Flower Drum Song (2002 Broadway Revival Cast) [Soundtrack]

Editorial Reviews
Amazon.com
The experiment conducted with the 2002 revival of Flower Drum Song may be one of the most audacious ever attempted on Broadway. Despite being a hit for Rodgers and Hammerstein in 1958, the show had never been revived. It was felt that it hadn't aged gracefully, its depiction of Chinese-Americans in San Francisco having come under criticism. So playwright David Henry Hwang rewrote the book, shuffling the order of the songs to fit his purpose and completely recontextualizing them in the process. Centering the action on the Golden Pearl Theater, the new Flower Drum Song now has a huge show-within-a-show component, which allows the staging of some of the most sensitive numbers in a pointedly stylized setting. Arranger and musical director David Chase has dusted the cobwebs off the score, and the music pulses with vitality, notably in the two irresistible songs in the middle of the show: "Fan Tan Fannie" is now a hip-shaking number that incorporates '60s surf elements, while "Chop Suey" explodes in a brassy big-band fever. Lea Salonga (Miss Saigon) is quite good in the starring role and confirms her gift for ballads. But watch for Sandra Allen's slinky rendition of "I Enjoy Being a Girl" and "Fan Tan Fannie." Purists can scream all they want; this new recording is ace. --Elisabeth Vincentelli

Tracks:

Give My Regards To Broadway- Joel Grey
Swanee- Al Jolson
When The Moon Shines On The Moonshine- Bert Williams
A Pretty Girl Is Like A Melody- John Steel
My Man- Fanny Brice
Fascinating Rhythm- Fred Astaire, Adele Astaire
If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
Someone To Watch Over Me- Gertrude Lawrence
Bill- 78 rpm Version Helen Morgan
Ol' Man River- Paul Robeson
Ain't Misbehavin'- Louis Armstrong & His Orchestra
Ten Cents A Dance- Ruth Etting
Body And Soul- Libby Holman
Brother, Can You Spare A Dime- Bing Crosby
Night And Day- Fred Astaire
Heat Wave- Ethel Waters
Smoke Gets in Your Eyes- Tamara
You're The Top- Ethel Merman
Summertime- Anne Brown
September Song- Walter Huston
My Heart Belongs To Daddy- Mary Martin
It Never Entered My Mind- Shirley Ross
Bewitched, Bothered, Bewildered- Vivienne Segal
Oh, How I Hate To Get Up In The Morning- Irving Berlin
Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

New York, New York- Cris Alexander,Adolph Green,John Reardon
If I Loved You- John Raitt,Jan Clayton
Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
There's No Business Like Show Business- Ensemble
How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
Once In Love With Amy- Ray Bolger
Wunderbar- Alfred Drake,Patricia Morison
Some Enchanted Evening- Ezio Pinza
Lost In The Stars- Todd Duncan
Diamonds Are A Girl's Best Friend- Carol Channing
Luck Be A Lady- Robert Alda,Guys
Getting To Know You- Gertrude Lawrence
Who Cares?- Jack Carson,Betty Oakes
Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
Ballad Of Mack The Knife- Gerald Price
Hey There- from "The Pajama Game" John Raitt
Whatever Lola Wants- Gwen Verdon
I Could Have Danced All Night- Julie Andrews
Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
The Party's Over- Judy Holliday
Glitter And Be Gay- Barbara Cook
Tonight- Larry Kert, Carol Lawrence

Tracks:

Seventy-Six Trombones- Robert Preston
I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
Everything's Coming Up Roses- Ethel Merman
My Favorite Things- from "The Sound Of Music" Mary Martin
Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
Try To Remember- Jerry Orbach
Camelot- from "Camelot" Richard Burton
Love Makes The World Go 'Round- Anna Maria Alberghetti
I Believe In You- Robert Morse And Co.
The Sweetest Sounds- Diahann Carroll,Richard Kiley
Comedy Tonight- Zero Mostel
What Kind Of Fool Am I?- Anthony Newley
As Long As He Needs Me- Georgia Brown
Hello, Dolly!- Carol Channing,Cast
People- Barbra Streisand
Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
If I Were A Rich Man- Zero Mostel
Night Song- Sammy Davis, Jr.
The Impossible Dream- Richard Kiley
If My Friends Could See Me Now- Gwen Verdon
Open a New Window- from Mame Voice

Tracks:

Willkommen- from "Cabaret" Joel Grey
Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
The Ladies Who Lunch- from "Company" Elaine Stritch
Tea For Two- Roger Rathburn,Susan Watson
I'm Still Here- Yvonne De Carlo
I Don't Know How To Love Him- Yvonne Elliman
We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
Corner Of The Sky- John Rubinstein
Send In The Clowns- Glynis Johns
Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
One- from "A Chorus Line" Cast
All That Jazz- Chita Rivera,Ensemble
Tomorrow- Andrea Mcardle
Don't Cry For Me Argentina- Patti Lupone
Come Follow The Band
Lullaby Of Broadway- Jerry Orbach
And I'm Telling You I'm Not Going- Jennifer Holliday
The Bells Of St. Sebastian- Raul Julia

Tracks:

Memory- Betty Buckley
I Am What I Am- George Hearn
Move On- Bernadette Peters,Mandy Patinkin
Do You Hear The People Sing?- Michael Maguire,Cast
The Music Of The Night- Michael Crawford
You're Nothing Without Me- James Naughton,Gregg Edelman
The American Dream- Jonathan Pryce,Cast
Doctor Jazz- Gregory Hines,Company
With One Look- Glenn Close
On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
Le Jazz Hot- Julie Andrews,Ensemble
Seasons Of Love-
Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
I Wanna Be A Producer- Matthew Broderick,Ensemble
Dancing Queen- Louise Plowright,Jenny Galloway
Good Morning Baltimore- Marissa Jaret Winokur
Movin' Out- Michael Cavanaugh,Band
I Go To Rio- Hugh Jackman,Company
Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

Fabulous for any Broadway-lover.......2007-01-30

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

Top Shelf.......2007-01-04

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

TERRIFIC CD'S.......2006-03-23

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

Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway

Flower Drum Song (1958 Original Broadway Cast)

Average customer rating:

this album is blossoming with good music......
A very fine score
Wonderful R & H
Miyoshi Umeki, Arabella Hong and the OBC
Sparkling cast album from Columbia Broadway Masterworks

Flower Drum Song (1958 Original Broadway Cast)
Oscar Hammerstein II
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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South Pacific (Original 1949 Broadway Cast)
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My Fair Lady (1956 Original Broadway Cast)
Flower Drum Song
Finian's Rainbow (1947 Original Broadway Cast)

ASIN: B00000J28P
Release Date: 1999-05-18

Tracks:

Act 1: Overture
Act 1: You Are Beautiful
Act 1: A Hundred Million Miracles
Act 1: I Enjoy Being A Girl
Act 1: I Am Going To Like It Here
Act 1: Like A God
Act 1: Chop Suey
Act 1: Don't Marry Me
Act 1: Grant Avenue
Act 1: Love, Look Away
Act 1: At The Celestial Bar
Act 1: Entr'acte
Act 2: The Other Generation
Act 2: Sunday
Act 2: The Other Generation (Reprise)
Act 2: Wedding Parade/A Hundred Million Miracles (Reprise)

Customer Reviews:

this album is blossoming with good music.............2007-06-06

I was introduced to the original cast of FLOWER DRUM SONG, as a small child, on vinyl. For me, some of the songs (written by Rodgers & Hammerstein) made such an impression that I memorized them in record time and sang them to myself quite loudly! It wasn't until later that I came to recognize the themes of intergenerational and intercultural tensions that arise in this story, set in San Francisco's Chinatown. The original cast shines here, with some of the finest jazzy vocals (including Juanita Hall and Pat Suzuki).

We see an example of a more "traditional" woman, just arriving in the United States from China (played by Miyoshi Umeki) and a modernized woman (Pat Suzuki). They both sing songs that reflect their natures ("I Am Going to Like It Here," is sung by the newly-arrived Mei Li and "I Enjoy Being a Girl" is sung by the fiesty Linda Low, who juggles boyfriends like balls in the air). There are also numerous songs reflecting the tensions ("The Other Generation," "Love Look Away") and joys ("Sunday," "You Are Beautiful") experienced by a community of people brought together by culture, yet divided by cultural awareness and experience.

Though, some may criticize FLOWER DRUM SONG for its stereotypical depictions of the "generic" and presumed Asian experience, I found that the musical possesses a lot of heart and the music totally memorable. I can still remember the lyrics to some of the songs--especially, "I Enjoy Being a Girl," which is really an anthem to all women who enjoy being who they are (yes, it is decidedly "anti-feminist" in nature, but it's fun and upbeat). You will enjoy this, too. Pat Suzuki, a legend in the jazz scene, was a great performer and brought such sass and sauciness to her role as Linda Low here, as well as Jack Soo (BARNEY MILLER), who appeared in this musical. Give it a chance and I think you will enjoy it.

A very fine score.......2007-03-29

The first instinct is to lump this with flops like "Allegro" thanks to its trouble-plagued casting and staging; but all things told (not least of which R&H's hospital stays during production) it's a very fine and apt score, with one of their best songs, the ethereal "Love, Look Away", the sort of thing with its slow, swingy rhythm that should have spread to the world of close harmony (i.e., the doo-woppers) but never did. Hammerstein did some of his most ingenious lyric writing, searching out new rhythms and templates. He must also take blame for turning "I Enjoy Being a Girl" into too much the cross of "A Wonderful Guy" and "Honey Bun" (and yes, someone should have instructed Pat Suzuki about her bikini), and one wonders what if anything went through Oscar's head as he wrote the dummy-like list for "Chop Suey": "Harry Truman, Truman Ca-POAT and Dewey....Hear that lovely 'La Paloma'/Lullaby by Perry COMA...." (Listen for yourself -- this is precisely how the great Juanita Hall sings it.) With R&H one member of the partnership almost always pulled the other out of the muck, and however dubious the project (the politically-correct revival underlined that) they almost always found it within them to create haunting and invigorating tunes -- as most certainly here.

Wonderful R & H.......2006-07-24

Even though FDS was not their biggest hit (still a success by the standards of the day), it did not get great reviews (imagine that, compared to so much that has come since.)And there have been many, many shows with music that has barely survived that were bona fide hits. Hum a tune from Two Gentlemen of Verona? Or The Mystery of Edwin Drood. Oh, to have this quality today!

Miyoshi Umeki, Arabella Hong and the OBC.......2004-08-15

FLOWER DRUM SONG is one of the small gems in the canon of Rodgers and Hammerstein musicals. The score contains some fabulous numbers, including the well-known "I Enjoy Being a Girl", though there is also the heartbreaking 11 o'clock number "Love, Look Away" (which must surely count as one of the duo's best ballads), and rousing numbers like "Grant Avenue".

Miyoshi Umeki has charm and joy to spare in her performance as Mei-Li, the young woman who enters the United States illegally, in order to submit to a forced marriage. Pat Suzuki plays the brash Linda Low, a sexy nightclub entertainer. The cast also includes Juanita Hall (SOUTH PACIFIC), Arabella Hong, Keye Luke and Larry Blyden. The original Broadway production was directed by Gene Kelly but by all accounts it was choreographer Carol Haney who was the real creative heart of the piece. FLOWER DRUM SONG was a modest success, running 600 performances.

Sparkling cast album from Columbia Broadway Masterworks.......2004-01-26

Another example of how record producer Goddard Lieberson could elevate even so-so material and make it sound like a smash hit. The whole disc sparkles!

FLOWER DRUM SONG was NOT a smash hit. It got respectful though not terribly enthusiastic reviews and played out a successful run. The weakness was the book which borrowed too little of C.Y Lee's novel and is filled with weak (some say offensive) stereotype jokes. Hammerstein had a gem of a concept that is blown away in a few minor scenes...that the traditional immigrant parents want to hold onto tradition, while their americanized offspring want to follow modern local customs.
(FIDDLER ON THE ROOF would explore this theme much more fully.)

Still, the whole show was helped to no small extent by the songs and since that is all there is on the record, it actually makes for a highly enjoyable listen.

Miyoshi Umeki as the shy Mei Li contrasts nicely with brassy Pat Suzuki as nightclub singer Linda Low. There is less contrast between Ed Kenny as Wang Ta and Larry Blyden as Sammy Fong, possibly because the men get less of the score. The supporting cast, however, get a good share of the music: Juanita Hall leads the ensemble in "Chop Suey" and duets with Keye Luke lamenting the attitudes of "The Other Gereneration." Arabella Hong does a beautiful job with "Love Look Away" the show's standout ballad, though her character barely registers in the script. (In the novel, Ta's rejection leads her to suicide. In the musical she just disappears after her big number!)

There is a detailed synopsis in the CD booklet if you want to know how the plot ties all these songs together, but it is one of those cast albums where a synopsis is hardly necessary.

The book is in need of a re-write perhaps using more of the Lee novel as its source. The recent Broadway revival used a totally new story and re-allocated the songs. While the new version has its admirers, it is no more related to this FLOWER DRUM SONG than CRAZY FOR YOU relates to GIRL CRAZY..which is to say hardly at all.

The London cast (now out-of-print, but formerlly on Angel) is less impressive. However the movie sountrack (Decca Broadway) has some tasty new orchestrations and retains all but one song from the stage show, so that CD is worth getting...but start with this original cast disc first.

Flower Drum Song (1961 Film Soundtrack)
Average customer rating:

Flower Drum Song DVD

Fllower Drum Song

A bright, happy soundtrack

Disappointed

YOU ARE BEAUTIFUL

Flower Drum Song (1961 Film Soundtrack)
Oscar Hammerstein II , James Shigeta , and Richard Rodgers
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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Flower Drum Song

The King and I (1956 Film Soundtrack)

South Pacific (1958 Film Soundtrack)

Flower Drum Song (2002 Broadway Revival Cast)

Flower Drum Song (1958 Original Broadway Cast)

ASIN: B00006JKCM
Release Date: 2002-09-24

Tracks:

Main Title - Overture 'Flower Drum Song'
A Hundred Million Miracles
The Other Generation
I Enjoy Being A Girl
I Am Going To Like It Here
Chop Suey
Grant Avenue
Gliding Through My Memoree / Fan Tan Fanny
Love, Look Away
Dream Ballet
Sunday
You Are Beautiful
Don't Marry Me
Finale: Wedding Procession Wedding Ceremony End Title
Love, Look Away

Customer Reviews:

Flower Drum Song DVD.......2007-07-14

Flower Drum Song is just as I remembered it from the BIG screen @ Gruman's Chinese Theater. The remastered audio is clear, & the added features of the subtitles is nice - especially if you don't hear/understand accents. Color of costumes is bright & clear! I really enjoyed the commentary available @ the end! If you like BIG, Rodgers & Hammerstein musicals, this is a definite buy! Enjoy it with a bowl of noodles or a fortune cookie!

Fllower Drum Song.......2007-05-13

I was totally enchanted by this Rogers and Hammersteins musical. The soundtrack is wonderful and with added bonus songs is just a joy to listen to over and over again.

A bright, happy soundtrack.......2007-05-10

Rodgers and Hammerstein's Flower Drum Song is one of those hopelessly happy and inspiring offerings from the early 1960's...and that is not entirely bad.

Lovely throughout, from the light and happy 'A Hundred Million Miracles' to the very amusing version of 'Don't Marry Me' featuring the terrific Jack Soo.

Best know for the Nancy Kwan song 'I enjoy Being A Girl' the soundtrack is multi leveled and is a nice slice of life...from 1961.

Disappointed.......2006-11-20

I have listen to The Broadway 1958 Flower Drum soundtrack since I was a little girl. I loved it so much I had my dance teacher arrange a solo dance to the overature for me. A month ago I ordered the 1961 Film version expecting it to be equally beautifull. I couldn't believe my ears!!! It lacked so much depth that was contained in the 1958 version. Comparing the 2 Overatures the 1961 version seemed to skip right through it and it lacked the intence feelings the original 1958 version abtained.

YOU ARE BEAUTIFUL.......2006-09-15

The movie soundtrack of "Flower Drum Song" should be used as a template and a shining example of how a sountrack should be produced. Lush orchestrations by Alfred Newman and vivid performances of the songs, even those dubbed, transformed a score considered by some critics to be cubic zirconia into diamonds. True some of the diamonds were of lesser quality but diamonds are still diamonds and boy do they sparkle.

The original 1961 vinyl record with its space limitations resulted in editing on a few numbers. It would have been nice if the CD reissue had included the entire "Sunday" "Chop Suey" and "The Other Generation" but why quibble with a soundtrack that is ear candy to the movies eye candy.

Flower Drum Song (2002 Broadway Revival Cast)

Average customer rating:

Perfection!
What a Mess!!
One more miracle
Splendid Revival Cast Recording
Don't Mess With the Masters

Flower Drum Song (2002 Broadway Revival Cast)
Richard Rodgers , Oscar Hammerstein II , Lea Salonga , and Jose Llana
Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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Flower Drum Song (1961 Film Soundtrack)
Flower Drum Song (1958 Original Broadway Cast)
110 in the Shade (2007 Broadway Revival Cast)

ASIN: B00007G77A
Release Date: 2003-01-07

Tracks:

Prologue: A Hundred Million Miracles
At the Golden Pearl
I Am Going to Like It Here
I Enjoy Being a Girl
I Enjoy Being a Girl (Reprise)
You Are Beautiful
Grant Avenue
Sunday
I Enjoy Being a Girl (Reprise #2)
Fan Tan Fannie
Gliding Through My Memory
Act One Finale: A Hundred Million Miracles
Chop Suey
My Best Love
I Am Going to Like It Here (Reprise)
Don't Marry Me
Love, Look Away
The Most Filial Son
Like a God
Like a God (Reprise)
Processional
Finale: A Hundred Million Miracles

Amazon.com

The experiment conducted with the 2002 revival of Flower Drum Song may be one of the most audacious ever attempted on Broadway. Despite being a hit for Rodgers and Hammerstein in 1958, the show had never been revived. It was felt that it hadn't aged gracefully, its depiction of Chinese-Americans in San Francisco having come under criticism. So playwright David Henry Hwang rewrote the book, shuffling the order of the songs to fit his purpose and completely recontextualizing them in the process. Centering the action on the Golden Pearl Theater, the new Flower Drum Song now has a huge show-within-a-show component, which allows the staging of some of the most sensitive numbers in a pointedly stylized setting. Arranger and musical director David Chase has dusted the cobwebs off the score, and the music pulses with vitality, notably in the two irresistible songs in the middle of the show: "Fan Tan Fannie" is now a hip-shaking number that incorporates '60s surf elements, while "Chop Suey" explodes in a brassy big-band fever. Lea Salonga (Miss Saigon) is quite good in the starring role and confirms her gift for ballads. But watch for Sandra Allen's slinky rendition of "I Enjoy Being a Girl" and "Fan Tan Fannie." Purists can scream all they want; this new recording is ace. --Elisabeth Vincentelli

Customer Reviews:

Perfection!.......2007-07-11

From the quality of voices to the quality of the recording, this album just screams "perfection"! Even the jacket, with the fan and all, is very inventive. I'm not surprised, therefore, that this was a top contender (and have significantly better reviews than eventual winner "Gypsy") at the 2003 Grammy Awards for Best Musical Show Album.

The reaction of purists, who didn't want any changes to the very racist original version of this musical and have therefore been lambasting this re-write, is understandable. All that one needs to do is read writer and professor John Kuo Wei Tchen's poignant analysis of purist critics' reactions in the article "Flower Drum Song - The Reviews Are In: Critics Clueless About New Emergent American Sensibility" published in November 2002 by the Robert C. Maynard Institute for Journalism Education.

The revised musical opened on Broadway after a very successful and award-winning run at the Ahmanson Theater in Los Angeles. As in Los Angeles, it was a also hit on Broadway with tickets sold-out for the first three months of its run even before it opened. It suffered from a lack of sponsorships, however (typical of the lack of support for Asians in the industry), and the existing funding couldn't sustain running the show, so it had to close after a short run. Just the same, it got recognition from different award-winning bodies during the 2002-03 season with multiple nominations, including one for Distinguished Performance by its lead actress from the Drama League.

The musical was wonderful to watch on Broadway, so it's just too bad that there's no film version with the wonderful Lea Salonga and the stronger ensemble in this version, but a recording of the Broadway musical was made for the Lincoln Center's rare collections, so anyone who wants to view it should just pay that place a visit. In the meantime, get the recording as it's a pleasure to listen to the metamorphosis of this notable musical from its racist original to its charming and enlightening revision.

What a Mess!!.......2007-04-28

One of the most beautiful scores written for the 1960's stage has been put in the muzak blender and what comes out is banality. All the music arrangements are predictable and the dance music is a rip-off of "Sweet Charity." The performances are wooden and one dimensional and David Hwang Howe's re-assignments of the songs is absurd. No wonder business was so bad.

I have no idea why the R & H Organization allowed this to take place. The original book is almost better than the score. I think the original wasn't a huge success because it was poorly directed by the inexperienced stage director Gene Kelly. What a shame R & H didn't get Jerome Robbins and Bob Fosse involved. I'll bet they would have jumped at the chance.

Why not trust in the masters and get Jerry Zaks to direct the original?

One more miracle.......2007-01-28

I first became aware of Lea Salonga in the studio recording of THE KING AND I that starred Ben Kingsley and Julie Andrews in the title roles. Her voice was so perfect for Tuptim: pure, seemingly untrained, unaffected, and...Asian! (Not so for her partner in song, Peabo Bryson, who butchered both duets by singing in totally the wrong style.) When I saw this recording with Lea's name above the title, I grabbed it. Absolutely wonderdul!

The score, in fact the show, sort of slipped through the cracks. It wasn't one of R&H's blockbusters (though it wasn't a turkey like ALLEGRO or PIPE DREAM or ME AND JULIET). The movie came and went (but fortunately this year came back, on DVD). I knew a few songs, but never really got into the show. (I really got sick of "I Enjoy Being a Girl," as for years every Miss America pageant had someone singing it!) But hearing the score in this new setting, with new singers, is a real treat.

Jose Llana, who plays the role of Ta, is an absolute joy. How wonderful for him to have achieved the level of stardom he has in so short a time, and deservedly so. What a pity Lea didn't have him for her Lun Tha in that recording of THE KING AND I!

However, the casting does present a problem. Way back when R&H were alive and writing shows like THE KING AND I and SOUTH PACIFIC and FLOWER DRUM SONG, the casting principle seemed to be: If you're not white, you can be anything we want you to be, so long as you can sing. By the time the film version of FLOWER DRUM SONG came out in 1961, the shift to an all-Asian cast had been made...but now the principle seemed to be: If you're from anywhere in SE Asia (or if you're Juanita Hall), you can be anything we want you to be, so long as you can sing. (While Miyoshi Umeki was breathtakingly adorable as Mei-Li, she was so obviously Japanese that when she sees Ta enter the house carrying his shoes and comments, "You remove your shoes, Japanese style," I said aloud, "You should know, honey!")

Unfortunately, that principle seems to hold true even today. How many Chinese or Chinese-Americans are there in this cast of FLOWER DRUM SONG? It seems that the casting director must think Manila is a suburb of Hong Kong. But yes, they can sing!

Anyway, nationality or ethnicity aside, this is a superb recording and one I am very happy to have added to my library.

Splendid Revival Cast Recording.......2006-11-10

I must say this is an excellent recording in every way; the only other one I had to compare it to was the LP of the Film version done in 1961...this CD far exceeds that recording both in vocals and especially in orchestrations...speaking of orchestrations, I find that many of the revival CD's of Broadway musicals do have wonderful orchestrations, although this might also be due in part to the quality sound and crisp clearness we get through the medium of CD versus the old LP albums..

I must say I am so impressed with Lea Salonga's voice and interpretation of the role; her vocals soar, and the others match her every step of the way; it was interesting to read in the notes that the show had somewhat of a different staging than the original and turned out for the better...I have not seen the show, so I cannot comment on that..I know we get touring productions of old shows, such as Camelot, etc. and they are somewhat condensed versions of the original shows in order to speed up the pace of the show (as in some cases they are very slow paced) and in certain shows this helps!!

The songs are terrific, and are probably what made the musical...the story a bit dated by today's standards, but the music is still great..

I am glad to see the Film Version is going to be released soon on DVD; the last of the Rodgers and Hammerstein Musicals to be transferred to DVD....At any rate I would recommend this recording to all Show Music Lovers...

Don't Mess With the Masters.......2006-07-22

The only thing this revival had going for it was the score. Even lesser R&H is leagues better than most everything else. While not Oklahoma, Carousel, The King and I or South Pacific, it's still lovelier than The Sound of Music. While the book may seem dated by todays standards, it holds up quite well as a 50s period piece.
This cast can't compare to the original. While I like Lea Salonga quite alot, she doesn't have the charm that Miyoshi Yumeki did. Yumeki, an Oscar winner for Sayonara, later to become known as Mrs. Livingston on TV's The Courtship of Eddie's Father, was totally beguiling. And Salonga singing Love Look Away, comes across as a pleasant pop tune, instead of the passionate, heart wrenching ballad that it is meant to be.

Hopefully the film version, with many of the original cast in tact, will be released on DVD soon. It's a faithful adaptation of the original, and is a delightful film musical.

Rodgers & Hammerstein: Songbook for Orchestra (Orchestral Suites)

Average customer rating:

Irresistible
"Some Enchanted Evening" with Kunzel and the Cincinnati Pops
Excellent!
Great Arrangments

Rodgers & Hammerstein: Songbook for Orchestra (Orchestral Suites)

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Lerner & Loewe Songbook for Orchestra
Rodgers & Hammerstein - The Complete Overtures ~ Opening Night / Hollywood Bowl Orchestra · Mauceri
Puttin' on the Ritz: The Great Hollywood Musicals
The Sound Of Music (1987 Studio Cast)
Classics of the Silver Screen

ASIN: B000003CXQ
Release Date: 1992-01-28

Tracks:

Oklahoma!
Carousel
State Fair
South Pacific
The King And I
Cinderella Waltz
Flower Drum Song
The Sound Of Music

Customer Reviews:

Irresistible.......2005-07-29

From beginning to end this CD is pure delight. A great recording has great music, a great performance, and great sound; this one scores on all three counts.

Rodgers and Hammerstein's musicals dominated Broadway in the 1940s and 1950s, and American musical theater has produced no more consistently eloquent and durable voice than Richard Rodgers. From his fertile genius flowed a surprising number of memorable songs, many of which have passed into and become an accepted and beloved part of modern American culture.

This well-filled CD (77:36) features symphonic arrangements (all but two by Robert Russell Bennett) of the music from Oklahoma (1943), Carousel (1945), State Fair (1945), South Pacific (1949), The King and I (1951), Flower Drum Song (1958), and The Sound of Music (1959). All the great tunes are here in suites from each musical that average 10-12 minutes in length. The arrangements are expert: rich, varied, and colorful. The performances are polished, idiomatic, and irresistible; Kunzel and this orchestra are thorough masters of this kind of material. And Telarc's sound (recorded 1991) is state-of-the-art (engineer Michael Bishop deserves to take a bow).

In short, there's nothing here to cloud your listening pleasure (the only quibble I can imagine is that some of your favorites may not last long enough), so it's hard for me to envision anyone with ears and a taste for music who wouldn't enjoy this CD. Warmly recommended. Finally, if you like this one as much as I do, you might want to know that the same team has produced a companion volume, the Lerner & Lowe Songbook for Orchestra.

"Some Enchanted Evening" with Kunzel and the Cincinnati Pops.......2003-12-26

Erich Kunzel's Rodgers and Hammerstein anthology with the Cincinatti Pops Orchestra is one of the best and most ravishing instrumental Rodgers and Hammerstein albums of all time. With sumptuous arrangements and warm, natural Telarc recording, this glorious 77-minute CD presents sweeping, melodic arrangements of over 60 Rodgers and Hammerstein selections, spanning eight scores, and Kunzel allows the Pops to play with a characterful and polished understanding of the Rodgers and Hammerstein idiom. The disc is enough to cheer you up on a dull day and make you smile, and it might even want to make you feel like a convert to Rodgers and Hammerstein musicals.

This CD has all the scores arranged chronologically. The OKLAHOMA! suite that opens this disc promises a feast for the senses, Kunzel ably evokes the territory's "bright, golden haze" in the way he conducts the various excerpts, until you feel the atmosphere of the country charm of the show, and the love-affair between Curly and Laurey. Then, in CAROUSEL, he ably evokes the pathos of this tragic R&H masterwork, especially in the truncated Waltz, but he leads a wonderfully melodic "June is Bustin' Out All Over" and a devotional "You'll Never Walk Alone." Although this suite does not include Billy's pivotal Soliloquy, it includes "If I Loved You" as an expression of his love for Julie, and within minutes you could be soaked in the ups and downs of the show's mood.

After a brief STATE FAIR suite, with sweeping renditions of "It Might As Well Be Spring" and "It's a Grand Night for Singing", we are brought into the disc's showstopping highlights. These highlights are the excerpts from SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC. But yet Kunzel conducts the rest of the disc until the various suites amount to a series of showstoppers. These three suites present wonderfully-arranged versions of their many familiar classic songs, with well-played solos. The SOUTH PACIFIC suite presents the songs in chronological order, yet preserves the atmosphere of the show at the same time. Kunzel ably brings out the romance in "Some Enchanted Evening" and "Younger than Springtime," and contrasts it with the exotic and dreamlike "Bali Hai'i" and the comic "There is Nothing like a Dame" and "I'm Gonna Wash That Man Right Outa My Hair". Although the suite ends quietly with a reprise of "Dites-Moi" rather than the reprise of "Some Enchanted Evening," within minutes we are swept into the KING AND I suite. Kunzel ably brings out the Oriental pathos in this score, and he captures the warmth of Anna's rapport with the King's Siamese children in "Getting to Know You", and with the King himself in "Shall We Dance." There is also romance in the love ballads "I Have Dreamed" and "We Kiss in a Shadow." Similarly, in the selection from THE SOUND OF MUSIC, Kunzel conducts this until the orchestra soaks itself in the atmosphere of this Austrian R&H score. This SOUND OF MUSIC suite has more of a feel of the score compared to the bonus track on Sony's reissued version of the Broadway recording. You can almost feel as if you are following the progress of the Trapp family and how it lifts its spirits with the joy of music. Kunzel gives us a soaring version of the title song, and spirited versions of "Do-Re-Mi" and "My Favourite Things." He balances it with the open-air quality of "Edelweiss" and "The Lonely Goatherd." Although this suite could have included "Something Good," the love ballad written for the film, the three recollections of the songs that were cut from the movie only last for a while. And, the towering version of "Climb Every Mountain" crowns this portion of the disc, and this sumptuously-produced recording. But, I should also mention the infectuous FLOWER DRUM SONG medley, where Kunzel turns this underrated score into a work of art, until it convinces you to buy the cast recording. And, don't forget about the brief CINDERELLA WALTZ, too, when Kunzel conducts it magically, until you feel like you are in the company of Cinderella and the Prince. He is able to show how this R&H score marked a comeback for R&H after the failiures of Me and Juliet, and Pipe Dream.

Overall, this glorious Rodgers and Hammerstein recording is guarunteed to make you want to pucker your lips out for a whistle or sing along (to paraphrase another revew for Kunzel's Disney Spectacular disc) - even if this recording is music only, and as long as you know the words to the songs (and you might know a large handful of them already.) There is always a certain magic in this fine CD that makes you feel like you're sitting in the theatre watching these musicals, until it makes you feel like it is truly, to borrow two R&H song titles, "Some Enchanted Evening" and "Something Wonderful" to be in Kunzel's company for this R&H offering. It would certainly be one recording that could make you feel willing to buy the complete cast recordings of the shows. And I guaruntee that it will make you feel willing to pull out your existing copies of the cast recordings to listen to them again. I also guaruntee that it will be a cornerstone in any Rodgers and Hammerstein collection, just as it is in mine. Recommended heartily to any Rodgers and Hammerstein enthusiast and to fans of Erich Kunzel's work. And, you can play it while reading the Richard Rodgers biography, Musical Stages, until Rodgers himself would count this as his favourite disc in the afterlife.

By the way, most of the arrangements for the suites on this CD were done by the veteran R&H orchestrator Robert Russell Bennett, and it surely adds to the appeal of this recording. This itself is enough to amount to the icing on the cake, since Kunzel conducts them well on here, and since this recording still allows the suites to have the original theatrical atmosphere. And, although this recording is like the Mauceri collection of the Rodgers & Hammerstein overtures in compiling orchestral suites of Rodgers & Hammerstein, I think that I like the Kunzel recording even more because Kunzel has more magic in his conducting of these suites.

Excellent!.......2003-04-08

This is one of the best Erich Kunzel/Cincinnati Pops collections we own! A must for Rodgers and Hammerstein fans, too.

Great Arrangments.......2001-09-02

This is a first rate album with great arrangments and orchestrations. If you're a Rodgers and Hammerstein fan, you can't afford to miss this specatacular album

Average customer rating:

Best of Rodgers & Hammerstein

Manufacturer: Alshire
ProductGroup: Music
Binding: Audio CD

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As Time Goes By

ASIN: B000000KPJ
Release Date: 1996-05-21

Tracks:

Some Enchanted Evening
Climb Every Mountain
June is Bustin' Out All Over
Aisle Talk
Bali Hai
Opening Night
Getting To Know You
If I Loved You
Oklahoma
Curtain Time
I Enjoy Being A Girl
People Will Say We're In Love

Average customer rating:

For Fans of Broadway (Sondheim, Hamlisch & Bernstein e.g.):
The songs that didn't get away
Songs that showcase Sarah's theatrical gifts
Good, for Sarah Brightman
Pleasant, but not up to standard

The Songs That Got Away

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Dive
Surrender
The Trees They Grow So High
Fly
As I Came of Age

ASIN: B000005S0R
Release Date: 1999-11-16

Tracks:

Meadowlark
I Am Going To Like It Here
I Remember
Mr. Monotony
Dreamers
Silent Heart
Lud's Wedding
Three-Cornered Tune
If I Ever Fall In Love Again - Sarah Brightman Sarah Brightman
What Makes Me Love Him?
Chi Il Bel Sogno Di Doretta
Away From You
If Love Were All
Half A Moment - Sarah Brightman Sarah Brightman

Amazon.com

For those Sarah Brightman fans who didn't spring for The Songs That Got Away when it was a pricey import, this domestic release will be a must-buy. Originally recorded in 1989 shortly after she achieved international fame in The Phantom of the Opera, the album spotlights obscure American and British musical theater songs that either were removed from shows or were "lost" when the shows themselves slipped out of the repertoire. (Of course, some of the songs aren't nearly as obscure as they were in 1989--the opening track, Stephen Schwartz's soaring "Meadowlark," has since been claimed by Liz Callaway, Patti LuPone, and Betty Buckley, while Stephen Sondheim's "I Remember"--well suited to Brightman's glasslike tones--is now recognized as one of his most gorgeous and haunting compositions.) Brightman performs well on this diverse collection of entertaining and often lovely songs, including an early draft of Frank Loesser's "Fugue for Tinhorns," here sung as a triple-tracked, lilting waltz, and the Puccini aria "Chi il bel sogno di doretta," which foreshadows her later, more ambitious crossover projects. There's also a tune from Jeeves by then-husband Andrew Lloyd Webber, who produced this album not long before he and Brightman divorced in 1990. --David Horiuchi

Customer Reviews:

For Fans of Broadway (Sondheim, Hamlisch & Bernstein e.g.):.......2007-02-24

This is an interesting and surprising production that showcases the vocal prowess of Sara Brightman. It is not however, representative of the new and highly overproduced vocal productions that constitute her newer recordings. Although this production really allows the listener to hear a very melodic and unencumbered vocal performance, as it is pleasing in it's simplicity, yet meant for the more discriminating listener. Fans of Irving Berlin, Andrew Lloyd Weber, and Richard Rodgers will feel right at home here. For those seeking another major sonic production as in Eden, La Luna, Dive, or The Harem Tour this is not it! My criticism is not of her vocal prowess or production values but the apparently endless array of previously released material offered as a new and different recording. But I suppose that this is rather due to the greedy objectives of of A&M Records just trying to go to the bank, often and laden heavy with dollars. Nothing that any label wouldn't try to do. My advice with Sara Brightman is "caveat emptor" (buyer beware) check the disc carefully for redundancy of tracks within her discography. If you're a fan of this genre of music, you will probably respond quite well to this recording.

The songs that didn't get away.......2004-02-12

This is one of my favorite albums by Sarah. She surprised me with her ability to go from light opera to jazz. Here we don't find the over-produced albums such as Harem, just a superbly trained voice. No little girl breathy tunes here, just solid performances. This is the Sarah Brightman that I like to remember and enjoy. If you see this album and you're a Sarah Brightman fan, pick it up and treasure it. I'd like to see her do more of thisgenre, where she showcases her voice. Who ever thinks that Sarah has a small voice will be convinced otherwise by this album.

Songs that showcase Sarah's theatrical gifts.......2003-12-11

Before experimental albums like Dive and Fly, as well as the ones where her classically-trained voice enchanted millions, Sarah Brightman did a collection of musical and theatrical songs originally released in 1989, but reissued when she made it big with Time To Say Goodbye. Her vocal style leans towards the theatrical Broadway side, but more mellowed. But on songs like the strings-laden mid-tempo "Meadowlark" from Stephen Schwartz's The Baker's Wife, the way she would later do splendidly interpret Lloyd Webber's songs is in the making. Here are other highlights, including those that were reissued on Sarah's Encore album (2002).

Stephen Sondheim's "I Remember" is a sad ballad told from the POV of a window mannequin remembering the sights it has experienced throughout the seasons, but the memories are now hazy and at the end, it sings, "At times I think/I would gladly die/for a day of sky."

Some songs like "Lud's Wedding" from Bernstein's failed bicentennial musical, only seem to work due to Sarah's voice. Ditto for the simple "Three-Cornered Tune." Consisting of three verses, each repeated twice. However, Irving Berlin's "Mr. Monotony", a tune understandably cut from Easter Parade, is not a particularly inspiring song.

Marvin Hamlisch's "Dreamers" is one of my favourites here, as I have affinity to it, and I'm sure Sarah is one at heart as well. "Only dreamers have wings with which to fly far away", as in their own fantasies, but unfortunately, "sometimes dreamers are forced to leave their dreams far away", i.e. the harshness of reality. However, it paints them in a positive light and states that everyone needs to have some sort of dream "to take time to find treasures and mountains we can climb."

"Silent Heart" really showcases Sarah's voices, on how some things the heart is best left silent, as in things that really thrill it. "If I Ever Fall In Love Again" is taken from The Crooked Mile and is a nice love song Sarah really wraps herself in.

"Chi Il Bel Sogno Di Doretta" from Puccini's La Rondine is a great showcase of the operatic voice that would come into full bloom on Time To Say Goodbye. This song would be reissued on Encore.

"Away From You" by Richard Rodgers, and taken from a musical biog of Henry VIII (!!!). "The clocks are frozen and time's a traveler who's lost his way" is one of the sentiments Sarah conveys effectively. Also reissued on Encore.

"If love were all, I should be lonely" sings Sarah from Noel Coward's Bittersweet, "If Love Were All" was the one song that stood out for me when I first heard this CD. The ability of a talent to amuse is seen as a solid standing for mental security. A definite standout here.

From Lloyd Webber's Jeeves, the lush strings of "Half A Moment" features the vocal stylings familiar enough to those who have Sarah's Andrew Lloyd Webber Collection. It focuses on how important the capture of a moment to bright up a future rainy day is. Also reissued on Encore.

Initially, I dismissed this as the songs that should've stayed away. Although they lack the magical punch of Time To Say Goodbye or La Luna, it's still a worthwhile collection, because Sarah's clear birdlike theatrical/musicals voice makes it all worthwhile.

Good, for Sarah Brightman.......2003-08-25

Some people just love Sarah's voice, but I don't see what's so special about it. She sings in two sorts of ways, the first one is lovely, simple, forgetable, and the other sounds like Stitch with a high voice. This CD does her justice, though. A lot of the tunes are catchy and nice (how she sings them could be better) but the one I really like is "Three cornered tune." Now that's a good song! She does not have a particularly bad voice, but nothing interesting - that's for sure. And when she tries to act in her music she sounds even worse! But that's alright. After all, everyone has a different style. A highlight of this CD includes "Mr. Monotony," which, unfortunatly, did not come with lyrics in the CD case. Too bad, because its a great song. At the end of this record, though, she writes about these songs and - wow! It is amazing how many shows that song was taken out of! At one point it said it had Judy Garland singing it, and when I try to imagine her doing it I know that must have been awesome. I really want to hear Judy Garland singing this song sometime. Maybe I'll find it here on Amazon... But anyway, back to Sarah Brightman. The only other thing I can think of to say at the moment is that from what I've heard of her records, this is as good as it gets. And also, the track titled "Dreamers" is nice. I like the tune and she doesn't sing it too bad, either. It would be a good song to be played at a graduation. Only after a while the sound of it gets a little creepy and annoying. And its sticky, too. "Silent heart" is a classic, though she shouldn't sing it twice. For you see, she sings it, and then you think, "Ah, that's a sweet song. Wonderful words, soft tune," and the music gets at a great stoping point and then comes back for an encore (as one of Sarah's other records is titled). And then we have to listen to it all over again - and its not as good the second time. So overall is it good? Yes, it is. Though perhaps not good enough.

Pleasant, but not up to standard.......2003-06-22

I love Sarah Brightman's singing and her musical style as presented on Eden and La Luna. This CD is completely different in style from those two. I find it enjoyable, but it is not my favorite. Her singing is nothing special on this CD, it doesn't display her vocal range or talent in the way that her other CDs do, especially her CD "Surrender", her vocals are absolutely stunning on that CD.

Rodgers & Hammerstein - The Complete Overtures ~ Opening Night / Hollywood Bowl Orchestra · Mauceri

Average customer rating:

Rodgers is one of the greatest theatre composers...
Something Wonderful!

Rodgers & Hammerstein - The Complete Overtures ~ Opening Night / Hollywood Bowl Orchestra · Mauceri
Richard Rodgers , John Mauceri , and Hollywood Bowl Orchestra
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Greatest Hits

ASIN: B00000415D
Release Date: 2001-10-30

Tracks:

Oklahoma!: Overture
Carousel: Carousel Waltz
State Fair: Suite
Allegro: Overture
South Pacific: Overture
The King And I: Overture
Me And Juliet: Overture
Pipe Dream: Overture
Cinderella: Overture
Flower Drum Song: Overture
The Sound Of Music: Entr'acte

Amazon.com

The debate will never stop raging between those who prefer Richard Rodgers's early work with Lorenz Hart and those partial to his later collaboration with Oscar Hammerstein. The shows of the two partnerships were so different that there's almost no resolution possible, but the themes on this CD prove that Rodgers wrote memorable melodies in very different styles during his career. Even if you prefer, say, Pal Joey, it's hard to deny the majestic allure of Carousel and The King and I. With the Rodgers & Hammerstein canon readily available on CD, this album is notable for two things. The first is that by focusing exclusively on overtures, and by presenting them in chronological order, it offers a quick survey of some of Rodgers's best-known melodies. The second is that it includes two rare pieces: the first recording of the overture from 1953's Me and Juliet and the overture from Pipe Dream, a 1955 show based on John Steinbeck's novel Cannery Row that was Rodgers & Hammerstein¹s biggest failure. Those two alone make it worthwhile for R&H fans to pick up the album. --Elisabeth Vincentelli

Customer Reviews:

Rodgers is one of the greatest theatre composers..........2002-10-06

When people think about legends in musical theatre, ranking high at the top would be Stephen Sondheim, Cole Porter, Jule Styne, Irving Berlin and Jerome Kern. But no list would be complete with the celebrated collaborators Richard Rodgers and Oscar Hammerstein II. For this recording, conductor John Mauceri decided to perform the overtures to Rodgers and Hammerstein's shows. A lot of work went into this, considering 2 of the shows didn't have the conventional overture and another was a film score. R&H first worked together in 1943 on the show "Oklahoma!" which became a monstrous sensation, running for 2,212 performances in its initial Broadway run and forever becoming a musical theatre icon. The overture has been heard over the years on various recordings - the Original Broadway album (considered to be the true original Broadway cast recording), etc. Even more thrilling is finally getting the full eight minute "Carousel Waltz" in its original orchestrations. I saw a reconstruction of the entire score at Carnegie Hall on June 6, 2002 with Audra McDonald and Hugh Jackman and there was lengthy applause for this piece - which is my nomination for the greatest waltz written in the 20th century (with every other beloved Rodgers waltz coming in close behind.) The suite from State Fair proposes what could be a stage overture for the show (its eventual Broadway attempt was unfortunately a flop). Its interesting to hear the first recording of the "Allegro" overture - something that was not included on the original cast album. The show is one of the 3 flops that the team experienced in their career together. "South Pacific" is presented unedited (and its so wonderful to hear everything) and "The King and I" is another joy. "Me and Juliet" is also another one of the flops - its overture is the type that will leave you wondering why it wasn't successful (I especially the enjoy the Latin influence.) Then we come to a personal favorite - the least successful Rodgers and Hammerstein show - "Pipe Dream", based on John Steinbeck's novel "Sweet Thursday", a sequel to "Cannery Row". I have a fondness for this show and its score (the libretto is admittedly weak and bland - missing what Steinbeck had intended for it). But the full overture (it was cut in half on the RCA album) is a joy - featuring "The Man I Used to Be", "All At Once You Love Her" and what sounds like a true showstopper "Sweet Thursday". (These are the strongest numbers in the show) I personally think that with a reconceived & rewritten script and a few lyric alterations, this could be the hit it should've been in 1955. Definitely a candidate to be revisited. The next overture has been available for years - "Cinderella". On this recording, the 1965 version is used, which was far superior to the original 1957 version and should be used in any stage production of the show today. "Flower Drum Song" is not the original Broadway overture - it is the national tour overture. For the tour, Rodgers decided that "I Enjoy Being a Girl", undeniably the show's lasting standard, be included in the opening, meaning the loss of "Like a God". Finally we reach the 11th and final show - "The Sound of Music". Onstage, the show opens with a chorus of nuns singing Gregorian chant, however the creative team behind this recording decided to subsitute the rarely heard Entr'acte of the show, which gives you an idea of what an overture might have been for this show, had the composers decided on a traditional opening. They also tacked on an arrangement of "Climb Ev'ry Mountain" at the end of the piece. All in all, this is a great documentation - and hearing the music symphonically performed makes it 100 times better than ever. Mauceri sure picked a real winner here, folks. Definitely worth the money for true Rodgers and Hammerstein fans.

Something Wonderful!.......2002-03-25

To borrow a title from one of the great songs penned by R&H -- this album of overtures from some of their greatest as well as lesser hits really is something wonderful! Oklahoma, Carousel, State Fair, South Pacific, The King and I, and The Sound of Music are all represented. But so are Allegro, Me and Juliet, Pipe Dream, Cinderella, and Flower Drum Song; shows perhaps not as well known, but all containing the gorgeous melodies of Richard Rodgers. Oscar Hammerstein's words are not heard -- at least on the album -- but they're so ingrained into most of our psyches that it's impossible not to 'hear' them in your head. Most of the overtures are presented in their original orchestrations by the genius Richard Russel Bennett. Wouldn't it be great to see some of these shows restaged -- including the 'ones that got away' like Allegro and Pipe Dream? And wouldn't it be equally great to hear some of today's singers cover the R&H classics along with some all but forgotten gems (e.g., "The Loneliness of Evening," orginally written for South Pacific, but cut and subsequently incorporated into the 1965 version of Cinderella) that are every bit as beautiful as the more popular R&H compositions. This is a super album for any R&H fan or any fan of beautiful music.

My Favorite Things: A Richard Rodgers Celebration

Average customer rating:

Actually a great recording -
The glass is half full on this project
Rodgers - 5, Pops - 3
A Mixed Bag
Boston Pops: A Richard Rodgers Celebration

My Favorite Things: A Richard Rodgers Celebration
Jason Danieley , and Boston Pops Orchestra
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000640NM
Release Date: 2002-04-23

Tracks:

Main Title (Oklahoma!)
"My Favorite Things" (The Sound of Music)
"The Surrey with the Fringe on Top" (Oklahoma!)
Overture to Babes in Arms
"Slaughter on 10th Avenue" (On Your Toes)
"March of the Clowns" (Nursery Ballet)
"I Have Dreamed" (The King and I)
"Grant Avenue" (Flower Drum Song)
"D-Day" (Victory at Sea)
"The Sound of Music" (The Sound of Music)
"Mountain Greenery" (The Garrick Gaieties of 1926)
"The Carousel Waltz" (Carousel)
"Shall We Dance?" (The King and I)

Customer Reviews:

Actually a great recording -.......2003-10-12

The more I listened to this CD, the more I was blown away by some of the arrangements and orchestrations. Some of it I'd heard before i.e. the Oklahoma! overture based on the Robert Russell Bennet film arrangement; some of it I hadn't heard quite this way like the "Babes in Arms" overture or "Surrey with a Fringe on Top" in swing time. I especially liked the "My Favorite Things" arrangement which diverges from the original. I highly recommend it because most of the arrangements/orchestrations are very powerful in their own right and you may not have heard it all before. A few of the arrangements feature newer vocalists as the other reviews indicate. I reserve comment on this one because it is always difficult to compare an unfamiliar vocalist with Julie Andrews for example.
Also, I have taped two 1 hour Rodgers specials off PBS which feature some of these performances. I'd love for PBS to put these episodes on a DVD instead of the usual pledge drive DVD fare.

The glass is half full on this project.......2002-10-16

To do a celebration of Richard Rodgers music is simply grand. Without question he was the backbone of what we have come to know as "Broadway Magic".

For this occasion the Boston Pops did a good job of paying tribute to this master tunesmith. I think Richard would be more than proud to see his masterpieces performed in such a manner.
BRAVO to the B.P.O.!

If there were any shortcomings to this project it would have to be two things. First, I felt like they should have used better vocalists. Second, I felt like the repertoire was not as good as it could have been. Some of the tunes performed here I really disliked. I can think of a lot of songs I would have rather been listening to.

I think it would safe to recommend this cd to all the die hard Richard Rodgers fans.

Rodgers - 5, Pops - 3.......2002-09-15

Keith Lockart is certainly a solid heir to the Boston Pops of Arthur Fiedler. His performances are crisp, and lively. The Pops likes working with him, and it shows. And, I own every Keith Lockart/Boston Pops disc so far. But....although there were some interesting additions to this repertoire, especially the scenario of "Victory at Sea", I was really turned off by the so-so vocal renditions. They really detracted from the overall fun of the disc. Certainly the music of Richard Rodgers is timeless (not EVERTHING he wrote was delicious), but Lockhart missed the boat with this one. It's a neat album if you have a player that can pick and choose what you listen to, but after the first few tunes, I got a bit restless.

A Mixed Bag.......2002-07-18

The two most interesting items in this collection are "Slaughter on Tenth Avenue" in an effective arrangement Broadway orchestrator/arranger Hans Spialek made for Paul Whiteman and "The March of the Clowns" from "Nursery Ballet," a number from a Whiteman commission recently discovered in the bandleader's archives. Patrick Hollenbeck arranged the march for the Pops and has the style right, so it's too bad the other two movements of the original suite weren't included in this release.

Otherwise, the most satisfying selections on the disc are the Main Title from the film version of "Oklahoma!" (the work of Robert Russell Bennett), the overture to "Babes in Arms" (Don Walker's orchestration captures the spirit of the Broadway original in full orchestra terms), "D-Day" (Lockhart paces it more as a jaunty march than an epic one), and the "Carousel Waltz."

I confess that I like big-orchestra arrangements of show music even though I know I'm not supposed to, but the remaining instrumental numbers are played in arrangements (by Sammy Nestico, Don Sebesky, and Alexander Courage) that I don't like. They are mostly fussy, heavy, lacking in fun, and tinged with elements from the Big Band era that sound out of place in these surroundings. It's too bad Hollenbeck didn't do these arrangements, too. Failing that, the Pops music library must still have arrangements Bennett, Leroy Anderson, and Richard Hayman did of Rodgers scores, and I don't understand why they weren't used here. They never wear out their welcome.

The singers are uniformly disasters. Martina McBride ("My Favorite Things"), Jason Danieley ("I Have Dreamed"), and Collin Raye ("The Sound of Music") are described on the label as "vocalists." The term tells you all you need to know about their lack of any sense of the appropriate style for their numbers. They are club, not theater, singers. Their vocalizings can't hurt Rodgers, but they are jarring to the listener in the context of the rest of this disc. Their voices, as voices, are mediocre, and the arrangements (each by a different person) of the pieces don't help. (Some comparably dubious items have been included in most recent Pops recordings. Each has some interesting, unusual things along with others that don't really belong. I wonder if they are the price Lockhart has to pay in order to record the interesting stuff.)

The Boston Symphony and Pops were the orchestras I grew up with, so it hurts to have to say that this disc is such a mixed bag.

(By the way, Nelson Riddle recorded an LP of his own splendid arrangements of the principal numbers from "Oklahoma!", and I wish Capitol would resurrect it from the vaults as a salute to Rodgers's memory in his centennial year.)

Boston Pops: A Richard Rodgers Celebration.......2002-05-08

What a wonderful celebration this recording is! The scope and beauty of Richard Rodgers' music has seldom been given a better airing than on this CD by the Boston Pops. An absolutely stunning recording in both performance and choice of selections. We are treated not only to fresh and memorable instrumental renditions of beloved standards such as "The Surrey With The Fringe On Top", "Where Or When" and "Shall We Dance", but also to a few of Richard Rodgers' less frequently heard compositions such as the jazzy "Grant Avenue", the stirring "D-Day Theme" from Victory At SEA, and a premier recording of a very delightful "March Of The Clowns", a piece originally commissioned by Paul Whiteman in the 1930s. The artists chosen to sing the three vocals on this CD are exceptional. In fact, this particular recording would be worth owning if for no other reason than to enjoy Jason Danieley's spine-tingling rendition of "I Have Dreamed". And after hearing Mr. Collin Raye's beautiful masculine rendition of "The Sound Of Music", one will never again think of that classic as being primarily suited only for a female vocalist. In short, this Boston Pops CD is a richly satisfying treat -- lush and nostalgic, as well as being upbeat and as contemporary as year 2002 -- a worthy tribute to the timelessness of Mr. Rodgers' musical genius.

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What's happened to Debbie?
A Taste of Broadway
OUCH!
(Deborah Gibson ) AT HER BEST!!!!
Deborah delivers deliciously

Colored Lights: The Broadway Album
Debbie Gibson , Jule Styne , Charles Strouse , Michael John LaChiusa , Peter Allen , Claude-Michel Schoenberg , John Harold Kander , George Gershwin , Richard Rodgers , William Finn , Ron Abel , John Krovoza , Ruth Bruegger , and Steve Orich
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Rock | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Pop Rock | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Broadway & Vocalists | Styles | Music
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ASIN: B0000DJYNR
Release Date: 2003-11-04

Tracks:

Let Me Entertain You (Gypsy)
Blame It On The Summer Night (Rags)
Raise The Roof! (The Wild Party)
I'd Rather Leave While I'm In Love (The Boy From Oz)
On My Own (Les Miserables)
Colored Lights (The Rink)
I'm The Greatest Star (Funny Girl)
Who Are You Now? (Funny Girl)
They All Laughed (Shall We Dance?)
Sex (Skirts)
Maybe This Time (Cabaret)
I Enjoy Being A Girl (Flower Drum Song)
Anytime (I Am There) (Elegies: A Song Cycle)

Customer Reviews:

What's happened to Debbie?.......2005-04-15

I am not a staunch Gibson fan like most of the drooling 5-star reviews here. But I loved her in the 80's and think her to be a talented singer-songwriter who puts modern pop moppets to shame. I thought it was awesome when she broke into Broadway and made a steady career of it.
Then I heard 'Colored Lights'.
I ask, Debbie!(sorry, DEBORAH), what has happened to you??
Like others here, I applaud her choice to include lesser-known songs. But in doing so, it really behoves her to SELL them as great songs, not rework them for her own interpretation. I felt like I was listening not to the pure-toned, crystal voice of our favourite teen idol, but someone doing a bad impersonation of her. There is hardly a single line she sings which isn't punctured by bad ennunciation, poor phrasing or a lack of respect for the intent of the composers.
There were no gravelly growls(meant to sound sexy, no doubt, but too overdone to succeed), breathy sighs, uneven tone, lacklustre dynamics, excessive scooping, wavery pitch and lack of top range in the Debbie Gibson I remember. But her voice on this album is such a mere shadow of its youthful self that she resorts to these irritating vocal bandaids to get through the song. Any track that had a 'big finish' invariably caused her to run out of steam long before she got there. A belter, Deb is not.
(and I know what I'm talking about, I'm a trained singer myself. If Deborah has a singing teacher, he/she should be shot).

This album was a huge disappointment for me. I love Broadway, but Deb fails terribly to give these songs the great renditions they deserve.
I should add, I have never had the fortune to see Deb sing live, so for all I know, maybe she COULD have done these songs justice had she avoided the pop slant. But this album shows neither the songs nor any talent she still has to advantage at all.

Listen to some Idina Menzel if you want a pop-feel voice that can also out-Belt them all.

A Taste of Broadway.......2004-10-13

I've been a fan of her since God only knows. I know she's not just talented but she is very passionate of (her) music. Knowing that she moved herself into broadways, it's rather of a challenge for me to listen to the songs especially when I'm too familiar with her pop genre. But after a while, I'm used to it coz Debbie is still Debbie to me. She's not afraid of re-arranging the original song to her style, at least she knows what she's doing and again she's proven it. My most favourite track is "Colored Lights", it's light, cheerful, somewhat witty and, in a way, brings up my imagination of seeing her (and the casts) on stage performing the song. All in all, Debbie still has a class and style for us to share.

OUCH!.......2004-08-23

Deborah Gibson is a talented rock star. With a good musical director, she has proved herself to be a wonderful musical theatre performer. This album, however, is a very uneasy marriage of the two genres. She sings every showtune on the album as if it's a pop tune with horrendous bubble gum arrangements. I have seen Miss Gibson in two musicals and have heard her sing showtunes live on other occasions- she knows how to sing showtunes. On this album, however, she's trying to pander to her pop audience and in the process, she created an album that fails as a pop album and as a showtune album. I can only hope that Miss Gibson finds a better musical director the next time she decides to record showtunes.

(Deborah Gibson ) AT HER BEST!!!!.......2004-04-23

Deborah really sing's her heart out on this cd
and it is a must for all of Deborah's Fan's.
Please take the time out and listen to some clip's
of some of the song's from the album. Thank's.

Love You Deborah!!!!
You are the Best!!!!

Deborah delivers deliciously.......2004-02-13

After more than 15 years in the business, Deborah Gibson has learned many lessons and fulfilled many dreams. After 2001's horrifyingly misguided "M.Y.O.B.," she returns to the adult contemporary sound that landed her two number one hits on the Billboard charts, and turns that up a couple of notches. By selecting 13 showtunes from varying Broadway musicals, Gibson satisfies immensely, and delivers a unique compilation worthy of at least one full listen.

"Colored Lights" is not meant to be a showcase of hit tunes; many of the songs on this opus aren't radio hits. Instead, Gibson puts together a delicious smorgasbord of rhythmic melodies and heartfelt ballads that complement her voice (that, strangely enough, hasn't seemed to change that much after more than a decade in the industry).

What is also important to consider in one's evaluation of "Colored Lights" is that, while comparison with the original works/performers is inevitable, we should also take the time to consider that Gibson's pop sensibilities will always shine through. Perhaps it is for that reason, that Gibson has had the best of both pop stardom and Broadway success, that she gives new dimension to these melodies.

The standouts on this collection include "I'd Rather Leave While I'm in Love," which radio would do well to pick up, as the soothing melody and heartfelt delivery will find AC audiences easily; "On My Own," off "Les Miserables," where Gibson as Eponine sounds both heartbroken yet hopeful; the playful title track, from "The Rink," which features some of the most whimsical lyrics I've heard off Broadway thus far; "Raise the Roof," which is truly enjoyable in its pseudo-Latino reincarnation in Gibson's hands (yes, it does beg for a house remix; Gibson's gay audience will see to its success), and "Anytime (I Am There)," which is heartbreaking in its stark delivery, and is easily one of my top five Gibson tracks of all time.

Admittedly, Gibson can't overcome comparisons to the definitive versions of some of the songs. Let's face it: Debbie ain't no Barbra. Her versions of "I'm the Greatest Star" and "Who Are You Now?," while stellar on their own, just fall flat when compare to Streisand's. "Let Me Entertain You," off "Gypsy," ironically, isn't very entertaining, and "Blame It On The Summer Night" drags on.

All in all, "Colored Lights" puts together a collection of songs that are quite distinct and classy, and is easily one of the more worthy albums in Ms. Gibson's discography. She would do well to continue producing albums along this line instead of trying to fight the Britney's and Christina's, because those fads fade, and only the classics remain. Trust in "Colored Lights" to earn a well-deserved place in that section of your record collection.

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