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Post by tmesis on Sept 30, 2017 10:26:06 GMT
That's an incredibly difficult diminuendo to pull off and, especially live, most (including Pavarotti when he did it at ROH) don't even attempt it. Kaufmann had no trouble doing it at will in that TV programme about tenors that Pappano presented a year or two ago. But Kaufmann is Kaufmann! Yes, I'm a big Jonas fan. I would say I've seen everything he's done at The Garden in the last 10 years, including an amazing Winterreise. I'm bereft because this seasons he's NOT COMING AT ALL.
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Post by tmesis on Sept 29, 2017 19:37:08 GMT
Jimmy Van Heusen
I like the fact his real name is Edward Chester Babcock but he nicked his name from the shirt manufacturer.
After the Great 5 this is the guy I admire the most and he gets little attention. I find his songs almost the most satisfying of all to play on the piano, probably even more than Kern. His harmonies are exquisite and subtle with great use of 7ths and 9ths. He had a great understanding of a song's structure and effortless ability to modulate.
Highlights: (with some favourite versions)
All the way Call me irresponsible (Bobby Darrin) Love is the tender trap But beautiful (Maria Ewing and R.R. Bennett) Here's that rainy day (Kings Singers arr. R. R. Bennett) Imagination (Ella) Like Someone in Love (Chet Baker) Polka dots and Moonbeams (John Pizzarelli) I thought about you (Sinatra or Pizzarelli) My Kind of town (Sinatra) Come fly with me (Sinatra with amazing Billy May arrangement.)
Many of his songs were written especially for Sinatra and occasionally the words are a bit toe-curling as in Polkadots by Burke (but what an exquisite tune) and I don't like him when he is more out and out commercial as in High Hopes and Love and Marriage. At his very considerable best, he can more than hold his own with, and sometimes surpass, the Great 5.
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Post by tmesis on Sept 29, 2017 17:25:13 GMT
PS Regarding the ENO Aida, I have to congratulate the tenor on executing an excellent diminuendo on the final high B flat in 'Celeste Aida' as written by Verdi, but the rather lukewarm reception from the audience showed that he might as well not have bothered and he probably would have got more applause had he sung it fortissimo! And the reviewer in the Guardian has explained that the strange items brought on during the Triumphal March were flag-draped coffins of Egyptian warriors killed in the war in Ethiopia. I should have twigged that but, as the reviewer also remarked, some of the things in the first half were rather bewildering. He says the production improved in the second half and I know I should have stayed, but the sound of the orchestra was really bugging me, which is why I went home. That's an incredibly difficult diminuendo to pull off and, especially live, most (including Pavarotti when he did it at ROH) don't even attempt it. I'll be seeing it in about a fortnight's time ...
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Post by tmesis on Sept 29, 2017 5:57:52 GMT
Having read the novel and also seen the film several times, I find the reveal as to whodunnit, really unsatisfying
Another one is The Murder of Roger Ackroyd which is considered to be her cleverest denouement. I think you can only carry misdirection so far without feeling cheated.
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Post by tmesis on Sept 28, 2017 14:11:29 GMT
As much as I love the original film, Albert Finney was so hammy you could practically see him gnawing his way through the scenery mid-shot. Plus he always reminded me of Marcel, one of the characters from the late, great Kenny Everett: ...and who could forget the fabulously named Cupid Stunt, 'All done in the best possible taste!'
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Post by tmesis on Sept 27, 2017 10:57:08 GMT
All reviews I've read (about six) are a unanimous 2 stars!
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Post by tmesis on Sept 27, 2017 7:10:52 GMT
Omission:
I also like:
No Other Love
from Me and Juliet
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Post by tmesis on Sept 27, 2017 7:03:26 GMT
Rodgers and Hammerstein - 'Odds and Sods.'
There are a few other excellent songs from some of their much less successful shows.
From Allegro:
So Far A fellow needs a girl What a lovely day for a wedding Come Home
Southwark Playhouse did an excellent production of this a few years back. The Union also had a valiant attempt at Pipe Dream but frankly I don't think they should have bothered!
I would have thought Flower Drum Song definitely worth an airing with some top-notch songs:
I enjoy being a Girl Sunday Grant Avenue
but I think getting the ethnicity of the cast right in these sensitive times is what is preventing a revival ( that's probably why there have been few performances of The King and I.)
However, I have left my favourite R&H song of all time 'til last (roll of drums):
It might as well be Spring - this might almost be the loveliest music-theatre song ever written (L&L's Heather on the Hill runs it close.) It's an absolutely exquisite melody that I never tire of hearing or playing. I love how Rodgers goes to the flattened 7th at the end of the first phrase on the word 'string' and then the middle 8 just compliments the first section so well and there is a delicious extension to the 'A' section at the end. You would die happy if you'd just written this one song, but then there's all the rest. Bryn Terfel does a superb version of this, but my actual favourite is by the jazz guitarist and vocalist John Pizzarelli, of whom I'm a massive fan for any of the Great American Songbook.
This song comes from State Fair which, as you all know was originally a film musical, but Finborough/Trafalgar did an excellent production a number of years ago.
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Post by tmesis on Sept 27, 2017 6:20:17 GMT
Actually I'd like to strangle the Queen of the Night in Flute. Much as I love the oprera, her two showy arias bore me stiff and I bet she's always hated by the rest of the cast, because she always gets, but usually doesn't deserve, the biggest ovation.
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Post by tmesis on Sept 27, 2017 6:15:35 GMT
I'd kinda like to slap Pinkerton in Butterfly but I suppose that's a bit obvious!
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Post by tmesis on Sept 26, 2017 6:47:23 GMT
The best thing for me about the original film was the music by Richard Rodney Bennett. I wasn't impressed by the music in the trailer but it did look very stylish. I totally agree. Bennett was a genius.
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Post by tmesis on Sept 25, 2017 20:27:14 GMT
Dawnstar The Curve has done some terrific productions of musicals in the past few years - Oliver, Hairspray, a fantastic Chicago and Hello Dolly with Janie Dee.
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Post by tmesis on Sept 25, 2017 19:54:04 GMT
The Sound of Music
Well a lot of people can't stand this one, finding it too saccharine and although it does not have the same quality of amazing songs as his other massive successes, I still really enjoy it and am moved by it. Frankly it would be nigh on impossible to give it the depth of the others, with all the music that is required for the children.
Favourites:
My favourite things - another rare use of (mainly) the minor key by Rodgers
Edelweiss - it takes real class to write a tune this simple but completely original and memorable. He obviously succeeded because some Austrians think it's a folk tune that they learnt as children!
Processional March - I love how Rodgers writes a stonking tune for the wedding that then combines deliciously with 'How do you solve a problem.'
Something Good - written for the film with words by Rodgers, a lovely ballad.
Climb Ev'ry Mountain - the pseudo-religious one. It's more clever than it seems, with virtually every phrase in the tune a rising phrase that literally depicts the climbing of a mountain. Interesting shifting key-scheme.
I really enjoyed the Curve production of this a few Christmases ago.
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Post by tmesis on Sept 25, 2017 15:10:54 GMT
The King and I
I have great affection for this show. It was my first paid gig. In the late 60s at age 14, I played clarinet in the pit for a local amateur production in Derbyshire.
Favourites:
Hello Young Lovers - another great waltz with a feeling of calm because of the double pedal
We kiss in a shadow - a lovely song. The flute arabesque in the arrangement is a nice touch.
I have Dreamed - a really sumptuous ballad. Interesting structure, love how he re-states the tune a third higher early on. Gives the song a great lift
Something Wonderful - the pseudo-religious number that is now obligatory in his musicals.
I love the recorded version with Julie Andrews. It's such a shame she never played the part of Anna live as it's made for her.
Embarrassing Admission: I've never seen a professional production of this musical!
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Post by tmesis on Sept 25, 2017 7:42:52 GMT
That's fascinating. would have love to hear Lenny conduct G&S!
Here's another (unrelated) fascinating fact; in James Kaplan's book on Sinatra he mentions that 'the chairman' not only loved opera, particularly Puccini, but he was also a great fan of Vaughan Williams.
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Post by tmesis on Sept 24, 2017 23:16:34 GMT
Yes, I use it all the time, mainly to add artistic verisimilitude to an otherwise bald unconvincing narrative. Pooh Bar from the Mikado - I'm just showing off now, as I said elsewhere I was, as a student. rehearsal accompanist for G&S productions and can still play most of the songs and parrot most of the dialogue.
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Post by tmesis on Sept 24, 2017 21:13:11 GMT
Gosh, that makes me feel very old. I remember when La Bohème at the ROH always had three intervals, but they were not 30 minutes! The Copley production was always just two intervals with acts 1 and 2 run together. The trend at The Garden for over ten years or so is to have fewer intervals. Many productions in the 70s and 80s used to end at 11.00pm or later. Now everything is timed to end on, or before 10.30 pm. There is a fantastic site I've only just discovered that lists all the casts and running times of virtually every performance at ROH. rohcollections.org.uk (Go to performance database, 3rd tab.)
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Post by tmesis on Sept 24, 2017 20:47:08 GMT
Finally The Sound of Music. there was great recent production at Regents Park and it made me reconsider. Glad you've come back to it. I've always liked it but it does have some irksome moments! Will waffle on about it later.
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Post by tmesis on Sept 24, 2017 20:35:35 GMT
South Pacific
Again this is so good (as Tony says) my favourites are all of them.
Twin Soliloquies - I think this absolutely exquisite, really touching, almost Puccini-esque.
Some enchanted evening - I love playing this on the piano, you can really give it wellie. Probably Rodgers's grandest melody.
Bloody Mary/There is nothing like a Dame - Rodgers was fantastic at these rousing chorus numbers.
I'm in love with a wonderful Guy - probably my favourite amongst his waltzes. This is an example of Rodgers having such a profusion of musical ideas he can almost afford to waste them. The verse alone has two cracking tunes; the first one, minor key 'I expect every one' and then the most expansive 'Fearlessly I'll face them' in the major and that drives so deliciously into the chorus 'I'm as corny,' all enhanced by the superb R.R.Bennett arrangement. I really admire this song!
Younger than Springtime - probably his simplest ballad musically but exquisite.
This nearly was mine - what a fabulously noble tune and in E flat too! This is a joy to play with a great middle section.
I've just listened again to the Kiri/Jose/Tunick version and it's way better than I remembered. Kiri is really excellent and so much more relaxed than on WSS. She had been working with Riddle in between and it shows. Jose is better too but his part was written for an opera singer, albeit a baritone. Sarah and Mandy are just sensational and the great LSO are conducted with real verve by Tunick.
Again loved the NT production (Philip Quast magnificent) more than the NY production that came to the Barbican.
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Post by tmesis on Sept 24, 2017 19:35:39 GMT
One - 1/2 hr.
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Post by tmesis on Sept 24, 2017 19:33:19 GMT
Anyone know the running time? Yesterday's cast list gives it 2hrs 25 mins, however website says 2' 35' which was about right for the matinee.
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Post by tmesis on Sept 24, 2017 19:16:32 GMT
tmesis I went to Royal Holloway too! I was there 2000-2003, so Eminem was all the range and all the posh kids spoke like rappers from a dodgy bit of London until they got on the phone to mum and suddenly developed plums in their mouths. This was back when the payphones in the stair wells in Halls still got some use. Having gone to the local comp in Essex and never met anyone from a private school before it was startling to find so many of them had been - not that people would actually tell you that, it being very unfashionable, but I soon figured out that if they'd studied classics they'd almost certainly gone to private school. I loved uni. Looking back I worked far too hard and didn't go out nearly enough, but then I was first-generation uni so I really wanted to do well to justify my parents paying fees and taking out a loan (in retrospect both tiny!) to be there. Yes, once I got used to it I really loved it and have barely moved out of the area. The strange thing is, although I found the public school vibe very alien, I actually thought all universities were like that, because the whole concept of university was so off the radar for someone from a very working class mining village in Derbyshire. No one in my family had ever been to university and no one I knew had either. Luckily I shared a room with a nice guy from Liverpool, but even he seemed a bit posh because his dad was an accountant!
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Post by tmesis on Sept 24, 2017 18:52:15 GMT
Jussi Björling & Robert Merrill singing "Solenne in quest' ora" should be savoured. The Björing/Merrill recording of the Temple Duet from 'The Pearl Fishers' remained at the top of the list of 'Your Hundred Best Tunes' on the BBC Radio 2 programme throughout its long run starting in 1959, presented first by Alan Keith and then by Richard Baker. Björling was of course endowed with an amazing voice that was perfect for the lyric tenor roles but could also harden at the top for heroic roles in operas like Trovatore, Aida and Forza. As much as I admire Kaufmann's talent I don't think he has that ability – unfortunately! My favourite Bjorling moment is in 'Salut! Demeure chaste et pure' from Gounod's Faust.* The isolated high C (?) near the end he hits with such ardour, precision and all so effortlessly within the phrase, it makes you want to pass out with pleasure and excitement. It's my (some claim this) single favourite moment in a recorded tenor aria. * Jussi Bjorling Opera arias vol. 1 (EMI.)
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Post by tmesis on Sept 24, 2017 18:40:22 GMT
Worth £230? Hard to say since I'm usually in the amphitheatre, although top price there for this is £97 OK then – same question. Was it worth £97 for central front Amphi? Those seats have excellent sound but they are rather cramped, have no armrests and are actually rather a long way from the stage for both opera and ballet. I would actually say it is worth that. Despite some production niggles and a few vocal issues I did enjoy it considerably. Obviously the production is not in the Copley league, but we old lags didn't expect it to be. I would have been happy if Jones hadn't f***** it up completely but it's way better than that. (Oh God I really do sound like I'm damning with faint praise!) What elevates is Pappano's conducting; you won't find a better conducted Boheme in the world today.
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Post by tmesis on Sept 24, 2017 16:38:41 GMT
Worth £230? Hard to say since I'm usually in the amphitheatre, although top price there for this is £97!
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Post by tmesis on Sept 24, 2017 16:20:41 GMT
Rodgers and Hammerstein
It's very interesting that there's no falling off of Rodger's melodic gift when he composes to a pre-existing lyric; in fact, you could argue that his melodies are even more impressive with Hammerstein than with Hart. His tunes are definitely more expansive for Hammerstein, more operatic even. His harmonies, whilst still very sophisticated are simpler than with Hart. His ability to write a cracking Waltz, always there with Hart, now comes to the forefront.
It's probably best to discuss songs allied to the actual musicals so...
Oklahoma!
Not much to add to what's already been discussed re Proms performance. People will say we're in Love is probably the stand out song for me. I love how the middle section is the same tune as the opening but inverted. The best version of Surrey is Gordon McCrae but Bryn is superb in this in his R&H cd (it's really excellent all round.)
I loved the NT production.
Carousel
Probably the richest R&H score (although South Pacific is very close.) Where to start, it's absolutely packed with gems! The Carousel Waltz, with it's slightly dissonant harmonies so perfectly evokes, and sets off the fairground vibe but then the quality remains with song, after song. When I marry Mr Snow If I loved You (probably my favourite Rodgers ballad, until I think of another one!) June is bustin' (what a superb rollicking tune with great drive.) When the children are asleep Soliloquy (others have commented more eloquently, but I'm just in awe as to how much musical richness the is in just 7 mins. - more than in a whole musical by ALW.) What's the use of Wonderin' You'll never walk alone (His first hymn-like tune, that he then did once in all his subsequent hit shows.)
Again I loved the NT version but about two years ago there was a superb fringe production at the Arcola. I didn't go to the Coliseum because of my aversion to Jenkins. Surely this should be the next one to get the Wilson treatment at the Proms. You could do the Starkeeper scenes brilliantly at RAH by using the higher levels (the choir area, or, better stil, the gallery.)
I'll pause there, but will return with South Pacific et al...
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Post by tmesis on Sept 24, 2017 15:23:44 GMT
Also, there must surely be some teenagers who don't use that annoying "uptalk"? That does seem, at last, to be on the decrease.
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Post by tmesis on Sept 24, 2017 12:56:10 GMT
the 'teenagers' must be the oldest on the London stage A few of you have said this. The average age of stage 'teenagers' seems to be mid-to-late 20s - Luke Treadaway was 27/28 when Curious Incident started, the History Boys mid-to-late 20s, Pitchfork Disney's Tom Rhys-Harries 25/26, The Ferryman's Fra Fee is 30. Most Hamlets are nearer Uncle Monty's age than a student's. In Mosquitoes, Barclay is late 20s and Quinn is just 23. Kirkwood used to write for TV's teen soap 'Skins', and I thought Jenny and the teenagers were the most well-written characters (maybe that reflects my memories of being a teen and the sort of people I know?) - it was the old mother and the Quaker boyfriend I found least convincing (those two scenes before the interval). I've been teaching teenagers for 42 years and although I felt she captured some of the gaucheness and embarrassment it was way too 'broad brush' and unsubtle; also the acting of the two 'teens' was not nuanced enough.
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Post by tmesis on Sept 23, 2017 21:48:47 GMT
Didn't enjoy this much at all. It's been said before but it's WAY too long. The Olivia's were good but frankly I couldn't care less about any of the characters. The mother was extremely annoying and unbelievable and the 'teenagers' must be the oldest on the London stage. Kirkwood gives them really patronising dialogue that wasn't remotely credible.
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Post by tmesis on Sept 23, 2017 16:20:47 GMT
Kiri was much better in the South Pacific she did with Carreras. I think it was CBS cashing in on the success of DG's WSS who produced it. I thought this much more enjoyable than WSS, not least because it also had Mandy Patinkin and Sarah Vaughan both showing the two 'stars' how it should be done.
Oh and I wasn't at the Barbican for On the Town but, my God, I wish. I had been!
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