Customer Reviews

Jesus Christ Superstar (1996 London Cast)

5 star:		(32)
4 star:		(14)
3 star:		(4)
2 star:		(6)
1 star:		(4)

 

 

Before you consider purchasing this, consider that there have been quite a few recordings of this piece of work. Naturally, one wonders, which of these is the best all around recording? That for one depends on your personal music tastes.

If you like late 60's/early 70's rock operas/concept albums (such as Tommy, Hair etc.) then I strongly suggest The original 1970 concept album. The concept album features Ian Gillan of Deep Purple as Jesus, Murray Head (One Night in Bangkok) as Judas and Yvonne Elliman (Saturday Night Fever Soundtrack) as Mary Magdalene. The musicians are primarily composed of Joe Cocker's Grease Band and Juicy Lucy. This version is true rock - no Broadway "Showtune" atmosphere on it. This version also is by far the most successful, being a number one album on the Billboard charts (in early 1971), and selling over three million copies.

If you're a fan of Motown recording artist Ben Vereen, I highly recommend The Original 1971 Broadway Cast Highlights Album (Available upon import from footlight music). While it features a rather average Jesus, Ben Vereen adds true soul and original interpretation to the role of Judas, such that is unmatched to this day.

The movie soundtrack, which I rank third in JCS recordings, features tremendous voices (a texan drummer with incredible passion and range as Jesus) but sounds as if it was recorded in a tin can (this refers even to the remastered version). Also, Jesus and Judas are played by the Broadway understudies in this version.

In Fourth place, comes this particular recording. A 1996 British studio album with Steve Balsamo, Zubin Varla, and Alice Cooper, it falls short of the aforementioned recordings. Of course, it is still an excellent recording in and of itself. The performances are passionate, deeply felt portrayals... However, I do get the feeling I'm listening to musical theatre actors pretending to be rock singers (Alice Cooper even sounds more showtunesy then you would think). There's also the fact that these particular singers/actors have borrowed a great deal of interpretation from the JCS albums of the past. I do appreciate the fact that they didn't try to "modernize" the music too much, but the slap bass in the Overture seems a little tacky (again, trying too hard to say "See, we showtunes people can do rock music too!") Sonically, this doesn't hold together as well as the above three.

I've watched/listened to the movie, seen the recent Broadway revival, and I have to keep coming back to this recording as the best, bar none. Steve Balsamo is amazing as Jesus -- his falsetto is incredible (I'm not a vocalist myself, but I have friends who are training in classical music who literally dropped their jaws when they heard Balsamo's "Gethesemane"). His power over the role drives you to tears at moments, as does Zubin Varla's terriffic Judas -- the "cracking" another reviewer mentioned wasn't his voice slipping, it's his characterization -- he's feeling pain, feeling death, and unsure -- and you feel every moment of it. Joanna Ampil is pretty good as Mary (although I think she was better in "The Complete Miss Saigon" as Kim), Alice Cooper brings a brilliantly different twist to King Herod, and the rest of the cast is terriffic.

Glenn Carter, who played Jesus in the recently closed revival (and who took over for Balsamo in London before that) is on here as Simon Zealotes, a role in which he is absolutely superb -- I only wish he could have carried that over into Jesus on Broadway, but unfortunately while his range is perfect for Simon, it fell pretty short as Jesus -- even if you didn't like him as Jesus, I think you'll like him here...and if you did, you'll love him here.

Anyway, this is THE recording to buy of this show -- the orchestrations are incredible, the engineering is terriffic (I'm a musician and a sound engineer, and I can only have the utmost respect for the musicians and engineers on this CD, as much if not more than the cast), and the performances are superb. Wow!

I am extensivly into musical theater, and I have heard every version of Jesus Christ Superstar to date. I must say this is the best made so far. The cast and orchestra is incredible and the man who plays Jesus is one of the most incredible voices of his generation. During "Gethsaname" he sings a "G" above high "C" and holds it for 20 seconds. You must hear it to believe it.

This is the newly re-released and Remastered Edition of the West End 1996 Production of JCS Starring Steve Balasmo, Joanna Ampil and Zubin Varla. First I have to comment on the new packaging. 2cd in a slim case with slip cover and new lyric book. The best thing about the new release is the colored photos from the production! I was actually under the impression that this was the production that inspired the new movie "RENT/PUNK" style version, but judging from the pictures it's anything but that! The pictures are set in the time of Christ's crucifixion. You get a glimpse of the amazing sets and costumes. Joanna Ampil's a beautiful Mary and Steve and Zubin look great as Jesus and Judas. If you're interested in the new release the must have the "Digitally Remastered at Abbey Roads Studios London Deluxe Edition" black sticker on it!

I have the Original Concept CD, Broadway CD with , Australian 1994 CD and 25th Anniversary CD (which is pretty much a joke). This is my favorite version all together. The orchestrations have been slightly changed and updated, including a final ending to "Heaven on their Minds," "Everything's Alright" and "Gethsemene" which finally seems to get some closure instead of the annoying fade outs on the previous CDs. THERE AREN'T ANY FADE OUTS IN LIVE PERFORMANCES!

Steve Balasmo tackels the title role of Jesus with fierce intensity. "Gethsemane" is literally the showstopper when he raises his key much higher when he gets to "See how I DIIIIIIIIIIIIIIIIIEEEEE!" He holds it for, including starting with "See how I die" for 24 seconds. Another reviewer said it was a G above High C. Simply and utterly amazing. But Steve's voice is an aquired taste in the role of Jesus. In comparing him to Ted Neeley, Steve has a soft beautiful Tenor quality while Ted's is hard and sharp at the edge's. Ted screams his way through "Gethsemene" and it's amazing, but Steve's rendition is done with more of a pop-rock sound that is easier on the throat than all the screaming Ted and the other Jesus's do. All versions are amazing, but I prefer this one over all. (For all you Steve Balasmo fans out there you can catch him on the cast recording of "Notre Dame De Paris." He plays Phoebus and sings the amazing "Torn Apart")

Zubin Varla is a great Judas, much stronger than Jerome Pradon, but is no Carl Anderson or Ben Vereen. Although I like Jerome's acting all we have is Zubin's voice to go by and I prefer listening to Zubin. His "Heaven on their Minds" is near perfect with amazing Orchestral sounds and vocal riffs. His acting is superb too. Carl and Ben sing more souful and Zubin has more of the edgy rock sound. All are great.

Joanna Ampil (of "Miss Saigon" fame, you can hear her as Kim on the "Complete Recording of Miss Saigon, 2CD) is a little weak, timid, and shy to portray the role of the prostitute Mary Magdeline. Original Yvonne Elliman seemed to capture every essence of the character. Claire Moore, original Ellen of Miss Saigon does a fine job of Mary on the 20th Annv CD, but Joanna's voice is beautiful and soothing, but sounds too technically clean. This is a Rock Opera so I need a little more umpf. I needed her to let loose some more in the repeating finale of "Everything's Alright". Although she's not bad at all, but seems to get lost among the belters.

Glenn Carter is Simon on this CD, you might all know him as Jesus in the new DVD vesion of Jesus Christ Superstar that was released a few years back. HE does well as Simon, belting all those notes out. David Burt is a good follow up as Pilate since Barry Denon played the part 3 times in the 70s. "Could We Start Again Please" is hauntingly beatiful. The rest of the cast does the CD justice.
Overall I would say this is the best recording. There are some performers here and there that are better on other recordings, but it's impossible to have the ultra perfect cast, for that you would have to create a mix tape.

Also on Remastered Re-Release
Joseph London Cast
Aspects of Love (Brilliant Re-Release)
Sunset Blvd (Glenn Close)
Cats London
Cats Broadway
Song and Dance London
Starlight Express

Jesus Christ Superstar was Andrew Lloyd Webber's first big success and the second musical he did with, in my opinion, his best lyricist, Tim Rice. The show evoked much controversy when it first appeared in 1970, since the story of the Christ's final days is mainly told from the Judas' point of view and not always according to the Gospels. Hence Mary Magdalene mentions that she is in love with Jesus and after the last supper the Apostles are a bit drunk.

Jesus Christ Superstar is considered as a turning point in modern musical-theatre. It presented something entirely different from past musicals: the plot was new and distinct, the lyrics did not sound shallow and the characters were precisely defined. Also, the piece was entirely sung-through so that the music and the plot became one. All the new musicals afterwards will use some of the new characteristics Superstar introduced leading to almost complete abandonment of the styles that the 50-is and the 60-is used in musicals.

Over the years there were quite a few recordings, however, this one can be considered definite. Both Lloyd Webber and Tim Rice overlooked its making acting as producers, Lloyd Webber making the orchestrations. The cast was mainly assembled from the revival production that run in London from 1996 until 1998, but this recording is known as the studio cast, since Alice Cooper was called in for the role of King Herod. The score is certainly one of the best Webber has ever written; the pure rock sound of the orchestra is simply amazing. When compared to the older recordings, this one has a more polished score and the sound, i.e., the use of the guitars, drums etc, sounds more modern and appropriate. Tim Rice's lyrics are suitable and witty, fitting perfectly with the score.

The cast on this recording made a fantastic job. Steve Balsamo as Jesus is a perfect match in both physical and vocal sense. His voice range is amazing and ranges from smooth and soft to extremely high. The way he holds his voice and hits the notes in "Gethsemane" left me with my mouth opened. One can feel the pain, sadness and unwillingness to finish his task and be crucified. His performance is absolutely amazing. The same thing can be said for Zubin Varla, who plays Judas. His voice is appropriately husky and his solos bring the house down. A clear distinction can be seen between his and Balsamo's voice. Joanna Ampil as Mary Magdalene is reasonable, although she sounds a bit too pathetic for my taste. Alice Cooper is hilarious in his "King Herod's Song", exactly as it is meant to be. The supportive cast was also wisely chosen, David Burt is strong and yet uncertain Pilate, the malice felt in Peter Gallagher's Caiaphas is just perfect. The orchestral performance is spotless. The score ranges from rock numbers to wonderful and touching ballads. The full libretto with cast photographs is included in the booklet.

In the end, I would recommend this recording of Jesus Christ Superstar not only to anyone interested in the very best that the modern musical-theatre has to offer, but also to fans who are looking for the definite recording.

Jesus Christ Superstar was Andrew Lloyd Webber's first big success and the second musical he did with, in my opinion, his best lyricist, Tim Rice. The show evoked much controversy when it first appeared in 1970, since the story of the Christ's final days is mainly told from the Judas' point of view and not always according to the Gospels. Hence Mary Magdalene mentions that she is in love with Jesus and after the last supper the Apostles are a bit drunk.

Jesus Christ Superstar is considered as a turning point in modern musical-theatre. It presented something entirely different from past musicals: the plot was new and distinct, the lyrics did not sound shallow and the characters were precisely defined. Also, the piece was entirely sung-through so that the music and the plot became one. All the new musicals afterwards will use some of the new characteristics Superstar introduced leading to almost complete abandonment of the styles that the 50-is and the 60-is used in musicals.

Over the years there were quite a few recordings, however, this one can be considered definite. Both Lloyd Webber and Tim Rice overlooked its making acting as producers, Lloyd Webber making the orchestrations. The cast was mainly assembled from the revival production that run in London from 1996 until 1998, but this recording is known as the studio cast, since Alice Cooper was called in for the role of King Herod. The score is certainly one of the best Webber has ever written; the pure rock sound of the orchestra is simply amazing. When compared to the older recordings, this one has a more polished score and the sound, i.e., the use of the guitars, drums etc, sounds more modern and appropriate. Tim Rice's lyrics are suitable and witty, fitting perfectly with the score.

The cast on this recording made a fantastic job. Steve Balsamo as Jesus is a perfect match in both physical and vocal sense. His voice range is amazing and ranges from smooth and soft to extremely high. The way he holds his voice and hits the notes in "Gethsemane" left me with my mouth opened. One can feel the pain, sadness and unwillingness to finish his task and be crucified. His performance is absolutely amazing. The same thing can be said for Zubin Varla, who plays Judas. His voice is appropriately husky and his solos bring the house down. A clear distinction can be seen between his and Balsamo's voice. Joanna Ampil as Mary Magdalene is reasonable, although she sounds a bit too pathetic for my taste. Alice Cooper is hilarious in his "King Herod's Song", exactly as it is meant to be. The supportive cast was also wisely chosen, David Burt is strong and yet uncertain Pilate, the malice felt in Peter Gallagher's Caiaphas is just perfect. The orchestral performance is spotless. The score ranges from rock numbers to wonderful and touching ballads. The full libretto with cast photographs is included in the booklet.

In the end, I would recommend this recording of Jesus Christ Superstar not only to anyone interested in the very best that the modern musical-theatre has to offer, but also to fans who are looking for the definite recording.

While scanning the Musical Theatre Rack of my local Borders, I came upon a cluttered section devoted to none other then Andrew Lloyd Webber's unquestionably pleasing, yet maddingly difficult to satisfyingly present, Jesus Christ Superstar.

It is very clear to any Jesus Christ Superstar fan that there are many recordings to choose from, and so selecting one is a very prolonged, often tedious task. As I thumbed through my possibilities, to my momentary displeasure, all I found were 4 movie soundtracks ( JCS blasphemy) and this odd little fellow - The 1996 London Cast.

I glanced from side to side, not knowing what to make of this 2 disked, somewhat unfairly priced sore thumb of an album, wrapped to hell in back in seran, and safely tucked away in a plastic container, making an instinctual inspection impossible. I had never even heard of this album, and several thoughts passed through my mind before, with a rasied eyebrow and uncertain wallet, I scooped it up, laied down 60 bucks at the counter, and was off.

When finally I reached home, I toyed with the idea of actually listening to it, in fear of what might pulse through my speakers, either to fill me with rage at my waste of money, or fill my heart and eardrums with full force Andrew Lloyd Webber heaven.

Well, after a few repeat listenings, and a few hours of confusion and nail biting, I can safely conclude the latter.

The 1996 London Cast of Jesus Christ Superstar is most certainly the only album which came close to conveying Webber's rock opera in a nearly perfect manner (notice how I say nearly though, as this album is not with out it's flaws)

The cast is no less then exceptional, headed by Steve Balsamo as Jesus. Balsamo's range is something to behold, as he nails each of his songs with emtion and a subtle zest. His "I Only Want to Say", in which he holds "Die" on a considerably high note for what seems 40 seconds (now thats stage power if I've ever heared it), is simply perfect.

Zubin Varla as Judas is extremly refreshing. Like the definitive Judas before him, Murray Head, his unconventional voice convey's such emtion, that his solos, especially "Heaven on Their Minds" are some of the best on the album. His entrance in "Everythings Alright" is absolutly chilling.

Joanna Ampil as Mary is also a new twist. Her crystal clear voice makes her Mary stand out from past, more earthy, interpretations. She convey's a genuine mother in Mary, making such tunes as "Could We Star Again, Please" truely enjoyable.

Possibly my favorite performance on the album is Les Mis Alumnis David Burt as Pontius Pilate. Burt takes the character of Pilate, often portrayed rather colorlessly, and gives him such great emtion, truely acting. The best example of this, oddly, is Pilate and Christ, in which he conveys such real humour, surprise, and anger. A great performance.

Now onto my favorite Stage Duo Lloyd Webber has ever produced - Caiaphas and Annas.

As Caiaphas, Peter Gallagher is truely malicious! His deep, somewhat throaty voice, bellows marvelously, making for some of the most chilling and thrilling moments on the album. Truely great!

As Annas, Martin Callghan perfectly counters Gallagher, without straineg, or forcing fallsetto's, as past Annas' have. In fact, his tone of voice changes with each song, almost giving the effect of being a subconcious to Caiaphas, changing with each mood or tone. For example, in "Jesus Must Die", he is very urgent, almost twangy, in "Blood Money" he is deliciously bussiness like and unfeeling, and finally in "Judas' Death", he is wickedly pleased, yet confused with Judas' actions.

Finally Alice Cooper makes an interesting Herod. He adds a rocky feel to the king often portrayed as a drag queen. His voice is a bit to gravel esque for my taste, but he adds a new twist not yet achieved since the 1992 Austrailian cast which featured Angry Anderson as Herod, in a musical thats all about interpretations.

All in all a worthy album for Superstar fans!

Okay here's the thing. I have always been a fan of JCS yet I resisted buying any other recording aside from the concept album because I enjoyed that so much. However, I was extremely surprised when I began listening to this CD because of it's truly awesome orchestrations and singing. I don't know how to accurately describe it other than to say now JCS sounds even more hip and moving. The music is now even more powerful and everything that may have been a little scratchy in the original recording is cleaned out here. I mention this only because that was my one major problem with the concept album...it really sounded like a studio recording...with audible mixes in the middle of a song...there is no pause in tempo like there are on some parts of the concept. Basically, this one is superior because of its crispness and texture...and the voices can't hurt either. Alice Cooper is a hoot...he would be awesome to see on stage. I would recommend this to all that have resisted shelling out the dough to buy another recording...this one is worth the money and will fit right in with your fond memories of the concept recording.

For anyone who is a true fan of JCS, if you want to hear how Jesus should sound, listen to this recording. Having heard this, I was very quickly convinced that Steve Balsamo is the finest Jesus that has yet been found. Recently, I went to the Gala opening of the International Festival of Musical Theatre in Cardiff, Wales. Following some pretty mediocre performances, Steve Balsamo came on stage and performed Gethsemane. It was the most amazing thing I have ever heard at the theatre. Just that 5 or so minutes surpassed any performance I've seen performed live. I just hope that one day he will return to the cast of the show so I can watch his complete performance.

This would undoubtedly be a five-star product were it not for one tiny little detail - that most unrewarding of female supporting leads, Mary Magdalene. True, Joanna Ampil does have a very pretty voice.

But could she possibly be more British?

Seriously. Her diction is crisp and impeccable, at the cost of emotion and nuance. Her Mary Magdalene sounds more suited to exhorting the value of a spoonful of sugar before medicine. It throws off the balance between the male leads and the only female presence in the show, and ruins some of the best songs in the whole show ("I Don't Know How To Love Him" is almost laughable, a perky mess of a rendition).

This imbalance is only exacerbated by the reason for the four-star rating - the two leads. Simply put, they're perfect. Steve Balsamo is possibly the best Jesus on record, his gorgeous, clear, unbelievably powerful tenor voice lending a whole new dimension to the character (generally he's played by a more "rock"-voiced actor, as is Judas). He absolutely blasts his songs out of the park, too - this "Gethsemane" has to be heard to be believed, and his reprimand of the sinners in "The Temple" is sung in FULL CHEST VOICE to insane effect. Zubin Varla is more than his equal as Judas, with just the right blend of pathos and power. And he doesn't have half-bad pipes, either - listen to his soaring high notes in "Heaven on their Minds" or "Superstar".

Alice Cooper (Yes, that Alice Cooper) has way too much fun with Herod, David Burt is excellent and sympathetic as Pilate, and Glenn Carter, who would go on to play Jesus in the 2001 Broadway revival, is a suitably impassioned Simon Zealotes. The orchestra sounds a little muted, but play with vigor.

So, if you're only into Jesus for Mary, don't bother. But if you feel like revisiting Sir Lloyd Webber's best score and enjoying the performances of the lead men, this set is definitely worth the money.