| | Sullivan & Co.: Operas That Got Away. CD Steadm / Sullivan & Co CDS
Sullivan & Co.: Operas That Got Away. Music | Label | Jay Records | | Orig Year | 8/25/1998 | | All Time Sales Rank |  4554  | | CD Universe Part number | 1204819 | | Discs | 1 | | Release Date | Jul 28, 1998 | | Recording Time | 52 minutes |
Sullivan & Co.: Operas That Got Away. Review
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Purchase Sullivan & Co.: Operas That Got Away. To buy, Click on price to add to cart | Sullivan: The Gilbert And Sullivan Overtures / Penny, Et Al CD (1998)
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Kristin Chenoweth capped a rising career in musical theater with her debut solo album, which found her showing off her well-trained soprano in a collection of show tunes, most of which dated to the interwar period. On Irving Berlin's "Let Yourself Go," she tap danced like Fred Astaire in Follow the Fleet, and she worked up a torrent of comic anger in Jule Styne's "If You Hadn't But You Did." Then, she switched gears, proving herself a potently romantic figure in the Gershwins' "How Long Has This Been Going On?" and Rodgers and Hart's "My Funny Valentine." And so it went. Backed by the Coffee Club Orchestra, the resident backup band for City Center's Encores! series of concert versions of lost musicals, with whom she had worked on Strike Up the Band and On a Clear Day You Can See Forever, she recreated one of the Strike Up the Band numbers, the lesser-known Gershwin treat "Hangin' Around With You," abetted by another musical theater veteran who had branched out into TV, Jason Alexander. Jeanine Tesori and Dick Scanlan's previously unheard "The Girl in 14G" allowed her to show off her opera training as well as her scatting abilities, and she fearlessly (and successfully) took on the ghost of Mary Martin by covering "I'm a Stranger Here Myself" from One Touch of Venus. Like an elaborate audition tape, the album seemed designed to suggest that Chenoweth could play any sort of part; sometimes the songs themselves reflected this goal of displaying versatility, notably the obscure Vincent Youmans song "Should I Be Sweet?," in which the singer must bounce back and forth between "sweet" and "hot" personas as she tries to choose between them. But whatever role she undertook, Chenoweth revealed more ...
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Music and lyrics by Laurence O'Keefe.
Recorded at Avatar Studio A, New York, New York on April 9, 2001 and Sear Sound, New York, New York on April 12, 2001. Includes liner notes by Susan Kulpa-Clontz.
Principal cast includes: Deven May (Bat Boy); Daria Hardeman (Ruthie Taylor); Doug Storm (Rick Taylor); Kathy Brier (Ron Taylor); Richard Pruitt (Sheriff Reynolds); Kaitlin Hopkins (Meredith Parker); Kerry Butler (Shelley Parker); Trent Armand Kendall (Roy); Jim Price (Bud).
Personnel: Greg Skaff (acoustic guitar, electric ...
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Music composed by Mark Hollman. Lyrics written by Greg Kotis.
If your first reaction on hearing about a musical called Urinetown is that that's an awful title, don't worry, the authors are way ahead of you. Its awfulness is the point, and Urinetown is as much a musical about a musical as it is, well, a musical. The opening song, for example, is called "Too Much Exposition," and in it, Officer Lockstock (Jeff McCarthy), who acts as the narrator, explains "the central conceit of the show," which is that, in a mythical town suffering a drought, "everyone has to use public bathrooms" and pay high fees, a story line Little Sally (Spencer Kayden) describes as "bad subject matter." Urinetown might as well be called "Allegory-ville," you see, even though that wouldn't be as repulsive -- and therefore as provocative -- a title. Lyricist/librettist Greg Kotis clearly has spent a lot of time studying Bertolt Brecht, and composer/co-lyricist Mark Hollmann is a big fan of Kurt Weill, so that Urinetown's clear antecedents are shows like The Threepenny Opera and Weill/Brecht disciple Mark Blitzstein's The Cradle Will Rock. The story is about the evil rich and the hapless poor, and the authors draw equally from the Depression era of the 1930s and the naďve idealism of the early '60s, casting several of their songs in the folk/gospel style of the freedom songs of the civil rights movement. But they also have absorbed a heavy dollop of the political cynicism of the late '60s; another obvious influence is Frank Zappa, especially in his own unproduceable anti-musical, Thing-Fish. But it's one thing to have all those influences, and it's another to write up to their level, ...
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Track Listing of songs: Ohe Paris; L'Ame des Poetes; Le Roi ...
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Boston Secession (Jane Ring Frank, Artistic Director) presents "Afterlife: German Choral Meditations on Mortality." At the centerpiece of the program is Hugo Distler's haunting yet redemptive "Totentanz (Dance of Death)," a 14-movement work that gives human voice to the dying process. The program also includes Brahms's little known "Missa Canonica," Ruth Lomon's "Chor der Waisen," and Edwin London's realization of J.S. Bach's "Komm, Susser Tod."Conducted by Jane Ring Frank. With guest artists Edward Wu, violin; Jayne West, soprano; Frank Kelley, tenor; and James Demler as the voice of Death.From the CD liner notes by Robert Fink, PhD (UCLA)"...The Boston Secession explores real German music: the dark, baroque intensity of the German Protestant musical imagination. This is mystical music still stuck in the seventeenth century, still grappling with the legacy of the great composers of the Lutheran choirloft and their unworldly obsession with sin and death..."About Boston Secession...Boston Secession is a professional vocal ensemble dedicated to making music ...
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