About to buy a copy off Amazon ( really cheap OBC )But having never heard any of the recordings before, which one would people suggest.
Have seen the movie and also a stunning production by the Melbourne Theatre Company.
Well I didn't want to get into it, but he's a Satanist.
Every full moon he sacrifices 4 puppies to the Dark Lord and smears their blood on his paino.
This should help you understand the score for Wicked a little bit more.
Tazber's: Reply to
Is Stephen Schwartz a Practicing Christian
I prefer the Original London Cast Recording, but the OBC is worth getting. A Little Night Music is probably my second favorite Sondheim score (after Sweeney Todd).
The OBCR is the best of the in print recordings--gorgeous enhanced orchestra (didn't they add something like 20 strings) and classic performances, plus, with Night Waltz II on the restored edition (make sure you get that and not the 80s/early 90s printing), great new sound the only major music you'll miss (well I miss) is the dinner underscore... Plus they added the film Glamorous Life as a bonus track and it's gorgeous (and has never been performed as gorgeously since)
The London cast album has some highlights but the only toher CD I play is the Royal National one with Judi Dench--great performances, a bit more complete with the odd changes made (Husband the Pig and a new amalgmated Glamorous Life), but now VERY VERY VERY hard to find.
I also have an odd fondness for the soundtrack--the orchestrations are tighter (especially Little Death), the performance son record all good (Laurence and Len are more polished than they were on the OBCR) to brilliant (Diana Rigg) and I like some of the changes to the score (the new material, tightenign and reordering Now/Soon/Later, making Henrick/Erik a lower key which contrasts the other voices better--and means I can sing him). But it's of course very incomplete if you love the score.
So by all means, especially as you said it was cheap, go with the grand OBCR.
I love the OBCR. But if you can somehow get a copy of it, the RNT production with Judy Dench is quite lovely. Patricia Hodge is by far my favorite Charlotte. Her "Every Day a Little Death" is heartbreaking. Also - the inclusion of "My Husband, the Pig" is a bit extraneous, but quite funny. There is also lots of dialogue on this recording. I highly recommend it.
Original London cast is my favorite. It has more warmth and character in the recording. The remastered Broadway recording is nice, but sounds rather cold and antiseptic to me. The synthetic "hall" effect so popular in the early-to-mid 70s makes it sound like it was recorded in a giant empty metal water tower. It drives me nuts.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
I don't really get complaints about the sound of the OBCR--Lieberson came outa retirement to record the score as he loved it so much (as he would do later for Chorus Line) and lavished full attention on it. The main difference I hear betwen it and the London is the London uses the MUCH smaller (particularly in terms of strings) stage orchestrations... Otherwise the acoustics sound similar to me (certainly it doesn't suffer from the Capitol "sound" of their 70s recordings which seem recorded in a parking garage--ie Follies)
Will also see if i can track down the RNT Production as well.
Well I didn't want to get into it, but he's a Satanist.
Every full moon he sacrifices 4 puppies to the Dark Lord and smears their blood on his paino.
This should help you understand the score for Wicked a little bit more.
Tazber's: Reply to
Is Stephen Schwartz a Practicing Christian
To me it doesn't get better than Patricia Elliot, Len Cariou, Laurence Guittard, Glynis Johns, Victoria Mallory, and Mark Lambert all in the same recording. OBCR all the way.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
I still find the Johns' rendition of "Clowns" definitive, though La Dench is a close second. I love that recording, except Hodge, whose strange warble isn't my taste. I'm not bothered at all by the amalgamated "Glamourous Life," but perhaps it's from repeated playings; I love the "Petra's song" piece, sung alone in the film, and cannot get enough. I agree that Rigg's Charlotte is perhaps the single best bit of casting of that role, ever; too bad Prince couldn't film the show with anything approximating the right style (Vincent Minelli ... if only.) I didn't know that "Petra's Song" had been added to the re-issue. Who does it? I backordered the DVD, by the way, and they are to be mailed 6/5.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling