Musicals & Cast Recordings
69 products
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SaleYou Are Tomorrow - Rare Songs of Harold Arlen / Sylvia McNair
Harbinger Records · Sep 20231 discCD$18.99$9.49 -
Berlioz: Beatrice et Benedict / Manacorda, London Philharmonic
Opus Arte · Jul 20171 discDVD$34.99 -
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Pugni: The Pharaoh's Daughter / Sotnikov, Bolshoi Theatre Orchestra
BelAir Classiques · Jul 20171 discDVD$29.99 -
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Shuffle Along: Original Cast Recording / Sissle, Blake, Miller, Lyles, Saunders, Browning
Harbinger Records · Apr 20161 discCD$18.99 -
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Bock: Anatevka (Fiddler On The Roof) / Levi, Schellenberger, Kumberger, Ernst, Ebner
Oehms Classics · Oct 20141 discCD$19.99 -
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All American - Live Backers' Audition / Strouse, Adams
Harbinger Records · Nov 20131 discCD$18.99 -
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EASY COME EASY GO
DANCING PIRATE (1936)
GAY DIVORCEE
BIG BROADCAST OF 1938
VARIETY GIRL
BENNY GOODMAN STORY
ECLIPSE SERIES 8: LUBITSCH MUSICALS
CLIFF IN COLOR: TECHNICOLOR MUSICALS CLIFF RICHARD
BIRTH OF THE BLUES
BROADWAY ON THE BIG SCREEN-6-FILM COLLECTION
FRED ASTAIRE 4-FILM COLLECTION
SHOW OF SHOWS
RIO RITA
Kurt Weill: Love Life
You Are Tomorrow - Rare Songs of Harold Arlen / Sylvia McNair
Two-time Grammy Award-winning singer Sylvia McNair and celebrated pianist Kevin Cole in a collection that is a must for lovers of theater music: 15 songs — 13 of them in first recordings — by the great Harold Arlen (composer of “Over the Rainbow,” “Stormy Weather,” “The Man That Got Away") and lyricist Martin Charnin (the hit musical “Annie”). Plus demos made by the songwriters in 1966 when Arlen was 61 and Charnin 30, and a 24-page booklet that includes an interview with McNair and Cole on this “labor of love” project.
Berlioz: Beatrice et Benedict / Manacorda, London Philharmonic
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REVIEW:
Antonello Manacorda is a natural-sounding guide to the stage events shown here. His cast sound and work together naturally. Stéphanie D’Oustrac (an expressive face to enjoy in close-up) and Paul Appleby (carefully less histrionic in duet) spar well. The Ursule of Katarina Bradic´ is quite a find, more comfortable with notes and character than Sophie Karthäuser’s Héro, accurate but less ethereal than ideal. The men do well, although Lionel Lhote’s effortful Somarone the music-master, falling everywhere on a sliding table in Act 2, will not be to everyone’s comic taste—but that may be Berlioz’s fault in falling (for once) for the cliché that audiences have always seemed to find onstage musical jokes especially hysterical.
Despite some reservations, this only official DVD to date of such an important opera, well recorded and filmed in a slick modern production, deserves a place in the catalogue and on your shelves.
– Gramophone
Ballet du Capitole - Trois ballets de Kader Belarbi
Pugni: The Pharaoh's Daughter / Sotnikov, Bolshoi Theatre Orchestra
Bel Air Classiques presents Petipa's extravaganza ''The Pharaoh's Daughter'', in a stunning production by Pierre Lacotte. Recreating the spectacular sumptuousness of the original, the ballet tells the tale of a young Englishman who dreams he elopes with a Pharaoh's daugher. Despite a desert storm, a lion hunt and an attempted suicide, the couple finally wins the Pharaoh's blessing to their marriage. From its creation in 1862, Petipa's grandiose ballet was a sensational success; its stupendous costumes and striking scenery, its exotica, romanticism and drama appealing to audiences as much as the virtuoso choreography. The Bolshoi Ballet and the two soloists Svetlana Zakharova and Serguei Filin are at their best in spite of the difficulty of Pierre Lacotte's choreography.
Shuffle Along: Original Cast Recording / Sissle, Blake, Miller, Lyles, Saunders, Browning
The 1921 musical comedy, Shuffle Along, was a soaringly successful Broadway show. Contained inside this show are songs that would eventually become staples in the repertoire, such as “I’m Just Wild About Harry” and “Love Will Find A Way.” This musical also served a civil purpose. As an all black musical, the show desegregated theaters all across the country. This album is being release alongside the April 2016 revival of the show, and features Tony Award-winning stars such as Brian Stokes Mitchell and Audra McDonald.
REVIEWS:
This fascinating release combines original recordings made in the acoustic era by members of the Shuffle Along company in conjunction with later performances, primarily by Noble Sissle and Eubie Blake, who wrote all the music and lyrics. It is, of course, by no means perfect, but it is representative of what was considered a landmark show in the history of black theater and the first “jazz” musical to hit Broadway...
Singer and lyricist Sissle was originally a drum major and vocalist for Lieutenant Jim Europe’s “Hellfighters” 369th Infantry Band in World War I...not even the Original Dixieland Jazz Band had yet made an appearance in New York. To them, jazz was what we now call “hot ragtime.”
Nevertheless, Shuffle Along remains a vitally important historical moment in the history of black entertainment. It was the first all-black show to have a wide appeal to white audiences, first gaining attention at the Howard Theatre in Washington for two weeks, then moving to the 63rd Street Theater in New York City in May before racking up 504 performances(!) at the Cort Theater on 48th Street. The cast included several names that would become famous over the next few years such as Adelaide Hall, Florence Mills (who replaced Gertrude Saunders after the first year), Fredi Washington and Paul Robeson—none of whom recorded anything from the show!—and a very young Josephine Baker in the chorus line.
-- The Art Music Lounge
John Kander - Hidden Trasures, 1950-2015
Considered one of Broadway’s most important composers in the post 1950s era, and still active today nearing 90 years old, John Kander is responsible for the music to such acclaimed shows as Cabaret, Chicago, and Kiss of the Spider Woman to name just a few. This extraordinary 2-CD set spans 55 years of his compositions along with rare demos included featuring Kander with his longtime lyricist Fred Ebb and new recordings of some of his classic songs. Including a deluxe lavishly illustrated 64 page booklet with extensive notes and comments on the songs by Kander. A milestone in musical theatre music releases
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Something's Gotta Give / Simon Keenlyside
The programme includes some of the best-loved numbers in the repertoire, including Cole Porter’s ‘Night and Day’, Rodgers and Hammerstein’s ‘Oh What a Beautiful Mornin’’, and ‘If I Were a Rich Man’ from Fiddler on the Roof. The range represented, from the emotional tour de force of ‘Soliloquy’ to the charming character song ‘Reviewing the Situation’, showcases the many facets of Simon Keenlyside both as an extraordinary vocalist and endlessly charismatic performer.
Bock: Anatevka (Fiddler On The Roof) / Levi, Schellenberger, Kumberger, Ernst, Ebner
The musical Anatevka tells the story of the Jewish milkman Tevye and his family in the Russian Empire around 1905. When the three eldest daughters reach marrying age and, in Tevye’s view, fall in love with completely unsuitable men, his consciously traditional way of life is turned completely upside down. After initial discord over his daughters’ nuptial wishes, love ultimately triumphs and the three girls marry their respective chosen ones. Anatevka wase seen on the Lake Stage in Mörbisch in 2014 for the first time; with its wonderfully beautiful melodies, scenery and a brilliant production, it is a true feast for the eyes and ears.
Gershwin: Music For Violin And Piano
Sondheim: Sweeney Todd / Henschel, Stone, Schirmer
SONDHEIM Sweeney Todd • Ulf Schirmer, cond; Mark Stone ( Sweeney Todd ); Jane Henschel ( Mrs. Lovett ); Gregg Baker ( Anthony Hope ); Rebecca Bottone ( Johanna ); Jonathan Best ( Judge Turpin ); Adrian Dwyer ( Beadle Bamford ); Diana DiMarzio ( Beggar Woman ); Ronald Samm ( Pirelli ); Pascal Charbonneau ( Tobias ); Bavarian R Ch; Munich R O • BR 900316 (2 CDs: 123:59) Live: Munich 5/6/2012
Composer-librettist Stephen Sondheim maintains that Sweeney Todd is not an opera, and so does the annotator for the present release. Nevertheless, Sweeney Todd: The Demon Barber of Fleet Street (its full title), since it premiered on Broadway in 1979, has been revived by several opera companies, including the New York City Opera, the Houston Grand Opera, and the Chicago Lyric Opera. Why? Musically, it is highly sophisticated, and operatic voices are not wasted on it. Furthermore, with its larger-than-life dramatic themes, including mistaken identity, lust, vengeance, obsession, madness, and murder, how more operatic could a theatrical work be?
There have been several recordings of this work, including the unforgettable original cast recording on RCA with Len Cariou in the title role, and Angela Lansbury in the role of Mrs. Lovett, his cheerfully amoral partner in crime. That version will never be eclipsed, but each new recording adds a welcome new perspective. The one reviewed here, recorded in the Munich’s Prinzregententheater, is the most operatic yet, even more than the one with the New York Philharmonic which features singers such as Heidi Grant Murphy (Johanna), John Aler (Beadle Bamford), and Paul Plishka (Judge Turpin). This time around, we have legitimate operatic singers in all of the main roles; only DiMarzio appears not to be a “classical” musician per se. In other words, here we have an ensemble of acting singers, as opposed to singing actors such as Cariou, Lansbury, George Hearn, Patti LuPone, and Michael Cerveris, who all have made major contributions to this opera’s . . . I mean, musical’s performance history.
It turns out fairly well. I was immediately pulled in by Ulf Schirmer’s conducting, which is tense, taut, and stylish. In fact, you might not hear a better conducted Sweeney Todd anywhere. The Bavarian Radio Choir also adds much to the success of this performance. Although their diction is less clear than that of English-speaking ensembles who have recorded this music, their dramatic involvement is high, as is their musicianship.
This is an actual performance. Apparently the time, funds, or energy to correct the inevitable live lapses was unavailable, and thus we have oddities such as Henschel at one point rechristening Beadle Bamford as “Beadle Rumford.” A few memory lapses are covered professionally, but will leave those who know the show well asking, “What did (s)he just sing?” These issues are minor, though.
I’m more concerned about two other points. One is the lack of (black, very black) humor in this production. For example, I can’t understand why, in “A Little Priest,” the wonderfully uncomfortable pun about a meat pie made from a general (“With or without his privates?”) has been removed. This is a grim show, still there is much about it that can be very funny, and allowing it to be so makes the gore and horror even more effective. As the original Mrs. Lovett, Angela Lansbury was charming and endearing; she might bake you into a meat pie, but you couldn’t stay angry with her for long! Henschel can’t inspire that kind of affection, and she makes it clear that her murderous instincts were present even before opportunity allowed them to come out. The other thing that concerns me is the way in which some of the big dramatic moments are almost thrown away. Todd’s aborted murder of Judge Turpin (interrupted by Anthony’s untimely arrival) should be a big moment, but it isn’t. Similarly, soon after, in Todd’s “Epiphany,” we should feel his mind crack and his murderous rage insanely swell to encompass all of mankind, not just the Judge, but Mark Stone is not that fine an actor, the direction is too hurried, and one of the show’s most Brechtian moments doesn’t come off. The last segment of the show, with its string of murders and its Grand Guignol effects, moves forward jerkily, sometimes grinding to a halt, and sometimes not pausing long enough to make its points. On Broadway, Harold Prince would have fixed these miscalculations, but, at least as I am hearing them on CD, they were not addressed in Munich’s Prinzregententheater.
All of the singing itself is very fine. One curiosity is a baritone Anthony; Gregg Baker’s voice is darker than Mark Stone’s. Anthony is supposed to be an inexperienced sailor, newly arrived in London, and the early scenes between him and Todd feel strange, because the voice relationships have been inverted from the original production. I really missed hearing a tenor’s voice soar into “Johanna,” one of Sondheim’s most rapturous love songs. Also, the multinational cast presents a variety of accents. In 1979, Cariou had almost no accent at all, while Lansbury made the most of hers. Here, we have the reverse: a cockney Todd in Baker, and a Mrs. Lovett of no particular nationality or region in Henschel. Someday, there will be a production of this work in which everyone gets on the same page with dialects.
So, if you want an operatic Sweeney Todd , or a fresh look at it, this new recording will satisfy. It has many enjoyable moments, but a few unfortunate ones as well. If you do not know this show at all, however, the Broadway cast recording—still in print, thank goodness!—is the only place to begin. This show is one of the masterpieces of American musical theater, and absolutely needs to be heard.
FANFARE: Raymond Tuttle
Hallelujah, Baby! / Original Broadway Cast
Book by Arthur Laurents, Lyrics by Betty Comden and Adolph Green.
Tracks:
1. Overture 4:12
2. My Own Morning 4:09
3. The Slice 3:10
4. Feet Do Yo' Stuff 2:07
5. Watch My Dust 2:01
6. Smile, Smile 2:59
7. Witches' Brew 2:03
8. Another Day 2:05
9. I Wanted To Change Him 2:20
10. Being Good 3:38
11. Act II: Talking To Yourself 4:16
12. Halleluja, Baby! 3:36
13. Not Mine 3:20
14. I Don't Know Where She Got It 3:40
15. Now's The Time
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