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Subject: Re: Renee Fleming - Broadway album
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Sun, 10 Jun 2018 13:38:18 -0400

text/plain (245 lines)

"Loneliness Of Evening" was written for South Pacific but cut early on. It later found a 
home in several stage and TV versions of the Rodgers and Hammerstein "Cinderella" - the 
Prince sings it in the 2nd TV version that starred Lesley Ann Warren, for instance.

On Sun, 10 Jun 2018 17:05:15 +0000, Sue Harrison <[log in to unmask]> 

> My burning question about the forthcoming Renee Fleming CD:  What is "Loneliness of 
Evening" from R&H's South Pacific?
>Loving the music since my childhood in about 1950, seeing 4 staged productions live 
and multiple film or video shows or concert performances, plus all the major recordings 
issued, I have never encountered "Loneliness of Evening" except as dialogue spoken by 
Emile de Becque before he begins to sing "This Nearly Was Mine." 
>Any ideas?
>Sue Harrison 
>    On Sunday, June 10, 2018, 9:57:49 AM CDT, tom ponti <[log in to unmask]> 
> As for opera singers singing songs, the other day on You Tube I came across Tebaldi 
singing Core n" Grato which when I first heard it, I thought was a wonderful performance 
of a song usually sung by a tenor. Hearing her performance, many years since I last 
heard it, confirmed my first impression as to how wonderful a performance Renata's was. 
I highly recommend it, again. As for Sill's All The Things You Are, I saw that performance 
on TV and thought it was enchanting. It showed what a great singing artist can do with a 
simple but wonderful song.
>From: Discussion of opera and related issues <[log in to unmask]> on 
behalf of donald kane <[log in to unmask]>
>Sent: Sunday, June 10, 2018 10:33 AM
>To: [log in to unmask]
>Subject: Re: [OPERA-L] Renee Fleming - Broadway album
>Yes, the fact that it is Audio alone obviates every reference to visual
>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,
>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.
>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:
>> >> - and also here:
>All the Things You Are (original version) - John 
>Judy Kaye, Cris Groendaal, Rebecca Luker, Davis Gaines
>> >> - 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 &amp; Paul)
>> >> >5.    'Something Wonderful' from "The King and I" (Rodgers &
>> Hammerstein)
>> >> >6.    'Wonderful Guy' from "South Pacific" (Rodgers &amp; 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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