Customer Reviews

A Little Night Music (1975 Original London Cast)

5 star:		(5)
4 star:		(1)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

I bought this CD because I wanted to avoid the hoarse croaking of Glynis Johns in the Broadway version. Jean Simmons's voice is a step up, though it is also obviously that of a woman who is past her prime. Like so many Desirees, she gets by on her acting. (She never quite gets the rhythms of the tra la la's in "Glamorous Life.") I found Joss Ackland to be a less virile Frederick than others I've heard, but his weakness suits the part, and is actually rather touching. The Anne is somewhat thin and shrill at times. I've always loved the character of Charlotte (including the original in the Bergman film, and Diana Rigg in the movie musical) but this Charlotte is my favorite -- so pungent and incisive. I bet you'll really enjoy the Henrik -- he does a wonderful thing with his voice at the end of "Later," a very expressive, neurasthenic vibrato that is the vocal equivalent of the cello he plays; what a great theater moment. Hermione Gingold's "Liaisons" is divinely frail and worldly, and the actress suffuses it with the attitude of someone who really is acquainted with the Old World aristocracy; though I also enjoyed the sturdiness and bite of Regina Resnik's performance in a different production, I think Hermione's is truer to the character. I find the diction on this recording to be superior -- which is important, given that Sondheim's lyrics are the real star. I would prefer a less-creaky Desiree and a creamier Anne, but this recording offers many delicious moments. (Wait until Anne sings "It's only polite that we should" and Charlotee intones "Good" -- what a magnificent syllable.)

Having finally listened to the Original Broadway Cast Recording of this masterpiece, my verdict's in and clear: the London Cast Recording is the definitive version.

The voices of the London Cast are, to a man (and woman) far superior -- this is most obvious when listening to the Quartet who open the show, and act as the chorus. The American artists, while excellent, simply can't compare to the power, range and tone of the Brits.

The arrangements are gorgeous, the choral work astounding, and the version of "The Miller's Son" found here will floor you. Not only the best recording of this particular show, but possibly the best recording of any Sondheim show available on CD -- Sweeney Todd is the only other contender, for my money.

The Orginal Cast Recording is great for a historical value. The British Cast is what you listen to when you want to hear the best show you'll never have the privilege of seeing. It's ruined me. But I'm not complaining.

Okay, David Kernan may wimp out a little on his ending to "In Praise of Women," but oh, well. Joss Ackland is not as bad as people have made him out to be, it is just that he is an actor from the non-musical world -- but who says that you need Carusos to sing the role of Frederick? He is a fine actor and gives a fine interpretation of the role of the love-lorn lawyer. This Anne is a little whimpy sometimes, but isn't Anne herself a little whimpy? Jean Simmons is a divine Desirée, and Hermoine Gingold's rendition of "Liasons" has improved a great deal since she sang it on Broadway. Diane Langton (as Petra, the maid) gives a fabulous performance of "The Miller's Son," and the orchestra on this track seems to have more of a driving force behind it than it did on the OBCR (it simply has more oomph!). A great album to own, a close second to the 1990 studio cast recording available on Jay Records.

i have both the broadway '73 and london '75 recordings. for my money, jean simmons (london) outdoes glynis johns. but len cariou (broadway)sings circles around mr. ackland. hermione gingold's performance actually improves with age. and the london petra ("the miller's son") is awesome. i think the opening is perfection; but elsewhere some of the ensemble numbers do have the odd tempo now and then. i know this is not practical advice, but the best solution would be to splice bits from both cd's to create your perfect recording.

After proving to producers that she could handle performing the role of Desiree on the National Tour, Jean Simmons was asked to come to London to debut with the show at the Adelphi Theatre. Running for a little over 400 performances the show also featured Hermione Gingold reprising her role of Madame Armfeldt.

Ms Simmons is quite affecting as the flighty and insecure Desiree who feels she is ready to pursue romance after years of broken promises and false hopes.

Gingold, now qute comfortable and honed in her role; performs the comical and contemplative "Liasons" wonderfully.

Stephen Sondheim's most complex and multi-faceted score is given a grand treatment here. Almost certainly this is Sondheim's most interesting and most beguiling score which runs the entire gamut of emotions.

A must for all true musical theater fans.

I, ofcourse like so many other reviewers of the same cd, own both the London and original Broadway cast albums, and frankly the London recording does laps around the original. First- I will admit Jean Simmons is not the ideal Desiree, but what she lacks in beauty and glamour makes up for Glyniss Jhon's creaking melodies. There is no song on this recording that is worse then the original, and very few actors ( ofcourse, who could top the original Fredrick, definately including this one). Anne is supurb. Her voice is extremely beautiful, and makes up for the corny fluffieness of the original Anne, and her expression in such songs as " A Weekend In The Country" is simply hillariously funny. This Charlotte is also devistatingly wonderful, with her delicious voice, although you can't realy balance the two Charlottes out (the other from the original), as they play the charector with much difference. This Petra is also stunning, especially in "The Miller's Son," which is recomended in all of these reviews. And what a great operetta Quintet, along with Hermoine gingold's wonderful aged performance. All the male parts are also met to the very top, especially Henrick.
A few of my favorite songs on this album is the wonderfully light and fast paced, elegant little romp of "A Weekend In The Country," and "The Glamorous Life" (which has always been my favorite song from the production, with a much better Fredricka then the origianl).
In conclusion, this recording should certainly be bought by "A Little Night Music" fans, and especially Stephen Sondheim,in the words of another reviewer,who's lyrics are the real star,

I'm of the mind that A LITTLE NIGHT MUSIC (and SWEENEY TODD) are Sondheim's two greatest works. Why? Because they drip with intelligence and exist entirely within the world of the music. NIGHT MUSIC is propelled by the steady pulse of 3/4, creating the impression that none of the characters would ever come to the realization that they are merely parts being acted and presented on stage--it happens in its own little universe. It's so yummy...

Having said that, I conclude that the perfect cast album could only be completed with the physical presences of Desiree Armfelt and Fredrik Egerman and the rest of the gang. It seems that, when approaching these personalities, actors and actresses treat the music as the music and not as a phase of the dialogue--they don't attack the parts with the brand of boldness and self-importance that each of these characters possesses. The London cast album suffers from such problems. None of the performers have the arrogant voices needed (unfortunately, only a couple have achieved voices somewhat-worthy of the score). Henrik cannot hit the high notes (he goes into falsetto); Charlotte is too shaky to be sufficiently biting; Fredrik seems too feminine; the Count--goofy instead of condescending--seems molded from Sesame Street. The quintet features voices too uneducated and careful. Still, Anne is cutely bubbly (even in voice), Petra is a fine belter, and Hermione Gingold as Mme. Armfelt really makes the listener savor every consonant in her speech. It is an excellent archive of Sondheim's greatest. I would recommend this over the New York cast simply because Jean Simmons creates the closest Desiree I could ever imagine.

This CD, is they EVER remaster it, will need finishing touches - and a lot of work. Jean Simmons is, what I call, a REAL singer. Joss Ackland, on the other hand, has that strange, airy, meaningless voice - boring. Hermione Gingold, I thought, was EXCELLENT, considering she had been in the Broadway production. If you ask me, the tempo of "A Weekend in the Country" was too slow. It is supposed to be a quick, "happy" song; this London Cast turned it into a turtle. Diane Langton was a PERFECT, PERFECT Petra, and her "The Miller's Son" was better than the Broadway version. I will keep this CD, but I will also get the Royal National Theatre Production CD, and I hope it has amuch better Fredrik. I read in it's customer comments, that "You Must Meet My Wife," is priceless! Ihoe the Royal National Theatre CD is much better, and has the improvements this London Cast CD needs!

The performances are adequate, in some cases skillful, but from the opening note of the show (which the chorus member, in a misguided attempt at humor, aborts in order to insert a racous throat-clearing), this recording lacks the taste and dignity of its Broadway counterpart. I do not recommend this recording.

I found this recording wanting in many areas. It still befuddles me as to why Msrs. Prince and Sondheim found it necessary to cast leads in both the NY and the London productions with women whose sense of pitch was questionable...character perhaps? As for this recording, the orchestra is not up to par. The strings quite often settle for adequate performances whereas the winds perform quite admirably. The engineering of the recording itself is poor. It is as if the microphone levels were set improperly, not noticed until too late, or that a number of singers performed from another room. Regardless, it is unnerving. Hermione Gingold's performance is exceptional as is that of David Kernan. The NY recording far out-measures this one in all areas.