Merrily We Roll Along (1981 Original Broadway Cast) [Cast Recording]

Editorial Reviews
Amazon.com
It's a shame that Merrily We Roll Along was such a devastating flop on Broadway, for it contains some of Stephen Sondheim's best, brightest, and brassiest music. The reasons have been well documented: a youthful, inexperienced cast; cheesy sets and costumes; and, most of all, a confusing plot structure that starts in 1980 with bitter, cynical characters and winds its way backward to 1955, when a high school graduating class is dreaming of making its mark on the world. The main focus is on three friends (Jim Walton, Ann Morrison, and Lonny Price) who share musical ambitions but are gradually driven apart by the turbulence and fragmentation of their lives and the America around them. (You'll also hear a pre-Seinfeld Jason Alexander, and even a young chorus girl named Liz Callaway.) Sondheim almost imperceptibly reworks his themes as his characters develop, and the score includes the infectious "Old Friends," the driving title tune, the ballad "Not a Day Goes By," and "Our Time," an uplifting anthem of hope when performed out of the show's context, but emotionally devastating within it. And if the backward structure--inherited from George S. Kaufman and Moss Hart's 1934 version of the show--really bothers you, you can run it almost completely chronologically by reprogramming the CD. --David Horiuchi

Tracks:

Overture
Hills of Tomorrow/Merrily We Roll Along (1980)/Rich and Happy
Merrily We Roll Along (1979-1975)/Old Friends/Like It Was
Merrily We Roll Along (1974-1973)/Franklin Shepard, Inc.
Old Friends
Not a Day Goes By
Now You Know
It's a Hit!
Merrily We Roll Along (1964-1962)/Good Thing Going
Merrily We Roll Along (1961-1960)/Bobby and Jackie and Jack
Not a Day Goes By
Opening Doors
Our Time
Hills of Tomorrow
It's a Hit [*]
Not a Day Goes By [*]

Amazon.com

It's a shame that Merrily We Roll Along was such a flop on Broadway, for it contains some of Stephen Sondheim's best, brightest, and brassiest music. The reasons have been well documented: a youthful, inexperienced cast; cheesy sets and costumes; and, most of all, a confusing plot structure that starts in 1980 with bitter, cynical characters and winds its way backward to 1955, when a high school graduating class is dreaming of making its mark on the world. The main focus is on three friends (Jim Walton, Ann Morrison, and Lonny Price) who share musical ambitions but are gradually driven apart by the turbulence and fragmentation of their lives and the America around them. (You'll also hear a pre-Seinfeld Jason Alexander, and even a young chorus girl named Liz Callaway.) Sondheim almost imperceptibly reworks his themes as his characters develop, and the score includes the infectious "Old Friends," the driving title tune, the ballad "Not a Day Goes By," and "Our Time," an uplifting anthem of hope when performed out of the show's context, but emotionally devastating within it. And if the backward structure--inherited from George S. Kaufman and Moss Hart's 1934 version of the show--really bothers you, you can run it almost completely chronologically by reprogramming the CD. --David Horiuchi

Album Description

A Classic Stephen Sondheim Musical Available Now at a New Low Price!

Features bonus tracks, digitally remastered and new liner notes.

Customer Reviews:

Simply amazing!.......2007-06-24

I'll admit, I was completely ignorant of musicals and of Stephen Soundheim until my son joined his high school theater troupe and he got the role of "Terry". I reluctantly attended, only because I wanted to see my son's performance, and prepared myself for what I thought would be a boring night. Boy, was I wrong! Not only was it amazing but my 10 & 8 yr. old daughters, whom I thought were going to be whining after 10 minutes, were enthralled too! I didn't realize my son's theatre troupe was so amazingly talented, the musical was so professionally performed I felt I was at a broadway show! The music is wonderful and entertaining! We have been transformed by this. We now own the soundtrack and often we catch ourselves humming various parts of it often! Especially love "Franklin Shepard, Inc.", which isn't on this copy. You've got to see this to appreciate it!

Not My Favorite Sondheim Score, But Has Its Moments.......2007-05-30

While I have never seen this show, I picked up this remastered version of the original 1981 production due to my interest in Mr. Sondheim's scores. An interesting premise - to stage a show in reverse - but the score doesn't captivate like "Company" or "Sweeney Todd", two of my favorite scores ever. Still, a worthy effort w/ a few standout songs:

Old Friends
Not A Day Goes By
Our Time

Sondheim Had a Good Thing Going.......2005-02-08

Several years ago I saw a college production of MERRILY WE ROLL ALONG. At the time, I knew the musical had been a flop in its original run on Broadway; I went to see the production only because two friends of mine were playing the leading roles of Frank and Charlie. But while watching the show I realized that MERRILY WE ROLL ALONG has a great score -- probably one of the greatest of any unsuccessful musical. "Like It Was," "Not a Day Goes By," and "Good Thing Going" are all haunting ballads, unusually emotional for Sondheim, while "Now You Know" and (especially) "Franklin Shepard, Inc." are patter songs in Sondheim's typical, brilliant style. Even the school "commencement song," "The Hills of Tomorrow," is memorable, as are the ensemble numbers "Rich and Happy" and "Merrily We Roll Along," not to mention the moving anthem "Our Time." Both the title song and "Old Friends" are woven through this backwards-told tale of disillusionment, recurring several times as commentary on the action.
Another original idea was to have all the roles played by very young actors -- teenagers, in fact. (Sondheim and director Harold Prince must have thought that a story about broken youthful ideals would be even more affecting if the cast itself was youthful.) Fortunately, Jim Walton, Lonny Price, and Ann Morrison as the three "old friends" INHABIT their roles to a degree that few mature actors could hope to match, while singing with confidence; Walton's "Not a Day Goes By" in particular is beautifully sung. At times, it is truly hard to believe that these performers are little more than children, so thoroughly assured do they sound. And the choral work is stunning; the chorus, in fact, may be the real star of the recording. Those unfamiliar with MERRILY WE ROLL ALONG and this original Broadway cast recording don't know what they are missing!

A detailed comparison of the two versions of this CD.......2004-02-25

Here, I will give a detailed comparison between the two version of this musical available, character by character, song by song. To begin...

Frank Shepard: Jim Walton (OBC) has undeniable potential, and does especially well in "Old friends", the original Frank version of "Not a day goes by". Still, his performance has serious flaws, and his "Our Time" in particular is painful to listen to. By contrast, Malcolm Gets (NBC) was quieter and subtler in the role, but "Our Time" is the character's most important moment, and he handles it terrifically. His spectacular vocals and soaring idealism contrast sharply with Walton's shrill, shallow delivery.

Charley Kringas: Lonny Price (OBC) is spectacular as Charley. Since Charley remains an uncorrupted idealist at the play's "end", casting a teenager in the role was actually a wise move, and despite his lack of experience, Price turns out one of the most skillful performances in all of Broadway history. I tell you, the kid's a prodigy! Adam Heller (NBC) was adequate in the revival (personally, I'd love to see him do Buddy in "Follies"), but most of Charley's personality is expressed in subtext, and without the tragic complexity Price gave him, he seemed rather boring.

Mary Flynn: Ann Morrison (OBC) is quite talented, and did an excellent portrayal of an angsty teen late in the play, particularly in the second half of "Our Time". Still, she simply sounded too upbeat to be convincing as a cynical middle-aged drunk. Amy Ryder (NBC), on the other hand, is perfectly suited to the role; she has a wonderfully expressive voice and does an excellent job of subtly altering her personality over time.

Beth Spencer: This role requires a measure of overacting, but Sally Klein (OBC) goes so over the top it's not even funny. Anne Bobby (NBC), on the other hand, kept her control and gave a charmingly flamboyant and very human performance.

Gussie Carnigie: Michelle Pawk (NBC) sounds like a real Broadway headliner, and she is just delicious as the show's evil seductress. Terry Finn (OBC) had only a brief dialogue bit on the CD, and she couldn't even handle that without making a fool of herself.

Joe Josephson: Famed comedian Jason Alexander (OBC) made this character funny and charming. Paul Harmon (NBC) was intensely annoying.

As for the individual songs...

Merrily we Roll Along: The song has excellent lyrics, deep and introspective, but in the OBC you can't hear them because the obnoxious Geoffrey Horne is shouting something pointless over them.

Like it was

Amy Ryder sounded far more authentic here than Ann Morrison, although I will say Lonny Price handled his dialogue bits extremely well.

Franklin Shepard INC.

Adam Heller's diction was better in this wordy monologue-song, but I prefer Price's more passionate version.

Old Friends

The OBC has better peformances by everyone except Ann Morrison, as well as two very interesting extra verses tacked on the end.

Not a day goes by

This song was blessed with two great performances, and I honestly can't decide on a favorite between Jim Walton's gorgeous vocals and Anne Bobby's intense acting.

Now you know

The OBC did a great job of setting the mood for this number, and Walton and Morrison are at their best. Still, Amy Ryder did a decent job of salvaging the watered-down, badly edited NBC version.

It's a hit

The OBC cast were much more interesting in this number, and some key material was cut in the NBC anyway.

Good thing going

Heller was by no means bad in this number, but Price blew him out of the water.

Bobby and Jackie and Jack

The NBC is far better; Sally Klein was at her worst here, and Lonny Price, for all his many talents, is no comedian.

Not a day goes by (reprise)

Due to an asinine recording job, you can barely hear Amy Ryder in this number. Thankfully, Ann Morrison does a fabulous performance here.

Opening Doors

Jason Alexander sings beautifully and projects a loveably pushy personality in this montage. Let me say delicately that Harmon does neither of these things. The rest of the cast is excellent in either versioon, except for Jim Walton, who foreshadows the problems with his next song in an unsubtle, extremely annoying performance.

Our Time

If not for Jim Walton, the OBC would have this one in the bag; they close it with a haunting ensemble chorus led by Ann Morrison that gives the song a beautifully profound feel. However, Walton was horrendous in the first half of the song, and because he was so utterly outclassed by Malcolm Gets' exquisite performance, the song overall is far more effective in the NBC.

Finally, as for the songs that were in both versions...

The Hills of Tomorrow (OBC)

A lovely song and an excellent opening. I appreciate its importance to the plot as the first song Frank ever wrote, but I think reprising it to close the show was not as effective as simply closing with "Our Time".

That Frank (NBC)

Weak as a plot climax. I understand that in the show, it was merely intended to "set up" a dramatic confrontation in the book scenes, but on the CD it was a noticeable letdown. Still, Amy Ryder's antics as Mary were fun and powerful.

Rich and Happy (OBC)

A powerful and disturbing climax and an excellent alternative to the shallow "That Frank", even if Walton could have performed it better.

Growing up (NBC)

A complex and thought-provoking song with a beautiful melody, performed extremely well by Malcolm Gets and Michele Pawk. I personally think it serves a necessary role in the play, and I'm very glad they added it to fill that void. It gives us a chance to see into Frank's mind, something none of the other songs do. Gussie's later reprise of this song, however, is watered down and, despite its beauty, completely unnecessary.

The Blob (NBC)

A satirically funny and mildly disturbing song. Part of it appears in the OBC, but Gussie's cynically witty second verse really brings it to life.

In general, I actually recommend you get both version if you get either. Each one contains wonderful moments the other one screws up. If you must get only one, though, get the NBC. It may not be as good is some places, but it has fewer flaws.

It's okay, but..........2003-08-25

You're better off with the 1994 York Theater Off-Brodway version with Malcom Gets...while this one is pleasent at best, it's much too clunky and all over the place to really, really enjoy...the songs that were cut from this version like "Rich and Happy" are genuienly solid, but there are far too few of them to make up for the lack of fluidness that accompanies this version. Many people complain that the new version is "too artifical" with it's use of (minimum) synthesizers, and that the cast isn't adequate enough to handle the score, but I disagree...the cast for this version is simply much too young and inexperienced to really get a grasp on what it's like to play middle aged cynics. On the other hand, the '94 cast is well-equipped to handle the their roles both emotionaly and mentally. That's not to say that this version is completely devoid of any redeeming qualities...it's just far too overrated to earn the place as the definitive recording of Merrily...start with the '94 version, and if you like that one, move on to this one...the former is much more solid and fluid. There is talk of a staged reading this fall, which will hopefully lead to a full-fledged return of this extremely underrated masterpiece...a return more akin to it's latter day revival, and not the original's choppy performance.

Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)

Average customer rating:

Great CD
Simply the Best
Inconsistent, but mostly excellent
"Celebration" is not strong enough a word
A maginificent evening, a magnificent album

Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
Stephen Sondheim , Betty Buckley , Paul Gemignani , Patti LuPone , Liza Minnelli , and Bernadette Peters
Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Side By Side By Sondheim (1976 Original London Cast)
Sondheim Evening: A Musical Tribute (1973 Concert Cast)
Send in the Clowns: The Ballads of Stephen Sondheim
Sondheim - A Celebration at Carnegie Hall
Sondheim, Etc.: Bernadette Peters Live at Carnegie Hall

ASIN: B000003FDW
Release Date: 1993-02-23

Tracks:

Symphonic Sondheim: Sweeney Todd--orchestra, Jerry Hadley ("Johanna"), Eugene Perry,Herbert Perry ("Pretty Women")
Evening Introduction--Bill Irwin
Loveland/Getting Married Today--Ensemble, Jeanne Lehman, Mark Jacoby, Madeline Kahn
Waiting for the Girls Upstairs--George Lee Andrews, Michael Jeter, James Naughton/Love, I Hear--Michael Jeter/Live Alone and Like It--James Naughton
Someone Is Waiting--Richard Muenz/Symphonic Sondheim: Barcelona--orchestra
Being Alive--Patti LuPone
Good Thing Going--The Tonics
Losing My Mind/You Could Drive a Person Crazy--Dorothy Loudon
Our Time--Boys Choir of Harlem/Children Will Listen--Betty Buckley
Anyone Can Whistle--Billy Stritch
Water Under the Bridge--Liza Minnellli, Billy Stritch
Back in Business--Liza Minnellli, Billy Stritch, Ensemble

Tracks:

Symphonic Sondheim: Comedy Tonight--Bill Irwin, orchestra
Sooner or Later--Karen Ziemba
Pretty Lady--Mark Jacoby, Eugene Perry, Herbert Perry
Green Finch and Linnet Bird--Harolyn Blackwell
The Ballad of Booth--Patrick Cassidy, Victor Garber
Broadway Baby--Daisy Eagan
I Never Do Anything Twice--BETTY
With So Little to Be Sure Of--Jerry Hadley, Carolann Page
Not a Day Goes By--Bernadette Peters
Remember?--Ron Baker, Peter Blanchet, Carol Meyer, Bronwyn Thomas, Blythe Walker (Quintet)/A Weekend in the Country--Kevin Anderson, George Lee Andrews, Mark Jacoby, Beverly Lambert, Maureen Moore, Susan Terry, Quintet
Send in the Clowns--Glenn Close
Old Friends--Liza Minnelli
Sunday--Bernadette Peters, Broadway Chorus

Customer Reviews:

Great CD.......2006-08-06

This is a wonderful double CD of fabulous musical numbers performed by theatre greats and directed by a legandary musical director.

Simply the Best.......2005-06-29

First, to the person who criticizes the recording b/c of "Broadway Baby." Daisy Egan (who sings in in this recording) sounds like she's 10 becuase she IS young. She had just appeared on Braodway in Secret Garden and won a Tony for it. It's a joke...Broadway BABY...hello, it's a joke.

In a compilation of songs like this you're always going to have tracks that you prefer over others, but the majority of the renditions in this CD are great. This is simply one of the best collections of Sondheim out there. You get interpretations that span from "classical" (Green Finch), to bordering on insane (Anything Twice). This is to demonstrate how versatile this composer really is.

In my opinion, some of the best renditions are "Not a Day Goes By," "Anyone Can Whistle", "Girls Upstairs Medley," "Losing My Mind/Drive a Person Crazy," and "Weekend inthe Country." Makes me wish I had been there to witness it first hand.

If you love Sondheim and enjoy hearing Broadway performers, get this CD. A great recording.

Inconsistent, but mostly excellent.......2004-03-21

I am sure no knowledgeable person would deny how absolutely perfect all these songs are. However, the performances on this album are extremely inconsistent. It will go from an excellent rendition (Waiting for the Girls medley, Sunday, With So Little To Be Sure Of, Sooner or Later, Green Finch, Send in the Clowns, Pretty Lady) to the weird (I never Do Anything Twice), to the bad (Broadway Baby, Our Time). I still have absolutely no idea how they managed to butcher one of the best songs ever written--Good Thing Going--and turn it into smooth jazz elevator music. Why would they give Broadway Baby to someone who sounds like she's 10? That said, Liza Minelli, Glenn Close, Karen Ziemba, Dorothy Laudon and the "Waiting for the Girls" performers are all very good. And ending with Bernadette Peters and "Sunday" ends the set on a absolutley fabulous note.

"Celebration" is not strong enough a word.......2003-04-30

This review is by Crosley.

I have been a major Sondheim fan for quite some time, and I finally obtained a copy of this album. I was blown away by the excellent cast and phenomenal selection of music. It is obvious how much work went into this production, considering that this is the live recording of a one time show, and it's flawless. The songs cover all of his shows with the exception of "Passion," which was released 3 years after this show. Also, the shows for which he wrote only lyrics are ommited, like West Side Story, Gypsy, etc. Thus, you can find material from A Funny Thing Happened on the Way to the Forum, Anyone can Whistle, Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd: The Demon Barber of Fleet Street, Merrily we Roll Along, Sunday in the Park with George, Into the Woods, and Assassins.

There are two striking things about this CD (besides the music and performers themselves). First of all, some of the songs are completely stylistically reworked. The most obvious are "Good Thing Going" and "I Never do Anything Twice." Both are traditionally very ballady with a piano accompaniment, but here they have been redone as jazzy tunes. The result is excellent. Such reworkings demonstrate that Sondheim writes music for virtually any style, and in these cases, across several styles. It's a great example of his variety. The other interesting thing is how many songs have overlapping melodies of songs from different shows. Case in point, "Our Time" and "No one is Alone" are sung seperately by the Harlem Boys Choir and Betty Buckley (the original Grizabella in Webber's atrocious "CATS," although Buckley was excellent) respectively, and then combined. Putting these two songs together offer different meanings to each, and the music is only enhanced. Another example, the trio of "Waiting for the Girls Upstairs," "Love, I Hear," and "Live Alone and Like It" are sung in that order, and then the latter two are combined. Again, the meanings of the songs change, this time in an almost narrative style, and offering different takes on love in the same montage. Lastly (at least for this review, there are more), Dorothy Laudon's (the original Ms. Hannigan in Annie) combination of "Losing my Mind" and "You Could Drive a Person Crazy" is brilliant. Those who are familiar with these songs will wonder how exactly they fit, but trust me, they do. She swtiches back and forth between melodies to create a number that starts poignant and beautiful, and soon moves to become uproariously funny. Both the song reworkings and overlapping melodies of unrelated songs are all for the better.

I recommend this recording to anyone wanting to get better acquainted with some of Sondheim's best work, or those already familiar who want to hear a tour de force of phenomenal music. It has been said that Sondheim is a masterful lyricist (which he is), but lacks real talent for music. This CD is the final proof that such critics are wrong. His music may take a few listenings to get into, contrary to Webber or Wildhorn, but unlike those two, he doesn't cater to the audience. He challenges them to think outside of traditional musical theater in a glorious repertoise of shows that reach for a smarter, more sophisticated form.

A maginificent evening, a magnificent album.......2001-12-16

There's something to be said for the first concert you ever see at Carnegie Hall. I was fortunate enough to have this be my first. This entire evening was devoted to his genius and the performers did not disappoint.

This wonderful double CD shows off the best and brightest of the musical theatre composer and it is, as one person put it, "an embarassment of riches." With songs from his finest works done in amazing arrangements (listen to that harmony in "We Had a Good Thing Going"!) combined with fabulous performers this is a Sondheim lovers delight.

Tracks:

Overture (Merrie Melodies Main Title Music)
This Is A Life
High Note
What's Up, Doc?
Baton Bunny
Jumpin' Jupiter
The Rabbit Of Seville
Act II Entr' Acte (Excerpt From Long Haired Hare And Merrie Melodies Main Title Music)
A Corny Concerto
Long-Haired Hare
What's Opera, Doc?
Merrie Melodies Closing Theme 'That's All Folks'

Amazon.com

Though it's the "cast album" to the touring Bugs Bunny on Broadway show, which featured a 50-piece orchestra playing to the original cartoons, the real stars here are not the musicians but Carl Stalling and Milton J. Franklyn. As the composers behind the Looney Toons cartoons, Stalling (and later Franklyn) expertly composed scores that borrowed from classical music, popular songs of the day, and the whimsical compositions of Raymond Scott. Working with talents like Chuck Avery (the most musically adventurous of Bugs Bunny's directors) and voice actors Arthur Q. Bryan (Elmer Fudd) and Mel Blanc (virtually everybody else), they created some of the best-loved music of the century. They also introduced classical music to new generations through their loving reenactments of Rossini's The Barber of Seville (as "The Rabbit of Seville") and, amazingly, the entire Ring cycle (condensed to seven minutes in "What's Opera, Doc?"). Not as expansive as the two volumes of the Carl Stalling Project, Bugs Bunny on Broadway nevertheless is a fine collection that concentrates on an oft-overlooked legacy of Bugs Bunny and company. --Randy Silver

Customer Reviews:

Not For Purists.......2004-09-22

If you have an ear for the original recordings, then this collection is not for you. On tracks like "The Rabbit of Seville" the switch from the original soundtrack to the modern re-recording is both jarring and unsatisfying. If you loved the "live" show then this may bring back some memories for you. If you want to hear the original performances of the great music from Looney Tunes and Merrie Melodies, I recommend "The Carl Stalling Project" instead.

Cute CD for Looney Tunes fans.......2004-04-03

Sure, it's not for everyone's taste but no fan of Bugs or Daffy can be without this CD. Outside of the famous 'Merry Go Round Broke Down' and Merrie Melodies theme the Looney Tunes cartoons are well known for paying tribute to and parodying classical music and there's loads of that behavior to be had on this CD. The popular song 'What's Up Doc' is also featured here and there's just enough of Daffy Duck included to keep me happy. Hard to come by but worth getting if you can pick it up cheap.

Oh, the memories this brings back!.......2003-03-05

I never thought I'd hear some of these again. At their height, the Warner Brothers studio used classical music very cleverly in their animations, and this compilation gives us a sampling of the best. About the only thing that made me not give it the full five stars was that it didn't have the excellent "Daffy's Rhapsody."

BRILLIANT AT THE SYDNEY OPERA HOUSE; THE CD IS JUST AS GREAT.......2002-03-12

I just had the incredible pleasure of seeing this production, conducted by George Daugherty, at The Sydney Opera House. If the week of sold-out audiences were any indications, it's "adult kids" who really love the classic Looney Tunes cartoons. Ordered the CD immediately from Amazon when I got home, and have relived this magnificent production over and over. The music is as incredible as the animation, and Carl Stalling's incredible collaboration with the brilliant Chuck Jones is even more evident when one is just listening to the incredible orchestral performances of these spectacular scores. With the death of Mr. Jones, this CD is even more of a memento of a brilliant golden age of American animated cinema. As we say down here "downunder," it's a bloody ripper!!! (And that's a supreme compliment in Australian!!!!)

Bugs at the Bowl.......2001-07-14

Oh what joy there is in Bugs Bunny. Santa Claus came down the chimney last Christmas and left a beautifully wrapped gift with my name on it underneath our Christmas tree. A CD? For me? Yes, it was. I listened entranced and recaptured so many happy memories of my favourite Chuck Jones characters, all brought vividly to life in George Daugherty's brilliant Bugs Bunny on Broadway. But that wasn't the end of my dreams come true. I was lucky enough to see Bugs brought to life again at The Hollywood Bowl. Rush out and buy this joyful CD - then do your utmost to catch a live performance when it's next in your city.

Send in the Clowns: The Ballads of Stephen Sondheim

Average customer rating:

Wonderful songs

Send in the Clowns: The Ballads of Stephen Sondheim

Manufacturer: RCA Victor
ProductGroup: Music
Binding: Audio CD

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Comedy Tonight: Stephen Sondheim's Funniest Songs
Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
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ASIN: B00006LSQJ
Release Date: 2002-10-22

Tracks:

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

Crossover at Its Best
If Dawn Upshaw had made only one album...
Great songs by a better than average singer. Buy It.
A must album for all musical theatre lovers.
Timeless recording

I Wish It So
soprano Dawn Upshaw , Marc Blitzstein , Eric Stern , Stephen Sondheim , Kurt Weill , Leslie Stifelman , Leonard Bernstein , and Matthias Naegele
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005J2V
Release Date: 1994-08-02

Tracks:

I Wish It So
There Won't Be Trumpets - Sondheim
What More Do I Need? - Sondheim
That's Him
The Girls Of Summer - Sondheim
The Saga Of Jenny
Like It Was
Stay Well
I Feel Pretty
Glitter And Be Gay
My Ship
In The Clear
Never Get Lost - Take Me To The World
My New Friends - Bernstein

Amazon.com essential recording

With a spirit of innocence and excitement, no audible breaks of register, and perfect diction, Dawn Upshaw graces us with a satisfying crossover recording in which each song is a fully realized musical monologue. The eclectic and infrequently performed repertoire, from Bernstein, Blitzstein, Sondheim, and Weill, compliments her charm and interpretive acuity. There's her humorous "Saga of Jenny," her adorable "That's Him," her poignant "Like It Was," and her freshly vibrant "I Feel Pretty." Conductor Eric Stern is divine in his arrangements and accompaniment. This is one of the best musical theater albums available. --Barbara Eisner Bayer

Customer Reviews:

Crossover at Its Best.......2006-11-15

"I Wish It So" is the CD that first introduced the exceptional "crossover" talents of soprano Dawn Upshaw. The album, which comprises (mostly) little-heard songs by Kurt Weill, Marc Blitzstein, Leonard Bernstein, and Stephen Sondheim, opens with the title number, a lyrical gem from Blitzstein's JUNO, and continues with Sondheim's vibrant "There Won't Be Trumpets," in which Upshaw, rather than belting, lets her voice ring. She then slam-dunks Sondheim's "What More Do I Need," a truly raucous number. Other highlights include the two songs from Weill's LADY IN THE DARK: the haunting ballad "My Ship" and the witty "The Saga of Jenny," presented here in a superb jazz arrangement. The sound of Upshaw's lower middle voice in this number is thrilling. Her combining of Blizstein's "Never Get Lost" and Sondheim's soaring, life-affirming "Take Me to the World" is perfect, as is her musical yet emotional rendition of "Like It Was" from Sondheim's MERRILY WE ROLL ALONG. The album climaxes with the mock-coloratura aria "Glitter and Be Gay" from Bernstein's CANDIDE, in which Upshaw scales the heights with consistently pure and beautiful tone. In a day when many great opera singers attempt, unsuccessfully, to sing "popular" song, "I Wish It So" is an example of crossover at its very best. It is a CD that no one who loves both opera and musicals should miss.

If Dawn Upshaw had made only one album..........2006-08-24

I have a weak spot for crossover albums by opera stars, which can often be train wrecks or embarrissing self-parodies. There's not a cringe-worthy note in this one, however. Dawn Upshaw has never been as vibrant on disc, and her style in pop music (albeit serious pop music) surpasses expectations. She is a master at touching vulnerability and stars-in-her-eyes vulnerability. There's no current Broadway star who can match her in any of these songs form Sondheim, Weill, and Bernstein, certainly not for sheer beauty of voice and charm. Upshaw went on to make an excellent album of Rodgers and Hart songs, but nothing else quite matches this first effort.

Great songs by a better than average singer. Buy It........2006-04-24

'I Wish It So' sung by popular / classical switch hitter, Dawn Upshaw is a very, very good interpretation of classical American musical theatre pieces by four masters of the genre, Leonard Bernstein (music), Marc Blitzstein (lyrics), Stephen Sondheim (lyrics) and Kurt Weill (music). As I am most familiar with female interpretations of Kurt Weill's songs, especially by the likes of his widow, Lotte Lenya and Weill interpreter extraordinare, Ute Lemper, I have to say that while Upshaw does them justice, she does ont outshine the very best Weill interpretations. Primarily, I believe she suffers from never actually performing the works on stage, as Lenya has.

And, since Ute Lemper did an album with a similar collection of songs (Illusions) from Sondheim and others, I thing Lemper still has the edge on interpreting other composers as well.

On the positive side, I find Upshaw's interpretation as good or better than almost everyone else who makes a career out of these songs, such as, dare I say it, Barbra Streisand. This is a good thing, because I believe Upshaw is not up to the very best mezzos who share her classical works. She can't hold a candle, for example, to Renee Fleming or Anne Sofie von Otter, although her interpretations of Weill are as good as von Otter, just not as good as Lenya and Lemper.

A very, very nice album if you like female vocalists.

A must album for all musical theatre lovers........2005-04-21

Dawn Upshaw once again disproves the adage that opera singers can't sing showtunes properly. Her diction, her ability to act out the lyrics and her crystal clear angel-like voice are just heavenly. Miss Upshaw could teach quite a few Broadway and Cabaret singers a thing or two about interpretation and she would have her hands full teaching opera singers like Te Kanawa or Fleming how to put over a showtune properly. Simply divine!

Timeless recording.......2004-07-20

This is an endlessly rewarding album by an operatic soprano who demonstrates an expressiveness and range rare in crossover albums of this sort. Upshaw modifies her classical technique without compromising it, narrating with a conversational tone and youthful ebullience well-suited to musical theater. She continues her tradition of championing obscure American art songs with three gorgeous Blitzstein pieces, and wisely avoids the standard, overdone Sondheim showpieces in favor of several gorgeous lesser-known songs. "I Feel Pretty" is given a refreshing makeover, while "Glitter and Be Gay" demonstrates both her impressive vocal control and comedic prowess. Despite the odd choice of "There Won't Be Trumpets", which demands a belter to properly execute the climax, this album is a well-conceived and cohesive collection that becomes more enjoyable on each subsequent listen.

The Story Goes On: Liz Callaway On & Off Broadway

Average customer rating:

Y'all are crazy!
Liz Callaway Goes On...
Liz Callaway SOARS!
....Love this album too!
Unknown Talent Sings Unknown and Known Broadway Songs

The Story Goes On: Liz Callaway On & Off Broadway

Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Anywhere I Wander - Liz Callaway Sings Frank Loesser
The Beat Goes On
Sibling Revelry
Bring Back Romance
Ann Hampton Callaway

ASIN: B00005B176
Release Date: 2001-04-03

Tracks:

You There in the Back Row
I'm Gonna Wash That Man Right Outa My Hair
Since You Stayed Here
Knowing When to Leave/Promises Promises
Where Is Love? (with Billy Porter)
Meadowlark
Sleepy Man
Our Time (with Ann Hampton Callaway)
I Got the Sun in the Morning
Stop, Time
One Boy
Marry Me a Little
The Story Goes On
A Place Called Home

Amazon.com

Broadway veteran Liz Callaway (most famous for her five-year stint as Grizabella in Cats on Broadway in the late '90s) fills her second solo album with lesser-known tunes, a number of them covering moments in her career. Her lovely soprano can break your heart with the ballad "Since You Stayed Here" then thrill you with the showstopper "The Story Goes On" from Baby (which earned her a Tony nomination). The emotional heart of the album is "Meadowlark," Stephen Schwartz's wondrous tale of risk and heartbreak that proves a particularly glorious marriage with Callaway's voice. In a savvy bit of programming, that peak is followed by the deliciously langorous "Sleepy Man." Callaway's sister, jazz/cabaret singer Ann Hampton Callaway, makes a guest appearance in Stephen Sondheim's powerful "Our Time," a teaser of the sisters' live collaboration. Of Varese Sarabande's many albums spotlighting Broadway singers, The Story Goes On is one of their absolute best. --David Horiuchi

Customer Reviews:

Y'all are crazy!.......2006-11-03

The Billy Porter duet is one of the most unique and thrilling songs on the cd. What a fantastic re-invention of that song. And their voices by themselves and together are glorious. Its all personal taste and by no means is that the only good song. Its probably THE best solo cd by a broadway artist. Incredible!

Liz Callaway Goes On..........2006-05-02

Liz Callaway has one of the most enthralling voices around. Her voice is melodious and very soothing and especially shines in soft and subdued ballads. She doesn't have a big voice but she has an amazing range and sense of melody.

She opens the album with a strong rendition of "You There in the Back Row" a song I'm not familiar with but has grown to love. The next track "I'm Gonna Wash That Man Right Out of my Hair" lacks the spunk and bite that I think the song should have, and the arrangement felt out of place in the album.

She had a touching and moving rendition of `Since You Stayed Here". I'm not familiar with the musical Brownstone but this song made me want to check out the musical. It's about someone forced to become a stronger person after a breakup or some sort, that you wouldn't recognize it's the same person. I really love this song and Liz captured the strength as well as the sadness of the song.

Another standout is her now trademark version of "Meadowlark". The story of the meadowlark was a metaphor that convinced the character to the important decision she made in leaving her husband for another man. This is a really powerful song and truly Liz Callaway soared in this song. "Sleepy Man" was another notable track. This is probably the song that fits Liz Callaway's voice most perfectly. It was very sweet and really really soothing in the ears. This is one of my favorite tracks.

"Stop Time" is a song about the inexplicable combination of joy and sadness of watching your child grow up. It was a tender rendition that ends with a beautiful subdued last note. This woman knows how to end a song.

Once I got passed the cheesiness of the arrangement of "One Boy", I enjoyed it. It's old fashioned but it's still good. Liz then made an updated rendition of "The Story Goes On" from her show "Baby" This song was about a mother-to-be finally realizing the beauty and magic of carrying a child after she felt the child's first kick. I prefer the stronger arrangement of the song in this album compared to the Baby Cast Recording, but the innocence of that earlier rendition still resonates.

She ended the album with a beautiful rendition of "A Place Called Home". I first heard this song in one of Lea Salonga's concerts and I fell in love with this song. Her last note was very touching and melodiously and heartbreakingly romantic.

Grade= A

Liz Callaway SOARS!.......2005-06-27

Wow! I love this cd! I went to a camp in Decatur, Illinois called Showchoir Camps of America. One night, as our evening entertainment, she performed this entire album!! That afternoon Ms. Liz came for a question and answer session with Phil Reno. She is such a down to earth person and sooo very talented! At the concert, I started to cry! During one song, Ms. Liz forgot the words to a song ( actually, I forgot what the song was called!), so she just made up some words to it!! If you want a TRUELY talented performer, Liz Callaway is the one for you!

....Love this album too!.......2004-08-18

I love this album. There are a few songs I kinda skip, because it was just weird. That song being "I'm Gonna Wash That Man Right Out of my Hair", weird. I loved the duet "Where is Love" from the musical Oliver. "Stop,Time" from the musical BIG (grab your puffs!). I enjoyed the 50's sounding "One Boy!" from Bye,Bye Birdie. Liz has a wonderful range, and flattering childish tone to her voice, reaching notes that would take me years of training to ever reach again! She has complied all these exciting songs and ends the album with "A Place Called Home", from A Christmas Carol. I could never give her enough praise. If you like Strisand, and Sintra, you'll love her too! :-) Liz is always shinning when she sings! Enjoy!

Unknown Talent Sings Unknown and Known Broadway Songs.......2003-06-10

... I thought I recognized the voice but I couldn't quite place it. I finally realized that she was the singing voice of Anastacia in the animated movie. Meg Ryan was the speaking voice. Liz Callaway has one of the clearest voices I have ever heard and also a very strong voice. I love her rendition of Knowing When to Leave/Promises, Promises by Burt Bacharach and Hal David. Great arrangements. Dionne Warwick, who I am also a fan of covered Promises, and the Carpenters sang a version of Knowing When to Leave. I'm also a Carpenters' fan. On this album all the songs are Broadway. Many I hadn't heard before but love now due to Liz. The first song, You There in the Backrow is a tribute to fans of shows. "Watch me sing my song for you" the words go. Liz makes you want to jump to your feet. Liz does a rendition of I' Gonna Wash that Man Right Out of My Hair from South Pacific, rock version. I can't say that's my favorite, but favorite to one of my friends. Since You Stayed Here, another unknown song to me, is quiet and hauntingly beautiful. Bette Midler does a version of this I think on her CD with From a Distance. She sings a duet with her sister, Ann Hampton Callaway who sings on Sibling Revelry with Liz. Ann wrote and sang the theme from The Nanny. The song Liz and Callaway and here sister does is Our Time. It's also on Sibling Revelry. Great duet. One of my favorites on the CD is Marry Me a Little by Stephen Sondheim. The words are a plea to marry me, a little. The song is an almost a desperate plea to marry me but you don't have to make promises you don't want to, an open marriage? Make a few demands a few that I'm able to fulfill. She sings I'm ready. We won't have to give up a thing, we'll stay who we are the words say. Someone I'm Ready. I would give this song 5 stars on its own. It makes me cry because she sounds like she will settle but at the same time she wants the love fully. The arrngements on this album are unique. She sings I've Got the Sun in the Morning from Annie Get Your Gun jazzy. Most of the other songs on the album are not known by most people. I can only say that Liz makes you want to see these shows and she pulls you in. I think I've become her biggest fan. I'm a singer too. I could see myself singing with her. I have her The Beat Goes On album too with sixties hits. I hope that people will get to know her because if you haven't heard this or her voice, you are going to be deprived of a remarkale clear strong voice. Buy this. I promise you won't be sorry! One more addition, Meadowlark. Spectacular! The story tells of someone hesitating because the time wasn't right and she learns from the story to live your life, climb every mtn.

Barbara Cook Sings Mostly Sondheim (Live at Carnegie Hall 2001)

Average customer rating:

Wow!
Everyone Should Whistle
An amazing intro to the body of work of a true master
Beautiful, moving concert
... and I love Barbara Cook

Barbara Cook Sings Mostly Sondheim (Live at Carnegie Hall 2001)

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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Barbara Cook's Broadway!
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Tribute
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ASIN: B000059LFF
Release Date: 2001-05-08

Tracks:

Everybody Says Don't
I Wonder What Became of Me?
The Eagle and Me
I Had Myself a True Love
Into the Woods / Giants in the Sky (Malcolm Gets)
Another Hundred People / So Many People (Malcolm Gets)
Let's Face the Music and Dance / The Song Is You (duet with Malcolm Gets)
Happiness
Loving You
You Could Drive a Person Crazy
Not A Day Goes By / Losing My Mind

Tracks:

Buds Won't Bud
I Got Lost in His Arms
West Side Story Segment: Something's Coming / Tonight (Malcolm Gets)
Move On (duet with Malcolm Gets)
Medley: Hard Hearted Hannah / Waiting for the Robert E. Lee / San Francisco
Ice Cream
Send in the Clowns
The Trolley Song
Not While I'm Around (duet with Malcolm Gets)
Anyone Can Whistle

Amazon.com's Best of 2001

Barbara Cook is one of today's most accomplished song stylists, and if you don't believe us, just listen to this live album. It's a master class in the art of singing. It documents an evening at Carnegie Hall during which Cook proved that she can dissect and extract the substance out of the simplest of lyrics. One of the best surprises is "You Could Drive a Person Crazy" (from Company), which is taken at an amiable trot and allows the singer to display its humor. Cook is not a swinging singer and uptempo is not her pace; give her a ballad, though, and she'll wring the last drop of emotion out of it. Her version of "Losing My Mind" (here paired with "Not a Day Goes By") is simply astonishing. The singer also performs songs that Sondheim has said he wished he had written, an awful lot of them by Harold Arlen. No complaints here. Guest Malcolm Gets solos on a few songs and duets with Cook on others, including "Let's Face the Music and Dance." This is classic material done masterfully by a classic singer. --Elisabeth Vincentelli

Customer Reviews:

Wow!.......2004-02-20

Having read the other reviews there is little more for me to add. I have been a Barbara Cook fan for a longtime and for me, this is one of her best concerts ever. I do, however, prefer the DVD. As with some other reviewers, I do not want to hear Malcolm Gets (as much as I like him) when I want to listen to Barbara. Her flawless interpretation of music is a hard act to follow for any singer! I managed to see this concert 4 times over a year and a half. Each time I saw her the voice was stronger and more assured (I would not have thought that possible). I can't help but think we will have the pleasure of hearing Ms Cook for many years to come. For those people who enjoyed his CD I strongly recommend purchasing the DVD. Barabara's rendition of So Many People is breathtaking (literally, I don't think I breathed once during the entire song). If you ever have opportunity to see her live - go! She has an ability to make you feel as if every song she sings and every word she speaks is directed to you alone. She can take a large venue and make it feel as intimate as your own living room. Having had the pleasure of meeting her I can say she is as youthful and pleasurable in person as she is in her performance.

Everyone Should Whistle.......2003-10-11

After being privileged to attend this concert, I had to own the CD. Once a lyric coloratura and the original Cunegonde in Bernstein's Candide, Ms. Cook has become (in her 70s) a true diva, blessed with a velvety, warm sound. Every note has meaning. Her high B-flat on "Ice Cream" is still the envy of any soprano today. Everyone should whistle after hearing the superb performances on this CD. Even better, though, is the experience of having been in the concert hall for the live performance. Brava, Ms. Cook!

An amazing intro to the body of work of a true master.......2003-06-16

When I first bought tickets for the 'Mostly Sondheim' show on tour (in San Francisco) I figured it couldn't be too bad. Besides, I had only been exposed to a few of his songs (Anyone Can Whistle, Losing My Mind...) and had only seen "A Little Night Music". On the way out of the theater I immediately picked up this recording of the program. It is truly amazing. I immediately began listening to it and have barely put it down in the last few months. Furthermore, my Sondheim CD collection increased in size from an unflattering zero to five (and it's still growing)! This is an amazing introduction to the works of Stephen Sondheim, who is now my favorite modern musical composer). Buy this now if you don't already have it!

Beautiful, moving concert.......2003-04-13

This is a wonderful CD set with a great selection of songs. I do want to express a slight reservation, however. Barbara Cook has been one of my favorite singers for a number of years and the way her voice defies time is extraordinary -- for her to be singing with such bright, beautiful tone in her mid-70s with no wobble or beat in the voice is an amazing achievment.

I do have to say that by 2001, when this concert was recorded, Cook seemed to have a lost a little bit of power and intensity in her singing. This is only natural for someone of her age. Her voice is still lovely, but you can sense her keeping it in reserve a bit. She's as expressive as ever, but compare the rendition of "I got lost in his arms" on this album to the one on her previous album recorded in 1999, "The Champion Season", and there's less urgency and vocal depth in her singing here. That said, the high B at the end of "Ice Cream" is sensational.

So, despite that caveat, this is, again, a wonderful album, a must for Cook fans, especially for the gorgeous renditions of songs I'd never thought I'd get to hear her perform: "Not a Day Goes By", "Happiness/Loving You", "San Francisco", etc. Buy it!

... and I love Barbara Cook.......2003-02-11

This recording is a disappointment for me. It is not her best work, and Malcolm Gets is uninspired. My biggest complaint however is the engineering of the recording. Throughout the speaking was to soft, the singing volumes uneven, and the applause deafening. I will be passing this CD on to friends, and will later donate it to my local library.

Average customer rating:

Sondheim recital
Also a very dissapointed fan
Adequate performance; poor entertainment
a very disappointed fan
What a train wreck!

Sings Sondheim
Mandy Patinkin
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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Dress Casual
Mandy Patinkin
Experiment
Oscar & Steve
Kidults

ASIN: B00006JP2C
Release Date: 2002-10-29

Tracks:

Opening
Lesson #8
Another Hundred People
When?
Someone Is Waiting
Johanna
Green Finch and Linnet Bird
Pretty Women
Finishing the Hat
If You Can Find Me, I'm Here
Live, Laugh, Love
Live Alone and Like It
Everybody Says Don't
Rich and Happy, Part 1
Our Time
Broadway Baby
Rich and Happy, Part 2
Uptown, Downtown
Liaisons
Send in the Clowns
Live, Laugh, Love (reprise)
You Could Drive a Person Crazy

Tracks:

Free
Company
Waiting For The Girls Upstairs
Pleasant Little Kingdom/Too Many Mornings
Not While I'm Around
All Things Bright and Beautiful
It Takes Two
In Someone's Eyes
Beautiful
Losing My Mind
Take the Moment
Sunday

Amazon.com

Recorded live at the Prince Music Theater in Philadelphia, this double CD is one heck of an extensive tribute to Stephen Sondheim. Backed only by Paul Ford on piano, Mandy Patinkin gets through nearly three dozen songs penned by the Broadway master. Some are obvious (excerpts from Sunday in the Park with George, in which the singer created the title role), others less so ("If You Can Find Me I'm Here" from Evening Primrose). Patinkin is often mocked for his shivering falsetto, but here, it's actually when his voice explores a lower register that it falters. What's more interesting is when he tackles songs usually sung by women, such as Follies' "Broadway Baby" and Company's "Another Hundred People" and "You Could Drive a Person Crazy"--the latter hammed up so much that you can hear the chewing of the scenery. A distinctively mannered interpreter, Patinkin remains an acquired taste, but fans of his will be in heaven with this set. --Elisabeth Vincentelli

Customer Reviews:

Sondheim recital.......2007-01-22

Probably the best way to approach these disks is to treat them like a recital in a concert hall. Rather as you would listen to a Schubert or Schumann song cycle. Taken together this way, we come to hear Sondheim as one of our finest composers, serious, comic, manic, depressive, always dead on target no matter what the subject matter. And Patinkin is perfect for these songs; he understands the meaning and value of every note and every word, just as a fine concert singer would do, and he makes his listeners understand, too. One of the most intriguing concept albums in recent memory, and a joy all the way through. Bob Finley, Palm Springs, CA.

Also a very dissapointed fan.......2003-08-22

I too LOVE Mandy and Stephen Sondheim and own just about everything both has ever made! I also have been to 6 of Mandy's live performances. This was truly a big dissapointment to me. Every concert I have seen Mandy in has been filled with emotion and his personality just grabs hold of you for an evening of wonderful escape-ism. This to me was very un-entertaining and I actually became irritated after awhile of listening to it. It seemed to drone on with out the wonderful feelings and emotions and soaring voice that Mandy typically puts into his music. I gave this as a gift too (since my friend and I had missed Mandy at his Sondheim review in DC last year) and felt badly that I had. There are so many other great recordings of Mandy...Kidults, Saturday in the Park with George, The Secret Garden, Mandy sings Rogers & Hammerstien and Sondheim. This one has just sat on my shelf after I played it through twice hoping to warm up to it...while my other recordings are very worn out with years of playing!

Adequate performance; poor entertainment.......2003-05-04

I received this disc the same day a "Philip Quast Live at the Donmar". The Quast disc has its own flaws (and I dont wish to compare the two performers) but it has been strung together in a more thoughtful manner, with witty imagination and using a more dangerous in the choice of songs, which is really where this disc fails. The songs here are generally enjoyable though rather standard, and the lack of cohesion (running the songs together doesnt count) means I just dip into the discs listening to a few favourites, rather than enjoying the whole show.

a very disappointed fan.......2003-02-05

I have every recording Patinkin appears on, even if he's only on one track; I adore his voice, his flair, his emotion, his ability to deliver a song.

But (much of) this recording is disappointing, mainly because Mr. Patinkin's voice in the lower range sounds muddled and forced, as though he's lost ability to control it (however, the more falsetto sounds are as clear and sharp as ever).

And I don't care for the format of this performance. Live recordings should have live audience reactions: one (often unrelated) song after another without applause had me wondering when--if ever--was the audience was going to be allowed to react.

Also, while I've never had the privilege of attending a Patinkin concert, I imagined that--above all-- he would be passionate. Perhaps he was. But what (mostly) comes across on the CD is a somber--almost technical--performance.

I hope he's healthy, that mixed quality of singing on this recording was just a fluke, and that his next CD will be a Five-star as all his previous ones have been

What a train wreck!.......2003-01-15

Hate to join the chorus of neigh-sayers, but jeeeez! I have to agree that with the exception of a few cuts (such as "Hyphenated Harriet") Mandy is a vocal bull in a china shop -- what he doesn't shatter he ... on. What should have been a tribute (I love Sondheim, but do we need ANOTHER anthology recording of oft sung songs?)is more like a wake. Mandy seems intent on becoming the male Ethel Merman -- if you can't hold the note, belt it out with a misplaced vabrato and maybe no one will notice. I REALLY wanted to like this recording, but is truly horrible. If the pipes are gone, Mandy, I hope you get back to acting.

Average customer rating:

Worth having because of Honey...
One of the best Sondheim compilation CD availiable
Honestly, Why Bother?

The Musicality of Sondheim
Stephen Sondheim , Carolee Carmillo , Sean McDermott , Judy Kaye , Julia Migenes , Susan Egan , Emily Loesser , Stephen Bogardus , Elisabeth Welch , Caroline O'Connor , and Don Stephenson
Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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The Musicality of Kander & Ebb
The Musicality of Porter
The Musicality of Rodgers & Hart
Musicality of Andrew Lloyd Webber
Musicality of Lerner and Loewe

ASIN: B0000640NQ
Release Date: 2002-05-07

Tracks:

Broadway Baby (Follies) - Carolee Carmello
Anyone Can Whistle (Anyone Can Whistle) - John Barrowman
Lovely (A Funny Thing Happened on the Way to the Forum) - Emily Loesser and Don Stephenson
Being Alive (Company) - Stephen Bogardus
Liasons (A Little Night Music) - Elisabeth Welch
Wait (Sweeney Todd) - Judy Kaye
Loving You (Passion) - Sean McDermott
Honey (Cut: Merrily We Roll Along) - Jacqueline Dankworth, Maria Friedman, and Michael Cantwell
Lion Dance (Pacific Overtures) - ENO Orchestra
I Remember (Evening Primrose) - Julia Migenes
Stay with Me (Into the Woods) - Caroline O'Connor
Sooner or Later (Dick Tracy) - Susan Egan

Customer Reviews:

Worth having because of Honey..........2006-09-20

... the Lion Dance and the fact that some of these arrangements work well out of context. Some of these songs in their original arrangements are diffiicult to listen to on their own. Regretfully, some of these arrangements are a little cheesy (for example the saxophone solo in this version of Loving You).

All in all, this is an okay compilation of some Sondheim songs, but definately one to get after having bought all the original Broadway cast recordings.

One of the best Sondheim compilation CD availiable.......2002-08-25

I love this CD, every track is a winner. Get it.

Honestly, Why Bother?.......2002-07-31

All in all, this is a pleasant enough compilation. There are no embarassing moments. The performers all acquit themselves nicely. But in the long run, there's really little to recommend this above the rest of the many tributes and reviews recorded of Sondheim's music. No new interpretations. No amazing performances. No inspired song choices. Nothing special here, folks.

Merrily We Roll Along (1994 Off-Broadway Revival Cast)

Average customer rating:

Third recording of MERRILY
GREAT SHOW!!!
No, it's not the original, but it's the best recording...
Much better than the original
Tempos too slow!

Merrily We Roll Along (1994 Off-Broadway Revival Cast)
Stephen Sondheim , Malcolm Gets , and Adam Heller
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Marry Me A Little (1981 Original Off-Broadway Cast)
Anyone Can Whistle (1964 Original Broadway Cast)
A Little Night Music (1973 Original Broadway Cast)
Passion (1994 Original Broadway Cast)
Follies (Highlights from the 1971 Original Broadway Cast)

ASIN: B0000014VA
Release Date: 1994-11-01

Tracks:

Overture
Merrily We Roll Along
That Frank
First Transaction
Old Friends(Part 1)/Like It Was
Franklin Shepard, Inc.
Second Transaction
Old Friends( Part II)
Growing Up
Third Transaction
Not A Day Goes By(Part 1)
Now You Know
Act Two Opening
It's A Hit!
Fourth Transition
The Blob
Growing Up(Part II)
Good Thing Going
The Blob(Part II)
Fifth Transition
Bobby And Jackie And Jack
Not A Day Goes By(Part II)
Sixth Transaction
Opening Doors
Seventh Transition
Out Time

Customer Reviews:

Third recording of MERRILY.......2005-04-10

GREAT SHOW!!!.......2003-12-23

The book for the latest revival of "Merrily" has been so thoroughly rewritten that it brings so many new angles to the show. I must admit, the cutting of the graduation opening took me by surprise, but it makes the opening number flow much better. The one drawback in cuts is the cutting of "Rich and Happy" for the newer written "That Frank" however, it still has the same orchestrations as "Rich and Happy" just different lyrics and a different vocal tune.
Back to the great points, the character of Beth is brought out so much more. It thrilled me so much that, after hearing women perform "Not a Day Goes By" for years, this song is finally sung both times by Beth instead of once by Frank and once by both. Also, Michelle Pawk, one of my favorite actresses, adds so much to the bitchiness of Gussy. And when she sings the jazzy Act II opening of "Good Thing Going," watch out, it will knock your socks off! I wouldn't say that this revival is better than the original, after all, they are almost two different plays, but it is at least as good. A MUST HAVE for Sondheim fans, Merrily fans, or really, any fan of great musicals

No, it's not the original, but it's the best recording..........2003-10-15

This recording of the 1994 Off-Broadway revival of one of Sondheim's most well-loved flops is by far the definitive recorded version of this fantastic score. Yes, the 1981 Original Broadway Cast recording does have more bite and the original orchestrations with real brass and full orchestra, but that's all it has.

The 1981 version is muted and the sound quality is so poor it sounds like you are listening through a tin can down a really dark and hollow tunnel.

Fortunately, this version is clear as a bell and all the changes made to the much edited score and script are all for the better here. "The Hills of Tomorrow" framework was totally unecessary and I don't miss it or the song for a second. Michele Pawk as Gussie and Malcolm Gets as Frank are stand-outs vocally and while Adam Heller and Anne Bobby may not be the strongest singers, their acting ability comes through in their vocals, something that I think adds a great depth to Charlie and Beth, my favorite characters in the show anyway.

The best tracks on this one are "Good Thing Going" and "Our Time". They have a sense of purpose and longing that are perfectly in tune with Sondheim's creative flair. They make me wish I had actually seen this production live.

I've had the 1981 OCR for many years now and have always liked the score, but now with this version I feel I am listening to the score anew, and liking it even more! This recording adds something hard to describe, perhaps a sense of time, a smoothness, a unity that wasn't present in the OCR.

Totally worth every cent!

Much better than the original.......2003-08-25

I recently performed in a community theatre production of Merrily, and as such, fell in love with it's magnificent score...however, most performances of the show(if not all)follow the revival version, and not the clunky, confusing original. It troubles me to read that most people actually prefer the original to this wonderful version, regardless of the original's inexperienced, much too young cast(with the exception of a very young and excellent Jason Alexander) and clunky music that starts and stops at an annoying pace, not to mention the tempos for some songs that seem to drag on forever...someone complained that the revival's tempos were too slow, but there must be some mistake, because the original has songs that simply do not end. In addition, the characters of Gussie and Beth are completely sidelined, with barely a song to their names, but this is fortunately remedied in the revival with new songs such as "Growing Up", and Beth's renditions of "Not A Day Goes By" and it's reprise. And while "The Hills Of Tommorow" is a nice enough track, the whole idea of the show being one big "flashback" seems a bit hokey...another reason why the revival is superior, because it's opening and final scenes are extrmely more effective, opting instead to leave out a "framing scene" that has to tie everything together in such a gimmicky way. I will agree that the original does have a brassier orchresta(although the recording is so poor that it sounds as though they're playing from another room), and some of the voices are much more pleasent(the Mary of the 1994 version is extremely annoying at times, while some of the ensemble members must have slept with someone in order to have been cast), but one can see why it failed...from what I've heard the book was cleaned up from the original, which apparently had a very weak book, and if the pictures indicate anything(the original's costumes and sets look like some ...avant-garde production of Godspell) it's clear that the visuals weren't much better. Buy this version first...if you really like it, THEN buy the original...it's still worth your time, but this one deserves a bit more of your time. I've heard that the Roundabout theatre has recently planned a staged reading of the production...hopefully it will return to New York as a full-fledged Brodway production that is similar to this version.

Tempos too slow!.......2003-04-26

Okay, just a few little notes on this one. If you don't have the original cast recording from 1981 or whenever, this one will do because it's a great, great score...but the earlier album is much more brassy and energetic, i.e., FUN! This is such an exciting show to listen to...it just zips right along, like musical popcorn exploding around luscious ballads. (I always get choked up during "Our Time".) "Opening Doors" is my favorite; it's like a whole Judy Garland/Mickey Rooney Lets-Put-On-a-Show musical crammed into ten minutes. (Cast members have said that this number, which condenses two years at breakneck pace, is a true nightmare to rehearse. Someone always comes in late, right up till dress rehearsal!) Speaking of pace, in this version it seems like the tempos in many of the songs are a shade too slow. This is noticeable on the album's very first song, ("Yeeesteeerdaaaay is dooooone"), and really bothers me in "Bobby and Jackie and Jack", a rollicking number that takes on a sort of dirge-like quality here. Here's the reason the first recording is superior, though: Without pointing fingers or naming names, the voices on display there are just better suited to the roles. On the plus side, a good thing about this version is a reprise of the tender "Good Thing Going" that's orchestrated to sound really torchy and sleazy. This is done to show how the character of Frank has commercialized his music, but I was surprised by how catchy it sounded that way! Also, there's a funny bit in "That Frank" where Mary brings a gossipy party to a screeching halt by getting drunk, and Frank makes her some coffee. After a shocked silence, the chorus whispers, "Poor Frank / He handled that well..." (Maybe you have to hear it, but it made me laugh.) Also, there's a new number called "It's a Hit" that has a weird, discordant section that sounds exactly like "Sweeney Todd"! Aside from these interesting little bits, though, I like the earlier version best...

Music:

Music

Music