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Post by couldileaveyou on Jan 8, 2024 17:34:24 GMT
Any more news on a cast recording?
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Post by Someone in a tree on Jan 11, 2024 9:30:20 GMT
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Post by AddisonMizner on Jan 12, 2024 19:55:10 GMT
This is very exciting news! I don’t know if I can contain myself until the Spring though.
All we need now is a London production!
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Post by couldileaveyou on Feb 29, 2024 22:24:02 GMT
A 33 secs clip from a song of the show. The album is to be released in May
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Post by Someone in a tree on Mar 16, 2024 17:15:13 GMT
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Post by couldileaveyou on Apr 5, 2024 14:59:20 GMT
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Post by Someone in a tree on Apr 5, 2024 15:16:35 GMT
Here is the track listing. A lot of singular titles. Track 23 really appeals
1. Here We Are (Overture) 2. The Road 1 (Part 1) 3. The Road 1 (Part 2) 4. The Road 1 (Part 3) 5. Café Everything (Toast 1) 6. Waiter’s Song 7. The Road 2 8. Bistro à la Mode (Toast 2) 9. It Is What It Is 10. The Road 3 11. Osteria Zeno (Toast 3) 12. The Soldier’s Dream 13. The Road 4 (Part 1) 14. The Road 4 (Part 2) 15. Oh, Look, Here's The Embassy! 16. Bishop’s Song 17. End of Act One 18. Entr’acte 19. Digestion 20. Shine 21. Hesitation 22. Double Duet 23. Interlude 1: Marianne And The Bear 24. Interlude 2: Wandering 25. Interlude 3: Snow 26. Hesitation (Reprise) 27. Exit Music
I am VERY excited
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Post by AddisonMizner on Apr 5, 2024 19:16:12 GMT
Me too! Cannot wait! Now, would it be too much to ask for a London transfer?
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Post by couldileaveyou on Apr 9, 2024 13:47:48 GMT
Here is the track listing. A lot of singular titles. Track 23 really appeals 1. Here We Are (Overture) 2. The Road 1 (Part 1) 3. The Road 1 (Part 2) 4. The Road 1 (Part 3) 5. Café Everything (Toast 1) 6. Waiter’s Song 7. The Road 2 8. Bistro à la Mode (Toast 2) 9. It Is What It Is 10. The Road 3 11. Osteria Zeno (Toast 3) 12. The Soldier’s Dream 13. The Road 4 (Part 1) 14. The Road 4 (Part 2) 15. Oh, Look, Here's The Embassy! 16. Bishop’s Song 17. End of Act One 18. Entr’acte 19. Digestion 20. Shine 21. Hesitation 22. Double Duet 23. Interlude 1: Marianne And The Bear 24. Interlude 2: Wandering 25. Interlude 3: Snow 26. Hesitation (Reprise) 27. Exit Music I am VERY excited There must be a lot of incidental music and dialogues, since act too is almost score-free
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Post by Someone in a tree on Apr 26, 2024 7:07:38 GMT
The exit music is now on Spotify
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Post by solangelafitte on Apr 26, 2024 12:40:29 GMT
Just had a listen on Apple Music. This sounds ridiculous I know, but having heard nothing of the score so far I was pleasantly surprised by how Sondheim-y it sounded. Looking forward to hearing the whole thing.
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Post by fluxcapacitor on Apr 28, 2024 21:12:35 GMT
Just had a listen on Apple Music. This sounds ridiculous I know, but having heard nothing of the score so far I was pleasantly surprised by how Sondheim-y it sounded. Looking forward to hearing the whole thing. Oh if there’s one thing that’s undeniable about the piece, it’s how “Sondheim-y” it is. Seeing it live, at times it almost felt like a parody because of how perfectly stereotypically Sondheim it sounds, both musically and lyrically!
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Post by blamerobots on May 17, 2024 14:04:43 GMT
Cast recording is out!
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Post by sf on May 17, 2024 14:49:22 GMT
...and it's wonderful. BUT - The material is what it is - even for Sondheim, it's niche - and the recording isn't going to appeal to everybody. If you're looking for big, sweeping melodies, you won't find them here. This music is spiky, dissonant, sometimes very beautiful, and tied to the surrounding dialogue to the point where this score is (mostly) a set of scenes combining sung and spoken lines rather than a collection of songs. If you aren't a fan of that sort of thing you may well find it unbearably pretentious. If you're on the fence, it probably works best if you treat it as a radio play rather than as a traditional theatre score. Like Passion, only even more so, it makes more sense if you listen to it all the way through rather than dipping in and out. But still, it's worth a go. It's been recorded beautifully, the orchestrations sparkle, the performances are flawless, and it's sometimes very funny. And it's not going to appeal to as many people as a new recording of, say, Company or Follies or Night Music, and it doesn't work as background listening, and that's OK.
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Post by Someone in a tree on May 17, 2024 15:30:23 GMT
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Post by blamerobots on May 17, 2024 15:46:15 GMT
I love it!
Fingers crossed for a UK production.
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Post by sf on May 17, 2024 18:42:09 GMT
David Hyde Pierce singing the Bishop's Song. VERY funny:
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Post by AddisonMizner on May 18, 2024 20:14:05 GMT
I listened to HERE WE ARE this morning.
It is true that it is not Sondheim’s best. It does sound very similar to some of his other work (such as MERRILY, PASSION, SUNDAY and SWEENEY TODD). However, it is an eclectic score, encompassing many different styles in keeping with the films the show is based on and it is very fun. There are also some real standout numbers in this, (such as THE BISHOP’S SONG above). Sondheim at less than his best is still ten times better than most of the original musicals that make it to the stage these days. It also has its own original voice.
I will be listening again tomorrow to consolidate my thoughts. I really hope this is staged ASAP in the UK!
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Post by juicy_but_terribly_drab on May 18, 2024 20:38:08 GMT
Not to say that I think this is Sondheim's best work or anything, but I do find it funny how many different Sondheim shows people say this is similar to. I've seen Road Show, Assassins and The Frogs in addition to those you've just listed. Maybe it just sounds like Sondheim?
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Post by AddisonMizner on May 19, 2024 11:09:34 GMT
Sondheim does have a very distinctive voice, but all of his shows have their own unique sound world. It is hard to believe that the composer of the semi-operatic SWEENEY TODD is the same one who wrote COMPANY as the two pieces are completely different. That is just one example. Who would have thought that Sondheim could write a song like Unworthy of Your Love from ASSASSINS?
Listening to HERE WE ARE for a second time now, and completely loving it. It certainly a show that gives more on repeated listens (as could be argued with all Sondheim's shows).
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