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Subject: Re: Renee Fleming - Broadway album
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Sun, 10 Jun 2018 10:33:01 -0400
Content-Type:text/plain
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text/plain (272 lines)


Yes, the fact that it is Audio alone obviates every reference to visual
antics,
yours as well as mine.  I have never succumbed to the purported wonders
of "All The Things You Are".  It may have been the highlight of the show,
but
of a show that seems to have had no life beyond the length of its original
run.  The tune has a way of turning on people who normally have little use
for popular music (I don't know what that says, but it says something), and
the lyrics are Oscar on one of his rare pseudo-Wordworthian off days.  I'd
rather hear Renee Fleming sing any one, or all of the five great songs that
Kern wrote for ROBERTA.:  The Touch of Your Hand, You're Devastating,
Yesterdays, Lovely To Look At, and Smoke Gets In Your Eyes.

dtmk

On Sat, Jun 9, 2018 at 11:07 PM, Jon Goldberg <[log in to unmask]> wrote:

> Well, I'm not sure why the supposed "trappings" of the original
> arrangement might only
> be assessed in a full production, but whatever. I think the superbly
> crafted arrangement
> stands more than solidly on its own. Even Robert Russell Bennett's muted
> string voicings
> in the intro are superb, let alone the rest of the song. And even without
> the big choral
> refrain, the original multi-sectioned verse (something Kern seemed
> particularly adept at -
> look to songs such as "You Are Love" and "Make Believe" from Show Boat as
> other
> examples of complex/extended verse structure), and the beautiful baritone
> counterpoint
> in the first refrain, are wonderful discoveries for anyone who has only
> heard the standard
> version (with an entirely different verse).
>
> But, more to the point, whatever version Fleming may choose, it's an AUDIO
> recording,
> so where she places her hands has absolutely no bearing on anything. Only
> in the context
> of a visual performance might such a thing be assessed, after all.
>
>
> On Sat, 9 Jun 2018 20:00:32 -0400, donald kane <[log in to unmask]> wrote:
>
> >I think Ms. Fleming would do better to ignore the pretentious
> >trappings of the "original version"  (only in the context of a
> >staged performance of VERY WARM FOR MAY might that
> >be assessed), and put her hands in her pockets and just sing
> >"All The ThingsYou Are" as simply and ravishingly as Beverly
> >Sills did in 1973.  It's on Youtube.
> >
> >dtmk
> >
> >On Sat, Jun 9, 2018 at 6:37 PM, Jon Goldberg <[log in to unmask]> wrote:
> >
> >> Well, I think it HAS to be better than her ridiculously horrid and
> >> laughably weak-tea "Dark
> >> Hope" album, yes? The one where she *thinks* she's singing indy pop
> songs?
> >> I mean,
> >> anything would be better than that.
> >>
> >> Actually, many of the choices here are sensible. The gorgeous,
> >> heartbreaking "Fable" from
> >> The Light In The Piazza is essentially an aria, both in terms of
> dramatic
> >> and musical
> >> sweep, and it was written for "legit" soprano voice. Many of the more
> >> classic/older
> >> selections are also easily imaginable in her voice, as long as she
> really
> >> expresses the
> >> TEXT. (And some of the songs, like the Porter "Down In The Depths"
> really
> >> do need to be
> >> text first to the hilt The melody in this case really serves the piquant
> >> text, not the other
> >> way around.)
> >>
> >> Of the other more contemporary choices, I would expect the beautiful
> >> Violet lullaby to be
> >> fine. I'm not so sure about the folk-ish "So Big So Small," and suspect
> >> she will likewise
> >> wrongly oversing Sting's gorgeous folk/pop "August Winds." And probably
> >> the same for
> >> Webber's "Tell Me On A Sunday," which will most likely come off way too
> >> "pretty" and
> >> without the grit a singing actor like Bernadette Peters can give it. We
> >> shall see...;-)
> >>
> >> My REAL wish is that for the last track on the album, Fleming would band
> >> up with 3 other
> >> soloists and a choral ensemble and do the full original stage version of
> >> "All The Things You
> >> Are," which is truly a musical revelation. This original version
> >> (unearthed by the late great
> >> John McGlinn, who did that archival Show Boat album with all the cut
> >> songs, etc)
> >> deserves to be much, much better known - and although I would imagine
> >> Fleming really
> >> doesn't have the 2 high D's for the obbligato section anymore, maybe
> she'd
> >> be willing to
> >> give that to a fellow soprano as she sings the other female solo part?
> >>
> >> (for those of you who haven't heard the stunning original version -
> please
> >> go here:
> >> https://www.youtube.com/watch?v=Kf80ntbCLCc - and also here:
> >> https://www.youtube.com/watch?v=dUNQy0uHUvs - if you doubt me, you
> *will*
> >> be
> >> surprised!)
> >>
> >>
> >> On Sat, 9 Jun 2018 13:42:19 -0400, John Greene <[log in to unmask]>
> >> wrote:
> >>
> >> >Oh, god, NO!
> >> >
> >> >-----Original Message-----
> >> >From: Discussion of opera and related issues <
> [log in to unmask]>
> >> On
> >> >Behalf Of Christopher Weimer
> >> >Sent: Saturday, June 09, 2018 1:30 PM
> >> >To: [log in to unmask]
> >> >Subject: Renee Fleming - Broadway album
> >> >
> >> >Renee Fleming is releasing an album of musical theater songs,
> "Broadway."
> >> >This isn't a total surprise, given her current gig in the "Carousel"
> >> >revival, and I admit I'm curious - though opera singers' success with
> >> >Broadway material has historically been inconsistent, to say the least.
> >> >(Remember the fad for studio albums of classic musicals starring opera
> >> >singers 20-30 years ago?!  A definite mixed bag.)  The track listing,
> >> which
> >> >I'm copying below, does show some interesting repertory choices.
> >> >
> >> >Christopher Weimer
> >> >
> >> >Renee Fleming - Broadway
> >> >1.    'Fable' from "The Light in the Piazza" (Guettel)
> >> >2.    'Loneliness of Evening' from "South Pacific" (Rodgers &
> Hammerstein)
> >> >3.    'Children Will Listen/You've Got to be Taught' from "Into the
> >> >Woods/South Pacific"(Sondheim/Rogers & Hammerstein arr. Couglin), with
> >> guest
> >> >star Leslie Odom, Jr.
> >> >4.    'So Big So Small' from "Dear Evan Hansen" (Pasek & Paul)
> >> >5.    'Something Wonderful' from "The King and I" (Rodgers &
> Hammerstein)
> >> >6.    'Wonderful Guy' from "South Pacific" (Rodgers & Hammerstein)
> >> >7.    'Lay Down Your Head' from "Violet" (Tesori/Crawley)
> >> >8.    'Down in the Depths (on the Ninetieth Floor)' from "Red, Hot and
> >> Blue"
> >> >(Porter)
> >> >9.    'Love and Love Alone/Winter' from "The Visit" (Kander/Ebb)
> >> >10. 'Dear Friend' from "She Loves Me" (Bock/Harnick) 11. 'The Sound of
> >> >Music' from "The Sound of Music" (Rodgers & Hammerstein) 12. 'Unusual
> Way'
> >> >from "Nine" (Yeston) 13. 'Till There Was You' from "The Music Man"
> >> (Wilson)
> >> >14. 'The Glamorous Life' from "A Little Night Music" (Sondheim) 15.
> 'Tell
> >> Me
> >> >on A Sunday' from "Song and Dance" (Lloyd Webber/Black) 16. 'August
> Winds'
> >> >from "The Last Ship" (Sting) 17. 'All the Things You Are' from "Very
> Warm
> >> >for May" (Kern/Hammerstein)
> >> >
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