With music by Leonard Bernstein and book and lyrics by Betty Comden and Adolph Green, On The Town enjoyed a successful Broadway run during the 1940s. The London production opened at the Prince of Wales Theatre in 1963 and starred Elliott Gould along with Don McKay, Carol Arthur, Andrea Jaffeand Gillian Lewis. The Original London Cast Recording of On the Town has never before been available in the U.S.

---------

Starring in the London production was Elliott Gould, not long after he closed on Broadway in I Can Get It for You Wholesale – his big break as a musical leading man, which was an even bigger break for his wife-to-be Barbra Streisand. Gould played the happy-go-lucky Ozzie (a role created by Adolph Green). As Gaby, the lovestruck hero, the London production featured Don McKay, a Broadway singer/dancer with an attractive, boyish voice who had been the first Tony in the hit West End staging of West Side Story. The trio of sailors on leave was completed by another American, Franklin Kiser, as the nai?ve but determined Chip. A favorite in West End musicals like Salad Days, Gillian Lewis played Claire de Lune (Betty Comden in the original production), and American Carol Arthur was Hildy, the raucous cab driver unforget- tably created by Nancy Walker. American audiences know Arthur as a comedic actress (Blazing Saddles) and as the wife of comedian Dom DeLuise, but on this recording she belts out Hildy’s show-stopping, double-entendre-laced “I Can Cook, Too” with joyous abandon.

The London recording preserved much of Bernstein’s dance music, though some arrangements were updated and smoothed out – “I Can Cook, Too,” for instance, loses its fractured-big-band musical setting. Best of all, the London recording lets us hear this spectacular score with the charm of a cast that was performing the show onstage at the same time. With its Coplandesque ballet music and hyperkinetic invention, the score, oddly enough, may the most challenging aspect of On the Town. The London recording reminds us it is a challenge full of rewards – a heartfelt masterpiece, hilarious and zany, with romantic longing and unbridled hope lurking just beneath the gleaming surface. Maybe its time has come?

-- From the liner notes by David Foil

CAST
Ozzie – Elliott Gould
Chip – Franklin Kiser
Gabey – Don McKay
Hildy – Carol Arthur
Claire – Gillian Lewis
Diana Dream – Meg Walter
Workman – Howarth Nuttall
Policeman – Lewis Henry

MUSICAL NUMBERS:
1. Opening: 10:55
I Feel Like I’m Not Out of Bed Yet – Workman
New York, New York – Chip, Gabey, Ozzie and Chorus
Miss Subways – Policeman, Workman, Chip, Gabey, Ozzie and Chorus
2. Taxi Number: Come Up to My Place 2:15 – Hildy and Chip
3. Carried Away 3:15 – Claire and Ozzie
4. Lonely Town 5:07 – Gabey
5. I Can Cook Too 2:49 – Hildy
6. Lucky to Be Me 2:44 – Gabey
7. Dance: Times Square (Finale Act I) 5:14
8. Night Club Sequence: 4:59
So Long Baby – Chorus
I Wish I Was Dead – Diana Dream
You Got Me – Hildy, Ozzie, Claire, Chip, Gabey
9. Dance: Imaginary Coney Island 8:11
10. Some Other Time 3:48 – Claire, Hildy, Ozzie, Chip
11. Real Coney Island, Finale 4:01

A bubbly effusion of Rossini’s music, some new, some re-cycled, all enjoyable.

Rossini’s pre-eminence among his contemporaries was widely recognised after the success of his opera seria Tancredi and comic opera L’Italiana in Algeri in Venice in 1813. The composer was summoned to Naples by the impresario Barbaja and offered the musical directorship of the Royal Theatres, the San Carlo and Fondo. The proposal appealed to Rossini for several reasons. First, his annual fee was generous and guaranteed. Secondly, and equally important, unlike Rome and Venice, Naples had a professional orchestra. Rossini saw this as a considerable advantage as he aspired to push the boundaries of opera into more adventurous directions and did so in the nine opera seria he composed during his seven year stay in the position. Under the terms of the contract, Rossini was to provide two operas each year for Naples whilst being permitted to compose occasional works for other cities.

The composer tended to push the limits of his contract in respect of composing for other theatres. In the first two years he composed no fewer than five operas for other venues, with Il Barbiere di Siviglia being the most successful. This pace of composition and presentation of operas was necessary for a composer to enjoy a decent standard of living. There was also the fact that an opera success in a city far away, at least by the standards of the day, allowed an element of self-plagiarisation. Why waste good tunes - even when a work has been a failure - although this was sometimes taken to excess with straight lifts of music with the words simply altered.

After his first trip to Rome, and the massive success of Il Barbiere di Siviglia, Rossini returned to Naples to find the San Carlo theatre burned down. He composed a cantata for a ceremony to celebrate the wedding of the royal princess. Rather than proceeding with the two operas he was contracted to write for Naples, Rossini then proceeded to enjoy himself around town rather than composing. This led to Barbaja writing a formal letter of complaint to the theatre management about the delay in production, whilst the local papers were scathing. At last, much delayed, the first of the two contracted operas, La gazzetta, (The newspaper), was premiered at the small Teatro dei Fiorentini, Naples on 26 September 1816. It was Rossini’s eighteenth opera and was to be the only comic opera that he wrote for the city. Having given time to the production of Tancredi during the rehearsals of La gazzetta, it was no surprise that Rossini completed the work in a hurry and used music that was well known in Rome and elsewhere and some which would be used again in the near future in La Cenerentola. This is fact, although in the booklet essay with this issue the writer contends that the hand-written score of La gazzetta shows evidence of much care. Being popular with the local audience if not with the local press, it had twenty-one performances. The work was soon withdrawn and not seen again until revived in Rome one hundred and forty years or so later.

The action of La gazzetta takes place in a Parisian inn where several guests are staying. Don Pomponio, a local big mouth, extols the virtues of his daughter and has advertised the fact in the local papers as he seeks to marry her off. To cater for local tradition at the Teatro dei Fiorentini the role of Don Pomponio was written in Neapolitan dialect and is sung here by a native of the city Marco Cristarella Orestano. I cannot vouch for the veracity of his Neapolitan patois but he certainly enters into the spirit of his character. Whilst not being the most mellifluous of baritones his quick patter is delivered with good Rossinian taste and skill (CD 1 Trs. 4-6). Don Pomponio is unaware that his daughter, Lisetta, is in love with Filippo, owner of the inn. Judith Gauthier sings this high role with warm tone, pleasing vocal purity and characterisation (CD 1 Tr. 8). In the duets with her father (CD 1 Tr. 14) and her lover (CD 2 Tr. 4) she characterises the role particularly well. Her lover, Filippo, is sung by Giulio Mastrototaro, one of a clutch of more than adequate lower-voiced males who appear in the cast. Whilst not being outstanding they play a vital part in making the opera truly comic.

Of the other pair of lovers the warm-tones of Sicilian soprano of Rossella Bevacqua contrasts nicely with those of Doralice (CD 1 Tr. 12). Alberto, in search of a wife confuses her with the lady advertised in the ‘Gazzetta’ and which confusion is all part of the improbable fun. While not written to feature any of the high-voiced tenors that Barbaja had under contract in Naples, the role has high tessitura as well as a low dramatic requirement. In this performance it is sung by American Michael Spyres. The following year at Bad Wildbad Spyres sang the role of Otello, written for the great Andrea Nozzari famous for his florid singing and powerful lower notes. Spyres has the range, with a strong baritonal patina, however, whilst being ardent he lacks security and easy divisions in the coloratura in the more florid writing (CD 2 Tr. 6). As Madama La Rose, Maria Soulis’s mezzo is rich and flexible (CD 2 Tr.2).

The enjoyment of this typically Rossinian froth depends so much on the cast and the conductor being sympathetic to the idiom. This is the case here with Christopher Franklin on the rostrum drawing a vibrant performance from orchestra, chorus and soloists. In what is obviously an updated staging proceedings are interrupted by warm applause at the end of most set numbers. The tracks are generous allowing for those who want to get rid of the extensive recitative; personally I do not find this troublesome – at least not in this lively performance. There is some stage noise.

The booklet has a good track-related synopsis as well as an informative essay on the background to the opera, both in English and German. There are artist profiles in English. The background essay addresses the problem of the composition of the Act 1 quintet (CD 1 Tr. 10) and whether Rossini himself composed it. Listen and see if you recognise the music. Rossini enthusiasts will want to pursue the research and solution carried out by Gossett and Scipioni and which is discussed at length in the former’s Divas and Scholars (Chicago, 2006). Also interesting is how a producer butchered their efforts at Pesaro in 2001 (pp. 246-247). The production concerned can be seen as reprised at the Gran Teatre del Liceu, Barcelona, in 2005 on Oopus Arte OA0953D. Interestingly, Gossett contends that the first authentic production of the critical edition was in Britain at the 2001 Garsington Festival. It was at this venue that the British premiere of Rossini’s Armida - which I attended - was produced in 2010.

If you like Rossini’s music for his comic operas you will enjoy this performance and have the somewhat naughty pleasure of identifying the music he borrowed and from where - a hint do not always look to what he had composed before La gazzetta. A full libretto, in Italian can be accessed at the Naxos site.

-- Robert J Farr, MusicWeb International

Based, like Beethoven' opera Fidelio, on the original French libretto by Jean-Nicolas Bouilly, Mayr' opera L'amor coniugale won considerable success at it's first performance in Padua in 1805.

In combining gospel’s emotion and melodies with the sensuality and arrangements of rhythm and blues, Afro- American musicians created a universal language which shook the world. Soul was inseparable from the Civil Rights struggle and it spread like wildfire in intense performances from the fabulous artists who adopted this style. With the tremendous songs included in this magnificent album, Bruno Blum tells the story of Soul’s origins, from Negro spirituals to R&B, in retracing the work of its precursors, from Ray Charles to Sam Cooke — and including the first masterpieces from Otis Redding, Aretha Franklin or Marvin Gaye. Patrick FReMEAUX

ATLANTIC SINGLES COLLECTION 1968

Limited silver colored vinyl LP pressing. Lady Soul is a landmark statement of female empowerment and inspired vocal performance. Featuring massive hits such as "Chain of Fools," "(You Make Me Feel) Like A Natural Woman," "(Sweet, Sweet Baby) Since You've Been Gone" and "Ain't No Way," Lady Soul topped the R & B charts and reached #2 on the Billboard 200. Aretha also provides her own unique and soulful interpretations of James Brown's "Money Won't Change You," Ray Charles' "Come Back Baby" and Curtis Mayfield's civil rights anthem, "People Get Ready." Rolling Stone recently named Aretha Franklin as the #1 Greatest Singer of All Time and it's all in evidence on Lady Soul.

Single disc containing 20 highlights from 2021 box set. To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivaled career that spanned six decades and garnered the singer-songwriter every achievement and honor imaginable.

Double vinyl LP pressing. To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivaled career that spanned six decades and garnered the singer-songwriter every achievement and honor imaginable. This 2LP version features 20 highlight tracks from the CD box set.

Vinyl LP pressing. Released in 1969, Aretha's Gold is the chart-topping greatest hits compilation that features her biggest hits from her early Atlantic albums: 'Respect', 'Think', '(You Make Me Feel Like) A Natural Woman', 'Chain of Fools', and more.

Lively and involving … a fine addition to the expanding list of Rossini operas on Naxos.

Rossini’s La cambiale di matrimonio was his first opera to be performed, premiered in 1810 at the Teatro San Moise in Venice. It ran for thirteen performances, which was not bad in the fast-paced Italian opera business. At the time Rossini was still a student at the Bologna Conservatory and in fact La cambiale di matrimonio was his second opera; Demetro e Polibio, written for another opera company was not premiered until 1812.

The libretto to La cambiale was by the experienced hand of Gaetano Rossi, who wrote the librettos for Tancredi and Semiramide. La cambiale isn’t quite in that class; it is based on a five-act comedy from 1790 which owes a lot to the comedies of Goldoni. The plot concerns the English merchant, Tobia Mill (Vita Priante), who desires to wed his daughter to a Canadian business contact Slook (Giulio Mastrototaro) very much as a business transaction. The daughter Fanny (Julija Samsonova) is in love with Eduardo Milfort (Daniele Zanfardino). The plot is helped along by Mill’s clerk Norton (Tomasz Wija) and the maid Clarina (Francesca Russo Ermolli). Needless to say all ends happily with Slook returning home disappointed.

La cambiale di matrimonio has not been that frequently on disc; not that the work is lacking in the necessary qualities but probably more because of the extensive dialogue – there is a great deal of it. In fact, in another composer’s hands it could have become little more than a comic play with songs. Instead Rossini creates a series of brilliant ensembles which certainly make the piece worth hearing.

This performance was recorded live at the Rossini in Wildbad festival with a cast which included four native Italians. This shows: the recording is vivid and entrancing, capturing the lively performance with dialogue rattling along at quite a rate of knots; there is also a bit of stage noise. The drawback is that Naxos provide only a detailed synopsis; you can download an Italian libretto but there doesn’t seem to be an English one which might put people off.

There are only four solo numbers - arias for Fanny and Clarina, entrance Cavatinas for Mill and for Slook. As was to become his wont in his serious operas, Rossini drives the plot through a series of duets, trios and ensembles with the first of his famous multi-part, dramatic finales.

The cast are perhaps not perfect, but their performances are all infectious. Priante and Mastrototaro are both a delight as the pair of buffo basses, making light of the fact that the tessitura of the parts seems to go rather high. They throw off Rossini’s roulades with a degree of abandon. Samsonova does not sing Fanny with quite the right amount of entrancing ripeness, at times her tone becomes a bit slender above the stave. Her account of the duet with Slook - where she has to repeatedly tell him that she will never be his - is inclined to be untidy, but this might also be the effect of the dramatic moment. These are not serious problems, she fits into the ensemble nicely. Zanfardino’s Milfort does not get an aria, though he duets with Samsonova; Zanfardino has a nicely slim lyric voice.

Wija and Russo Ermolli provide strong support in the important roles of Clarina and Norton. Russo Ermolli impresses in her aria. This Clarina is a young woman not a blowsy old maid and Russo Ermolli captures this nicely.

Under the lively direction of Christopher Franklin the Württemberg Philharmonic Orchestra acquits itself well, providing vivid support. They use a harpsichord for continuo.

This is a lively and involving account of Rossini’s first opera. Whilst not perfect, it does bring out the comic drama of the piece and is certainly a fine addition to the expanding list of Rossini operas on Naxos.
-- Robert Hugill, MusicWeb International

Aretha Franklin Greatest Hits (Vinyl) - Beyond the timeless classic hits such as "Respect," "A Natural Woman," "Chain Of Fools," "Think," "Daydreaming" and "Freeway Of Love" among the dozens of chart-topping records that have established her as a cultural icon, Aretha Franklin's catalog of over forty albums in forms listeners of her unmatched, unparalleled artistry as an interpreter of song, bar none. Her elevation to 'royal' status is indeed not just a function of her hit making ability but of her unique inventiveness as a musician who fuses art and soul seamlessly. Indeed, it's often been said that Aretha could take 'happy birthday' and turn it into a veritable opus and while those who know her will testify to her culinary skills in the kitchen, it is her mastery as a musical chef that is evident on each and every one of those forty-plus albums, many of which have achieved gold and platinum status.