadley , Bruce Hubbard , Teresa Stratas , David Garrison , Leslie Fyson , John McGlinn , and London Sinfonietta Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Von Stade, Frederica | Divas | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music Classic Musicals | Musicals | Broadway & Vocalists | Styles | Music Revivals | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Broadway & Musicals | Broadway & Vocalists | Box Sets | Stores | Music Similar Items: Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta Carousel (1987 Studio Cast) Pal Joey: 1995 Original New York Cast Recording Kiss Me, Kate (1948 Original Broadway Cast) Oh, Kay! (1994 Studio Recording) ASIN: B000002SJL Release Date: 1990-10-25

Tracks:

1. Overture
2. Show Boat: Act One, Scene One - Cotton Blossom: Niggers all work on d Mississippi... (Stevedores, Gals, Queenie, Steve, Pete, 1st Mincing Miss, 2nd Mincing Miss, Beaux, Girls & Boys)
3. Show Boat: Act One, Scene One - Cotton Blossom: 'Andy!!!...' (Parthy, Windy, 1st Mincing Miss, 2nd Mincing Miss)
4. Show Boat: Act One, Scene One - Cap'n Andy's Ballyhoo: 'Here comes the Show Boat parade!...' (Boy, Girls, Boys, Andy, Parthy)
5. Show Boat: Act One, Scene One - Cap'n Andy's Ballyhoo: 'Hey Julie...' (Pete, Julie, Steve, Parthy, Andy, Ellie)
6. Show Boat: Act One, Scene One - Cap'n Andy's Ballyhoo: 'It's a man...' (Ellie, Ravenal, Vallon)
7. Show Boat: Act One, Scene One - Where's the Mate for Me?: Who cares if my boat goes upstream... (Ravenal, Magnolia)
8. Show Boat: Act One, Scene One - Make Believe: Only make believe I love you... (Ravenal, Magnolia, Vallon)
9. Show Boat: Act One, Scene One - Ol' Man River: 'Oh, Joe!...' (Magnolia, Joe, Men)
10. Show Boat: Act One, Scene Two - Can't Help Lovin' Dat Man: 'What cher doin' all by yourself, Miss Nola?...' (Queenie, Magnolia, Julie, Joe, Servants)
11. Show Boat: Act One, Scene Three - Life on the Wicked Stage: Why do stage struck maidens clamor... (Ellie, Girls)
12. Show Boat: Act One, Scene Three - Till Good Luck Comes My Way: The man who ventures with chance... (Ravenal, Men)
13. Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': Mis'ry's comin' aroun'... (Queenie, Women, Joe Magnolia, Julie, Men, Solo Bass)
14. Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'Take her up, Rubberface!...' (Andy, Julie, Steve, Magnolia, Parthy, Ellie, Windy)
15. Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'Hello, Windy...' (Vallon, Andy, Magnolia, Steve, Julie, Windy, Ellie, Parthy)
16. Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'You needn't all look at us...' (Steve, Colored Chorus, Andy, Parthy, Magnolia, Ellie, Frank)
17. Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'Looks like a swell...' (Andy, Parthy, Frank, Ravenal, Julie, Magnolia, Steve, Joe)

Tracks:

1. Show Boat: Act One, Scene Five - I Would Like to Play a Lover's Part: Her face is fair to look upon... (Boys, Girls, Ellie, Frank)
2. Show Boat: Act One, Scene Five - I Might Fall Back on You: Little girl, you are safe with me... (Frank, Ellie, Girls)
3. Show Boat: Act One, Scene Five - Queenie's Ballyhoo: 'Is de theatre fillin' up, Cap'n Andy?...' (Queenie, Andy, Colored Chorus)
4. Show Boat: Act One, Scene Six - Villain Dance
5. Show Boat: Act One, Scene Seven - You Are Love: 'That you, Nola?...' (Ravenal, Windy, Magnolia, Parthy)
6. Show Boat: Act One, Scene Eight - Finale Act One: Oh tell me, did you ever!... (Firls, Boys, Chorus, Andy, Women, Men, Negro Women, Magnolia, Parthy, Vallon, Pete)
7. Show Boat: Act Two, Scene One - At the Fair: When we tell them about it all... (All, 1st Barker, Boys, Girls, Chorus, 2nd Barker, Men, 3rd Barker)
8. Show Boat: Act Two, Scene One - Why Do I Love You?: I'm walking on the air, dear... (Magnolia, Ravenal, Chorus, Andy)
9. Show Boat: Act Two, Scene One - In Dahomey: Dyunga doe!... (Dahomey Villagers, White Chorus)
10. Show Boat: Act Two, Scene Three - Convent Scene: Alma Redmptoris Mater... (Nuns, Mother Superior, Ravenal, Kim)
11. Show Boat: Act Two, Scene Four: 'All right, Jake...' (Jim, Jake, Julie)
12. Show Boat: Act Two, Scene Four - Bill: I used to dream... (Julie)
13. Show Boat: Magnolia's Audition - Can't Help Lovin' Dat Man (Reprise): Fish gotta swim, birds gotta fly... (Magnolia)
14. Show Boat: Magnolia's Audition - Can't Help Lovin' Dat Man (Reprise): 'Whaddaya say, boss?...' (Frank, Jim, Magnolia, Jake)
15. Show Boat: Act Two, Scene Six - Trocadero Opening Chorus: Let's make the new year... (Chorus)
16. Show Boat: Act Two, Scene Six - Apache Dance
17. Show Boat: Act Two, Scene Six - Goodbye, My Lady Love: So you're going away... (Frank, Ellie)
18. Show Boat: Act Two, Scene Six - After the Ball: 'Ladies and Gentlemen...' (Jim, Drunk, Andy, Magnolia, A Man, All)
19. Show Boat: Act Two, Scene Seven - Ol' Man River (Reprise): Ol' Man River... (Joe)
20. Show Boat: Act Two, Scene Seven - Hey, Feller!: When you yen for a gent... (Queenie, Chorus)
21. Show Boat: Act Two, Scene Eight - You Are Love (Reprise): 'That you, Nola?...' (Ravenal)

Tracks:

1. Show Boat: Act Two, Scene Nine: Cottom Blossom (Reprise): Cotton Blossom... (Chorus)
2. Show Boat: Act Two, Scene Nine - It's Getting Hotter in the North: Now up in the northern land... (Kim, Chorus)
3. Show Boat: Act Two, Scene Nine - It's Getting Hotter in the North: 'Say, Cap'n Andy...' (Frank, Ellie, Andy)
4. Show Boat: Act Two, Scene Nine - Finale Ultimo: 'Hello, Gay...' (Andy, Hope, Ravenal, Girl, Man, Magnolia, Old Lady, Chorus)
5. Show Boat: Appendix - Pantry Scene (Act One, Scene Two; deleted - 1927): 'What cher doin' all by yourself, Miss Nola?...' (Queenie, Magnolia, Julie, Joe, Servants)
6. Show Boat: Appendix - Waterfront Saloon Scene (Act One, Scene Three; deleted - 1927): 'Number four, black!...' (Voice (off), Ravenal, Loungers, Gambler)
7. Show Boat: Appendix - Yes, Ma'am (Act One, Scene Three; unused - 1927): Bet your hat... (Girls, Ellie)
8. Show Boat: Appendix - Kim's Imitations (Why Do I Love You?): (Act Two, Scene Nine; Ziegfeld Production - 1927): Why do I love you?... (Kim, Chorus)
9. Show Boat: Appendix - Dance Away the Night (Act Two, Scene Nine; London - 1928): Music in the air... (Kim, Girls, Boys)
10. Show Boat: Appendix - A Pack of Cards (Act One, Scene Six?; unused - 1927): One night as I sat by my fireside so weary... (Magnolia)
11. Show Boat: Appendix - The Creole Love Song (Act One, Scene Seven; unused - 1927): 'That you, Nola?...' (Ravenal, Windy, Magnolia)
12. Show Boat: Appendix - Out There in an Orchard (Act Two, Scene Four; unused - 1927): There was a sun sinking slowly in the west... (Julie)
13. Show Boat: Appendix - Gallivantin' Aroun' (Universal Film - 1936): Liza Matilda HIll... (Magnolia, Chorus)
14. Show Boat: Appendix - I Have the Room Above Her (Universal Film - 1936): 'Seems to me I've seen that stocking someplace...' (Ravenal, Magnolia)
15. Show Boat: Appendix - Ah Still Suits Me (Universal Film - 1936): 'Joe! Dere you go again!...' (Queenie, Joe)
16. Show Boat: Appendix - Nobody Else But Me (Act Two, Scene Nine; 1946 Revival): I was a shy, demure type... (Kim, Chorus)

Amazon.com

John McGlinn's sprawling, monumental three-CD set is about all the Show Boat any listener could ever ask for. In an obvious labor of love, McGlinn reconstructs the show as it ran on opening night, November 15, 1927, including every song, the original orchestrations, and all underscored dialogue. The most significant restoration is the dark choral number "Mis'ry's Comin' Aroun'," as Show Boat's serious subject matter helped establish its place as the most important turning point in the history of American musical theater. McGlinn also adds an appendix that includes songs cut before opening night and every song subsequently written for the show's many productions, most notably the love duet "I Have the Room Above Her," written for the 1936 film. (The recording is also available in a one-disc reduction called the "Broadway Show Album.")

Rest assured this 221-minute blockbuster is not just dry scholarship; it's also terrific listening, with McGlinn conducting a dynamic London Sinfonietta and a strong cast including Frederica von Stade as Magnolia, Jerry Hadley as Ravenal, Teresa Stratas as the tragic Julie, Bruce Hubbard as the worldly wise Joe, Karla Burns as Queenie, and David Garrison and Paige O'Hara as the comic couple Frank and Ellie. And of course the songs by Jerome Kern and Oscar Hammerstein II are among the most glorious ever written: "Ol' Man River," "Can't Help Lovin' Dat Man," "Make Believe," "Why Do I Love You," "Bill," "You Are Love," and "Life upon the Wicked Stage." Also included are exhaustive production notes, a history of the show, a detailed synopsis, and a libretto. John McGlinn's Show Boat is a staggering achievement and a recording for the ages. --David Horiuchi

Customer Reviews:

An American Treasure.......2007-03-03

When PBS showed the 1989 Paper Mill Playhouse production of Showboat, my five year old daughter fell in love with musical theater. To this day we never miss a production of Showboat, West Side Story, Music Man, Oklahoma or the rest of the great American musicals. These 3 discs are the closest you can ever hear to the original in 1927 and the recordings are leaps and bounds above any movie version or revival cast. Listening to Bill or Make Believe you almost want to cry at what Kern and Hammerstein were able to create.

I defy anyone to come up with another Broadway production that has three songs in a row better than Make Believe, Ol' Man River and Can't Help Lovin' Dat Man (West Side Story's Maria, America and Tonight are the best three in a row of a movie musical) and it's a shame that no movie version of Showboat can compare to this version. The first act is full of songs that are as good as any ever sung on a stage and I can't think of another production with a first act that compete against the big 3 plus Cotton Blossom, Where's The Mate For Me, Life On The Wicked Stage, Till Good Luck Comes My Way, Misry's Comin' Aroun', You are Love, Act One finale and Why Do I Love You?. You just don't want to have the music stop.

If you don't like opera you won't like this version. Sung the way Kern and Hammerstein wrote them, you can't help but feel the operatic nature of these songs. Tough noogies because Showboat is above all an opera disguised as a Broadway play and no sweetening should be allowed.

The four leads are all superb, Frederica von Stade as Nola especially. The booklet contains the complete libretto and allows a different way to appreciate the music.

If you buy just one version of Showboat you need this one. If you have other versions of Showboat you need this one. As a matter of fact, anyone with ears to hear needs this version. A true American treasure.

DON'T DESPAIR. IT'S BEEN REISSUED!!!!!.......2006-11-16

One of the great recordings of musical theatre ever. Although it's no longer available on EMI Angel, it was reissued in October, 2006, as an EMI Classic's "Great Recordings of the Century." It's been "Digitially Remastered at Abbey Road Studios from the Original Masters" and "noise-shaped via the Prism SNS system for optimum sound quality." If ART remastering does for this recording what it has done for other EMI Classics in my library, then it should sound superb. However, I understand the booklet is not as detailed as the one in the original 3-disc release.

Thank you, EMI.

I would hope other labels would follow suit and remaster and reissue other examples of classic American musical theater. It would be a pity if our children, grandchildren, and future generations were unable to savor "110 in the Shade" or "Little Mary Sunshine" or . . . . . . . . . (fill in the blanks.)

An American tragedy...........2006-02-06

This is the first of the great American musical plays, and probably remained unchallenged until the mid-1950s when West Side Story appeared. The term "musical comedy" does not apply. The few laugh lines are subsumed by the terrible sense of loss and disaster that work throughout the story. At its core is homelessness, the destruction wrought by racism, bad choices, human weakness, and reconciliation. The cast?--this was one of the few crossover recordings I've ever heard that actually worked. The trio of Jerry Hadley, Frederica von Stade, and Teresa Stratas is a marvel; Stratas in particular seems to have had a patented Dark Cloud that shadowed her. It's perfect for Julie Dozier Laverne. And the late Bruce Hubbard brings a magnificent dignity and voice to Joe--his singing of "Ol' Man River" amy not efface Paul Robeson, but can stand beside it.

Gorgeous!.......2005-08-26

Simply gorgeous! The most unforgetable music and the best voices! An album for all time!
M. J. Conrades

Defective disc........2005-08-15

I received this item on July 27, 2005. I played it on my portable CD player and found out that Disc 2 of the set was defective. It kept on skipping on my CD player. So, I returned it for a refund.

Average customer rating: A BERNSTEIN MUST !!!!! To be candid about Candide If only... this isn't the recording for me Elders' take on a masterpiece Happiness Indeed....?

Bernstein Conducts Candide Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music Bernstein, Leonard | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Ludwig, Christa | Divas | Opera & Vocal | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Candide (1956 Original Broadway Cast) Leonard Bernstein's Candide (Great Performances) Candide: The New Broadway Cast Recording (1997 Revival) Bernstein: Candide; West Side Story; On the Waterfront; Fancy Free On the Town ASIN: B000001GWY Release Date: 1997-04-15

Tracks:

1. Candide: Act I: Overture
2. Candide: Act I: Westphalia Chorale
3. Candide: Act I: Life Is Happiness Indeed
4. Candide: Act I: The Best Of All Possible Worlds
5. Candide: Act I: Universal Good
6. Candide: Act I: Oh, Happy We
7. Candide: Act I: It Must Be So (Candide's Meditation)
8. Candide: Act I: Westphalia
9. Candide: Act I: Battle Music
10. Candide: Act I: Candide's Lament
11. Candide: Act I: Dear Boy
12. Candide: Act I: Auto-da-fe (What a Day)
13. Candide: Act I: Candide Begins His Travels; It Must Be Me (2nd Meditation)
14. Candide: Act I: The Paris Waltz
15. Candide: Act I: Glitter And Be Gay
16. Candide: Act I: You Were Dead, You Know
17. Candide: Act I: I Am Easily Assimilated (Old Lady's Tango)
18. Candide: Act I: Quartet Finale

Tracks:

1. Candide: Act II: Universal Good
2. Candide: Act II: My Love
3. Candide: Act II: We Are Women
4. Candide: Act II: The Pilgrim's Procession - Alleluia
5. Candide: Act II: Quiet
6. Candide: Act II: Introduction To Eldorado
7. Candide: Act II: The Ballad Of Eldorado
8. Candide: Act II: Words, Words, Words
9. Candide: Act II: Bon Voyage
10. Candide: Act II: The Kings' Barcarolle
11. Candide: Act II: Money, Money, Money
12. Candide: Act II: What's The Use
13. Candide: Act II: The Venice Gavotte
14. Candide: Act II: Nothing More Than This
15. Candide: Act II: Universal Good
16. Candide: Act II: Make Our Garden Grow

Album Description

Additional lyrics by John LaTouche, Lillian Hellman, Dorothy Parker, Leonard Bernstein and Stephen Sondheim.

Customer Reviews:

A BERNSTEIN MUST !!!!!.......2007-01-11

I have owned this recording for some time , but really enjoy giving it as a gift to those who are not aware of the work. It conveys all passion and zeal of a live performance. Only the composer , often with tongue in cheek, could extract this performance from the soloist and orchestra. you can literally feel "Lennie" dancing on the podium and mouthing the lyrics..and who else but bernstein could capture Ludwig,Hadley and Anderson to create the stellar cast.. this recording alone should create interest in a possible broadway revival

To be candid about Candide.......2006-09-06

Has anyone else noticed that as you get older somethings need a second look and they turn out better than you remember them being when you were younger? This is one of those things. For lots of reasons! I find as I get older I appreciate a great many things I did not when I was younger. How could I have missed this? Perhaps Candide just requires too much thought for youth? But this is music you have to listen to rather than just use as background music while you work. For that I still use Harry Potter sound tracks!

In response to one reviewer's comments on this CD:
I DO just give out five stars. I have learned that those who read and vote on reviews already have been attracted enough to the item to look for it and so may vote against your review if you give less! But then, I don't recall being interested in something I wouldn't give five stars to enough to think of doing a review -- which after all turns out to be a good way to help remember things! I have had this CD set for longer than I remember but now that I have listened to it again more carefully and not just to find the piece that was so lovely on the radio -- now is when it occured to me to praise it here. But I even gave Ann Coulter's new book five stars! That review has since disappeared for some reason.

If only... this isn't the recording for me.......2005-10-20

I find the operatic voices grating and the overall effect somewhat lacking, where there should be words all there is is tremolo. My appreciation of this piece is colored by my first exposure to the excellent San Francisco Symphony and Chorus production of 2002 or so. I find Candide and the Governor particularly disappointing. In the SF Symphony performance the finale was a superbly powerful and full bodied affair, if they had been allowed to record it I wouldn't be writing this review now, by contrast the finale on this production is spoiled by the excessive tremolo. As I listen while I write this I've had to take my headphones off so I can remember the way I have heard this instead of how it's performed here.

This is not the production for me.

Elders' take on a masterpiece.......2005-08-29

This is one of Bernstein's farewell productions, performed retrospectively with many old friends. "Slowly, with Love" best describes the approach.

Of the numbers that exist in both, every one except the last ("Make our garden grow") is done with more life and equal or better quality singing in the original cast (mono) recording--a MUST purchase. Only Jerry Hadley equals his counterpart in the earliest recording. All the others, while good actors, have too much vibrato.

The trouble is the original case recording has only some of the music--fortunately, most of the best. Nevertheless, until something better comes along, I will treasure this one for what it represents in Bernstein's life history, and some of the music not in the original case recording, such as the Bach-like chorales, "The Kings' Barcarolle" and the beautiful Canteloube-like orchestration for the "Introduction to Eldorado."

"Martin's Laughing Song," on the other hand, does nothing for me, well performed as it is. It is too nasty, and the tune is too similar to "Show Me" from My Fair Lady.

"Candide" is a masterpiece of sorts. Great music, but difficult to stage. Perhaps a movie with plenty of special effects might do the trick some day.

Happiness Indeed....?.......2004-09-27

While it is important to have a complete "Candide" as Bernstein intended it...it's hard to believe that this is how he intended it.

This version sounds great on the stereo, but is utterly un-stageable. Most of the numbers, even the beloved overture, are conducted at a tempo that is much to slow. The operatic voices are sort of a blessing...but mostly a curse. Jerry Hadley is perfect in the title roll, but the rest of the singers are a mish-mash of thick European accents that mangle Wilbur's lyrics. Couldn't Bernstein find American, or even British, singers who could handle the lyrical requirements.

The search for the "perfect" Candide, staged and recorded, continues.....

Average customer rating: Fabulous Dream Come True IT DESERVES 6 STARS Show Boat

Show Boat (1988 Studio Cast Highlights) Jerome Kern , Jerry Hadley , Bruce Hubbard , Teresa Stratas , David Garrison , Frederica von Stade , John McGlinn , and London Sinfonietta Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music General | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music Similar Items: Famous Opera Duets Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta Show Boat (1988 Studio Cast): Von Stade; Hubbard; Hadley; McGlinn Little Mary Sunshine (1959 Original Off-Broadway Cast) Brigadoon (1947 Original Broadway Cast) ASIN: B000002RR9 Release Date: 1990-05-08

Tracks:

1. Show Boat: Overture
2. Show Boat: Cotton Blossom
3. Show Boat: Where's The Mate For Me?/Make Believe
4. Show Boat: Ol' Man River
5. Show Boat: Can't Help Lovin' Dat Man
6. Show Boat: Life On The Wicked Stage
7. Show Boat: Till Good Luck Comes My Way
8. Show Boat: I Might Fall Back On You
9. Show Boat: Queenie's Ballyhoo
10. Show Boat: You Are Love
11. Show Boat: Finale Act One
12. Show Boat: At The Fair
13. Show Boat: Why Do I Love You?
14. Show Boat: Bill
15. Show Boat: Goodbye, My Lady Love
16. Show Boat: After The Ball
17. Show Boat: Hey, Feller!
18. Show Boat: Finale Ultimo

Amazon.com

This one-disc reduction of John McGlinn's monumental three-CD version of Show Boat provides 75 minutes of highlights in a package dubbed the "Broadway Show Album." McGlinn reconstructs the show as it ran on opening night, November 15, 1927, including the original orchestrations, and conducts a dynamic London Sinfonietta and a strong cast including Frederica von Stade as Magnolia, Jerry Hadley as Ravenal, Teresa Stratas as the tragic Julie, Bruce Hubbard as the worldly-wise Joe, Karla Burns as Queenie, and David Garrison and Paige O'Hara as the comic couple Frank and Ellie. And of course the songs by Jerome Kern and Oscar Hammerstein II are among the most glorious ever written: "Ol' Man River," "Can't Help Lovin' Dat Man," "Make Believe," "Why Do I Love You," "Bill," "You Are Love," and "Life upon the Wicked Stage." John McGlinn's full version is a staggering achievement and a recording for the ages, but this single disc is also splendid listening. --David Horiuchi

Customer Reviews:

Fabulous.......2002-10-03

Let me start off by saying that my first experiences with Show Boat came through the splendid 1951 MGM movie version. Having never seen Show Boat performed live on stage, this CD pretty much brings the live experience home (and note I said 'this' CD; the full 3-disc set would be just short of actually being front row center). The immortal Kern/Hammerstein score is one of my favorites (right up there with My Fair Lady, The Sound of Music, Annie Get Your Gun, and Brigadoon) and is definately one of the greatest ever written for the musical theater.

Since Show Boat does not have an official original cast album, I suppose that this one suffices quite well. All original orchestrations are used here and the music is as it was on opening night in 1927. This is the most complete version available (whether you go with the full set or just this disc). The 1946 revival cast album is the oldest 'complete' album and is nice when paired with this disc to give one a sense of how Show Boat sounded in the early days.

I really didn't care much for this CD at first, but after listening to it a couple more times, I like it better and better each time. McGlinn certainly did right by this one! I'm not too familiar with most of the cast (save for Frederica Von Stade and Paige O'Hara), but they're all great. You'd think that this is a recording of a live performance, not just a studio album. Fantastic singing is had thoughout. McGlinn also did a great job with Brigadoon 3 years later, and did he not have a similar effort with Annie Get Your Gun as well?

I still think that the MGM movie version and its soundtrack album are the best but this rendition is definately not bad! Highly recommended. But if you can, pick up a copy of the movie soundtrack or of the 1946 revival album for comparison.

Dream Come True.......2002-08-22

First, "Showboat" is my all time favorite Musical, from the '40's and '50's when my mother took us to the movies every Sunday. I have video tapes of the 1951 MGM version with Howard Keel and Kathyrn Grayson, as well as the earlier movie version. A few years ago, I saw a TV special on the making of the three Disc complete remake of Showboat, true to the original score. I tried to get a cy of it but no local store could help me. Then through the magic of computers and AMAZON.com, I obtained the three disc set plus this single CD, which I treasure. This one is the best, without doubt. Now I have the complete version of songs and music I only vaguely remembered from the TV special. I wish someone would make a movie just like this version so I could have it on DVD. The whole cast and orchestra are awesome, especially Frederica von Stade. I have since bought other CDs of her work. Buy the three disc set if you can afford it, it has a thick booklet with the actual score and dialogue. But if you cannot, buy this CD. This is the ultimate, the prototype Broadway musical.

IT DESERVES 6 STARS.......2001-06-29

I can't thank enough all the people responsable for this terrific revival cast album.Here is a perfect example of how you should do a classic show and maintain the original intentions of the writer and the composer.If they were alive,JEROME KERN and OSCAR HAMMERSTEIN would have been proud of the way their masterpiece have survived them.It is impossible to imagine a better version of the show;this is the definitive one.It's funny when you think of it,most people know the songs by heart,yet it seems that we rediscover the show with this version.Suddently ,we are in 1927 and mister ZIEGFELD is scared like hell that he will loose a lot of money with this;but that's strangely the situation in which the modern AMERICAN musical was born.

Show Boat.......2000-09-10

I really like this recording! The voices are really great. I especially liked "Can't Help Lovin' Dat Man." I would recommend this CD to everyone who likes the show and musical theatre.

Average customer rating: Jerry Hadley Tribute - A Song of Naple

A Song of Naples - Neapolitan Songs Jerry Hadley Manufacturer: RCA ProductGroup: Music Binding: Audio CD General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta In the Real World Samuel Ramey on Broadway - So in Love Kiri Sings Porter; Dame Kiri TeKanawa Famous Opera Duets ASIN: B000003FZM Release Date: 1996-08-13

Tracks:

1. Dicitencello Vuie
2. Marechiare
3. Passione
4. Manella Mia
5. Fenesta Che Lucive
6. Vurria
7. 'A Tazza 'E Caf
8. 'A Vucchella
9. Core 'Ngrato
10. O Sole Mio
11. Pecch
12. Silenzio Cantatore
13. Chiove
14. Napule Ca Se Ne Va!
15. Piscatore 'E Pusilleco
16. I Te Vurria Vasa
17. Maria, Mari
18. Torna a Surriento
19. Addio, Mia Bella Napoli

Customer Reviews:

Jerry Hadley Tribute - A Song of Naple.......2007-07-19

I have had this CD for years and being a former Opera Singer who "grew up" with Jerry Hadley, I found it necessary to write a review about his wondeful CD in honor of a beautiful singer and human being on the day of his death. We are all saddened by this and only hope that he is sharing his gift with the angels. Rest in Peace Jerry.

Average customer rating: Wonderful songs

Send in the Clowns: The Ballads of Stephen Sondheim Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Comedy Tonight: Stephen Sondheim's Funniest Songs Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast) The Sondheim Collection (Studio Cast Re-recordings) Sondheim: The Stephen Sondheim Album Sondheim, Etc.: Bernadette Peters Live at Carnegie Hall ASIN: B00006LSQJ Release Date: 2002-10-22

Tracks:

1. Send In The Clowns (From 'A Little Night Music') - Cleo Laine
2. Losing My Mind (From 'Follies') - Barbara Cook
3. I Remember (From 'Evening Primrose') - David Korman
4. Liasons (From 'A Little Night Music') - Hermione Gingold
5. With So Little To Be Sure Of (From 'Anyone Can Whistle') - Jerry Hadley
6. Not A Day Goes By (From 'Merrily We Roll Along') - Bernadette Peters
7. Pretty Women (From 'Sweeney Todd') - Michael Rupert
8. In Buddy's Eyes (From 'Follies') - Barbara Cook
9. No One Is Alone (From 'Into The Woods') - Cleo Laine
10. Johanna (From 'Sweeney Todd') - Victor Garber
11. So Many People (From 'Saturday Night') - Suzanne Henry
12. Sorry-Grateful (From 'Company') - Stephen Collins
13. Too Many Mornings (From 'Follies) - Barbara Cook
14. Finishing The Hat (From 'Sunday In The Park With George') - Mandy Patinkin
15. Not While I'm Around (From 'Sweeney Todd') - Angela Lansbury
16. Like It Was (From 'Merrily We Roll Along') - Julie Andrews
17. Unworthy Of Your Love (From 'Assassins') - Annie Golden
18. Anyone Can Whistle (From 'Anyone Can Whistle') - Cleo Laine

Customer Reviews:

Wonderful songs.......2003-02-07

If you're a Sondheim ballad fan, this a must-have. While there are a few renditions that aren't great (Not a Day Goes By is way overdone), the selections from Follies sung by Barbara Cook are outstanding. The Cleo Laine version of "Send in the Clowns" is lovely and Stephen Collins does an amazing good job on "Sorry-Grateful" from Company. Still, it's the Follies songs that truly shine!

Average customer rating: An Operatic Don Quixote Almost nothing but praise Great, if not a bit confusing Not The Best "Man of La Mancha" My Feeble Opinions...

Man of La Mancha Mitch Leigh , Roger Andrews , James Bassi , James Bingham , Rodne Brown , Alvaro Domingo , Placido Domingo , Rosalind Elias , Jerry Hadley , and Mandy Patinkin Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Classical | Styles | Music Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Man of La Mancha Man of La Mancha: A Decca Broadway Original Cast Album (Original 1965 Broadway Cast) Kismet (1991 Studio Cast) Man of La Mancha (1973 Movie Soundtrack) Man of La Mancha (2002 Broadway Revival Cast) ASIN: B00000279J Release Date: 1996-03-05

Tracks:

1. Man Of La Mancha: Overture
2. Man Of La Mancha: Man Of La Mancha (I, Don Quioxte) - Cervantes
3. Man Of La Mancha: Man Of La Mancha (I, Don Quioxte) - Don Quixote, Sancho Panza
4. Man Of La Mancha: It's All The Same - Aldonza, Muleteers
5. Man Of La Mancha: Dulcinea - Don, Aldonza
6. Man Of La Mancha: Dulcinea - Don
7. Man Of La Mancha: I'm Only Thinking of Him - Antonia, Padre ,Housekeeper
8. Man Of La Mancha: The Missive - Sancho, Aldonzo
9. Man Of La Mancha: The Missive - Sancho, Aldonzo
10. Man Of La Mancha: I Really Like Him - Sancho, Aldonza
11. Man Of La Mancha: What Does He Want of Me? - Aldonza
12. Man Of La Mancha: Barber's Song - Don, Sancho, Barber
13. Man Of La Mancha: Barber's Song - Don, Barber
14. Man Of La Mancha: Golden Helmet Of Mambrino - Don, Barber, Sancho
15. Man Of La Mancha: Golden Helmet Of Mambrino - Don, Barber, Sancho
16. Man Of La Mancha: To Each His Dulcinea - Padre
17. Man Of La Mancha: The Impossible Dream(The Quest) - Aldonza, Don
18. Man Of La Mancha: The Impossible Dream(The Quest) - Aldonza, Don
19. Man Of La Mancha: The Dubbing -I nnkeeper, Don
20. Man Of La Mancha: Knight of the Woeful Countenance - Innkeeper
21. Man Of La Mancha: Little Bird, Little Bird - Anselmo, Pedro
22. Man Of La Mancha: Aldonza - Don, Aldonza, Sancho
23. Man Of La Mancha: A Little Gossip - Sancho, Padre
24. Man Of La Mancha: A Little Gossip - Sancho
25. Man Of La Mancha: Finale - Don, Aldonza
26. Man Of La Mancha: Finale(Dulcinea reprise) - Don, Aldonza
27. Man Of La Mancha: Finale(The Impossible Dream reprise) - Don, Aldonza
28. Man Of La Mancha: Finale(Man of La Mancha reprise) - Don, Aldonza, Sancho
29. Man Of La Mancha: Finale(Man of La Mancha reprise) - Don, Aldonza, Sancho
30. Man Of La Mancha: Ultimo Finale - Aldonza, Padre, Antonia, Sancho

Amazon.com

Plácido Domingo endows Quixote with a vocal richness and intensity no previous man of La Mancha has brought to the role. But as wonderful as Domingo is, he is too overpowering to capture the vulnerability of Quixote's mental state, an essential quality of this character. Julia Migenes gets trapped in Aldonza's massive register changes, even though her lower range is expressive and robust. She is unafraid of indulging the chest tone, a vital necessity in this role. The sore spot is Mandy Patinkin, who is misguided by delivering Sancho in an unnaturally nasal and obnoxious manner--he is more annoying than cute. A worthy, if far from perfect, recording. --Barbara Eisner Bayer

Customer Reviews:

An Operatic Don Quixote.......2007-06-19

"Man of La Mancha" is my favorite musical. It has a wonderful message and gives people a lot to think and talk about. The music is also very, very good and can withstand a variety of styles and interpretations. This operatic version features the outstanding Placido Domingo who, I feel, brings an authenticity to the role, perhaps because of his own Spanish nationality and background. This version is quite different from the musical, but still very nice. The fiery Julia Migenes is also a very appropriatly sexy, vet vulnerable Aldonza/Dulcinea.

Comparisons: Original Broadway Version; Movie version, Brian Stokes Mitchell as Don Quixote; Jim Nabors as Don Qixote; Jacques Brel as Don Quixote (French version)

Almost nothing but praise.......2007-06-01

In my opinion, the vocalists were the best selection. I thoroughly love Patinkin (and have since "The Princess Bride"), Migenes and Domingo is a fail-proof choice. I would have just liked to have seen a bit more of the story told in this track.

Great, if not a bit confusing.......2004-10-13

There are two reasons to buy this album.

One is in the breathtaking performances of Placido Domingo in the lead, and in the innkeeper in Samuel Ramey.

Two is the fact that the score from the musical is just plain good.

This recording doesn't capture the essence of the musical. I've only seen the musical once, and it was years ago, but that's always been my one criticism of it.

However, the two aforementioned vocal performances alone makes this recording worth a spin or three.

Not The Best "Man of La Mancha".......2004-06-25

This recording is a real disappointment. I am a huge fan of this musical and I was saddened by this recording, which could have been fantastic. The idea of using opera singers to record American musicals is not a new idea, and has been successfully done in the past, but this misguided attempt can easily be bypassed.
Placido Domingo, miscast in a role that isn't vocally congenial to him, sounds confused most of the time in this unhappy recording. The role needs a deeper, more baritonal voice, preferably a bass with a good upper range. It's too bad they didn't give Ramey a crack at the title role. Domingo doesn't capture the grandeur, nobility, or madness of the role, and his singing on this set sounds a bit under strain with very little resonance. His spoken lines are dull, and it sounds like he is sight reading most of the time.
Mandy Patinkin vocalises so discreetly as to hardly make an impression at all, one is barely aware he is even part of the recording. He sounds like he's doing an impression of a midget. His ideas about this comic side-kick role are obviously some kind of dead-pan but they mostly fall flat. His singing is small-scaled and verges on quasi-falsetto. Another sever disappointment from a normally reliable artist.
Julia Migenes should not have been asked to sing Aldonza. She obviously doesn't take the role seriously: if the idea behind this recording was to capture the operatic beauty of classically trained voices, then why is she singing in some kind of pop vocal style? I'm assuming she's trying to emulate the American Broadway style, but she just comes off sounding wrong. Her voice has little beauty and she has even less sense of style. Her three solos are painful to listen too--she alternates from brash harshness to a wiry soprano upper register. She might have done some interesting things with the role had she taken it seriously. Her spoken dialogue is, paradoxically, done with conviction and skill, but stands out on this recording only because the others can't handle the dialogue at all. All in all, her performance is an embarrassment.
The others are adequate, but no more. Ramey is strong but stolid. Hadley is in good voice, but has a weak lower register (important in his part), and Domingo's sons cope well with their small roles.
The conductor has the score well in hand, but the orchestra sounds as if it were recorded in a completely different accoustic than the voices, which are sometimes too far forward.
There is more dialog included in this recording than the others, but unfortunately as stated before, most of it isn't done convincingly. The music is also recorded completely uncut (as far as I know) which is an advantage over the other recordings.

My Feeble Opinions..........2003-12-30

Okay, this is probably more than biased, but I was given this album quite a few years ago, without even knowing what Man of La Mancha was. It inspired me to listen to the other cast recordings, and I still come back to this one the most!

I like the quality of Domingo's voice, so the accents hardly bother me. His vocals are just too easy for me to fall into. And as for Mandy Patinkin, I couldn't disagree more with general opinion. Maybe since he's the first Sancho I heard, it really grew on me, but I liked his rendition before and after viewing/listening to other versions, and I've always liked his voice. It has a very different quality to it, and if that changes the role for this recording, so be it. I really liiiiike it!

As for Aldonza, Julia Migenes' strong vocals in moments of extreme anger and despair to her reluctantly sweet coming around to Don Quixote's charms really struck me. All in all, I was charmed by this recording early on and still am! The main vocalists are extrememely talented and outshine any of the weaknesses in the recording itself. There's plenty of charming wit, humor, and drama, and I found none of it to be bogged down by any of the performances.

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1. Handel: The Complete Recorder Sonatas
2. Haydn: 2 String Quartets Emperor & Sunrise
3. Haydn: Arianna a Naxos; English Canzonettas
4. Haydn: String quartet No25; String quartet No27
5. Haydn: String Quartets Op. 33 Nos. 1, 2 & 4
6. Haydn: String Quartets Op. 33 Nos. 3, 5 & 6
7. Haydn: The Piano Trios
8. Holst/Stanford/Bax: Piano Trios
9. Howells & Leighton: Queen's College Choir
10. In Nature's Realm Overture / Carnival Overture

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