Customer Reviews

Les Miserables Complete Symphonic Recording

5 star:		(20)
4 star:		(3)
3 star:		(4)
2 star:		(3)
1 star:		(0)

 

 

I first became acquainted with this wonderful work before it was known of here in the USA through a copy I had ordered from England. Then, with the US Broadway production, the OBC release was added to my collection. Then, this one, and later, the dream cast version, and then the 10th anniversary edition. So, I have listened to a "few" versions of the work. I love them all. I love this one, perhaps, the most. I am heavily into opera and classical music, so I guess it is sort of natural that I would be drawn to the presentation of this great work with a complete orchestra behind it.

I feel that it is necessary, however, to own three versions of this wonderful musical play. First, the Original, London production. Second, the Original Broadway Edition, and lastly, This, the Symphonic Edition. They all three have their place, and, indeed, are all different, each begging for space on your shelves for very good reason.

If you are a purist, and can only have one, then, it must be the Original London Cast...period, end of discussion. But, if you are like me, and require different interpretations, etc., you will simply fall in love with all three of these recommended recordings.

When I state above that this is the greatest musical piece of theater ever, I certainly do, truly, believe this. Of all the dozens of plays I have seen on Broadway, of the hundreds I have listened to on LP and disc, watched on tape, LaserDics, and DVD, etc., NOTHING has EVER reached the Stratospheric Heights of this work. The only possible exception would be "Man of LaMancha" with Alan Jones, waaaay back, when I was a young man. It was my first Broadway Show, and this may be why I hold it so highly in my heart. (Everything gets held up to it for comparison, and most do not make the cut!)

Again, I urge you to add this recording to your collection...you will love it dearly. ~operabruin

The most obvious reason to get the Symphonic Recording is to have the entire show on CD. This album is really for the most devoted Les Mis junkies. I particularly like Javert's Intervention, which acts as an introduction to my favorite song, Stars. Aside from the completeness of the album, there are two other highlights for me. One is Anthony Warlow, who is the best singer to play Enjolras. Maguire's Enjolras is also stirring, but Warlow is more talented. The second highlight is the Orchestra. It probably has the best orchestra out of all four recordings, although the tenth anniversary concert comes close.

Now onto the rest of the cast. This is Philip Quast's first recording, and he is superior to Terrence Mann and Roger Allam. He would only get better on the Tenth Anniversary Concert. Michael Ball gives another respectable performance as Marius. Then why am I only giving this three stars? Aside from the cast members just mentioned, the rest of the cast is inferior to their counterparts on the other three albums. Gary Morris isn't a very good Jean Valjean, and Kaho Shimada is the worst Eponine. As others have pointed out, she is not singing in her native language so her performance is nothing special. She memorized her lines phonetically. I would like to hear her sing in Japanese. But Gay Soper as Madam Thenardier is truly terrible. I can't stand her. Her one line in Javert's intervention makes me cringe. Thenardier over does it sometimes but he's more tolerable than his wife. I don't particularly care for Debbie Byrne on this album, she sounds like she has a frog in her throat at times. Tracy Shayne's Cosette is OK, but nothing compared to Judy Khun or Rebecca Caine.

Overall I consider this album to be a good supplement to the Tenth Anniversary Concert, to fill in the gaps so to speak. This is not the quintessential Les Miserables album by any means though.

I love this recording of my all-time favorite musical. The orchestra really makes this recording soar, as I saw the show on tour with a smaller one. The entire recording, for the most part, sounds terrific. Gary Morris is not my favorite Valjean, but he makes "Bring Him Home" his own in a wonderful way. Philip Quast is unbeatable as Javert, as are Michael Ball and Anthony Warlow in their roles as Marius and Enjorlas (Michael Ball is so my hero!!!). My only complaint with this recording is the version of "A Little Fall of Rain". Eponine's voice, which is awesome throughout the whole recording, is AWFUL during this song, and it really ruins the song. Other than that, a wonderful recording!

THE SHOW:
In my opinion, Les Misérables is the best musical ever written. It is surprisingly faithful to its source, the excellent epic novel by Victor Hugo. True, many plot episodes have been dropped and some characters have been combined, but the only major change is that the character of Eponine has been ennobled. The main storyline is about Jean Valjean, a man embittered by an overzealous prison system but redeemed by the kindness of a bishop. He vows to live the remainder of his life as an upright man, which leads him to be a successful businessman and mayor, the guardian of an orphan, and eventually a fighter in the doomed Paris revolt of 1832. However, there are a multitude of characters who interact with Valjean and each other. The plot is complex, and the show runs about 3 hours, longer than the typical Broadway musical. Large portions of the show are serious, but it has its humorous moments, and other parts (including the finale) are extremely uplifting.

THE RECORDING:
This three-CD set is an excellent recording of the show -- this is one of my most prized possessions!

First of all, the use of a full symphony orchestra lends an extra dramatic flair apparent from the first chord onward.

Secondly, I recommend this recording because of its completeness. To me, many of the most inspiring parts of the score are where Valjean shows his Christ-like compassion: championing Fantine, claiming Cosette, freeing Javert, and pleading for Marius. None of these are included on the Broadway recording, nor are the bittersweet musical sequences following several of the deaths in the second act.

Third of all, the recording cast is drawn from members of several English-speaking productions, plus one member from a non-English-speaking production. With only one exception, these singing actors do a fine job. I will comment only on the three most controversial casting choices:

People familiar with recordings featuring Colm Wilkinson as Valjean find difficulty adjusting to Gary Morris, who plays the role very differently than Wilkinson. He has a voice that's rougher, but I think it has more power and a wider range of emotion that more than makes up for the roughness: compare the sense of anguish he brings to such numbers as "What Have I Done?," "Who Am I?," and "Bring Him Home." I think that Valjean, a man who has endured so much pain and suffering in his life, would be this emotional, even if he has dedicated his life to God. However, I understand how other people prefer Wilkinson's more gentlemanly portrayal of Valjean.

Kaho Shimada, from the Japanese cast, did not speak English at the time of this recording. Her accent is no stranger than some popular country singers, and I doubt anyone who did not know she didn't speak English would realize her unfamiliarity with the language. Ms. Shimada has a "pop"-style voice, but it works well for the downtrodden Eponine.

I agree with other reviewers who dislike Tracy Shayne in the part of Cosette. The character is not one of the better parts written by either Hugo or Boublil, so I can forgive Ms. Shayne for her lack of acting the part to its fullest, but I cannot pardon her weak and somewhat fluttery voice. Surely someone better could have been found for this landmark recording. Because the role of Cosette is secondary, this flaw is not a deal-breaker.

The rest of the cast and chorus are superb -- great acting and strong voices. Special accolades for Philip Quast as Javert and Anthony Warlowe as Enjolras.

To summarize: if money is tight, skip a few meals to cover the extra cost of this recording. It's worth it!

I first fell in love with Les Miserables when I was high school, after I heard the song "On My Own." I have gone through probably 5 cassettes and CD's by now in one version or another. I enjoy this musical so much I think I don't have a strong preference for which version I am listening to, other than this recording doesn't leave out anything, so it is the one I prefer. For those who really love this musical, this recording is worth getting!

I like this recording because it features many sequences that can't be found on any other recordings, such as Eponine's Errand and the dialogue part of In My Life. I only have complaints about the voices of Cosette, Mme. Thenardier (so irritating to listen to), and Eponine. Cosette's voice is nice, but annoying, it doesn't seem to have enough depth. I guess it sounds all "head voice", I think that's the term. Judy Kuhn's Cosette is much more pleasant sounding. Eponine, her voice is alright, but it's too bad her English pronunciation wasn't better. I mean, it's great at some parts, but worse at others and makes her a less convincing Eponine. Gary Morris is a great Valjean; I was surprised to read that he is actually a country singer!

The Complete Symphonic Recording of Les Miserables is simply the best version of the musical you can get. It contains many songs that are not on any of the other albums -- yes, including the concert album -- not to mention extended versions of the songs that include the instrumental parts of the musical. Nothing can quite move you more than hearing that oboe solo during "The Sewers" where the barricade is panned around to show Enjolras splayed across the flag. Breathtaking!

Gary Morris is an acceptable replacement for Colm Wilkinson. He truly shines in many of the songs, particularly "Bring Him Home". Philip Quast is arguably the best Javert there is. He leaves such a chilly afterfeeling in "Javert's Suicide" that the listener is simply left in awe. Michael Ball, as always, IS Marius and will always be him. Barry James, some will notice, plays Thenardier on a much more sinister level than Alun Armstrong; but he and Gay Soper are great as the wicked couple. Last but not least, Anthony Warlow is no short than AMAZING as Enjolras; the part is simply perfect for him as Enjolras requires a very powerful voice and Warlow delivers.

It is worth noting the ones who aren't quite up to snuff with some other versions out there. Kaho Shimada, who played Eponine, seems to be a poor choice, indeed. She sings much too soft for Eponine and "On My Own" is definitely lacking emotion and power in her rendition. Similarly, Debra Byrne, compared to greats like Patti LuPone and Ruthie Henshall, falls very short in "I Dreamed a Dream". She is much too operatic. Tracy Shayne, as Cosette, lacks the graceful, "lark"-like voice most identify with Cosette, and is much too modern a choice, for my tastes.

Overall, however, this is the most complete version of an amazing musical that you will find and I highly recommend you buy it! Many of the songs are updated. "Little People" is MUCH shorter, like it should be, while "Stars" is now a wonderful showstopper as the music builds up in the end. The only other way one could collect all the songs is by purchasing every Les Miserable recording out there and compiling them all onto one CD. The Complete Symphonic Recording does that for you.

I've heard nearly every version of this incredible musical, Les Misérables, but none have compared to this...

After first seeing the performance, I couldn't help but feel that this show has been greatly underrated for many years -- perhaps overshadowed by brighter, more romanticized plays. But this intricate story is much deeper than any other musical I've seen: it's not about love and affection, but forgiveness and valor.

The music ranges from intensely emotional songs (such as "Bring Him Home", "I Dreamed A Dream", and "On My Own") to the other side of the spectrum with coarse songs frequently containing vulgar language (such as "Lovely Ladies" and "Master of the House"). But the meaning of each song could not have been conveyed any clearer.

This particular version of Les Misérables is by far the best recorded. Each performer seems to be deeply immersed in his role, making the experience even more enjoyable. Among the best of these very talented actors were Gary Morris (portraying Jean Valjean), Michael Ball (portraying Marius Pontmercy), and Barry James (portraying Thénardier)

WARNING: This music will be stuck in your head for at least one week after the first listen!

As soon as I bought this album, I created a version that intermixed this one with the Broadway Cast and the 10th Anniversary. Which is to say that there is a lot that is good in this version, but a lot that's better in other versions.

THE GOOD

1. Of course having the entire album available is great, which means getting to listen to parts that I hadn't heard in years. The sound quality is excellent, and the overall sound is very lush. I was especially happy to hear (1) the full version of the "Look Down" reprise, (2) Gavroche's death scene, (3) Valjean's confession, and (4) Marius's wedding confrontation with the Thenardiers.

2. There were some very good performances, especially Michael Ball as Marius, Philip Quast as Javert, and the young actor who played Gavroche. Philip Quast was not as pointed and visceral as he was in the 10th Anniversary version (when he was paired with the excellent Colm Wilkinson), but was still one of the best. I am one of the few people not overly enamored of Michael Ball, whose vocal performances have a harsh, whiny tinge and frequently lack subtlety. However, in this version, he gives his most restrained performance, and in some scenes, such as the wedding confrontation, he is very effective.

I agree that Anthony Warlow has a good voice, but count me as a Michael Maguire fan. Fans of Warlow like to cite his more powerful range, but I think that both ignores the very different setting in which he and Maguire performed and the fact that Maguire is a superior vocal actor. When Maguire sings, he just sounds powerful and in control. By contrast, Warlow must scream to sound authoritative ("Where are the SWELLS who run this show?!"). Also compare the two during the "Lamarque is dead" sequence: Maquire sings fast and sounds genuinely excited, while Warlow sings slowly and mechanically. Yes, by singing slower, Warlow sounds smoother, but I would be moved by Maguire's Enjolras; not so much by Warlow's. Finally, the complaints about Maguire's singing largely stem from his live performance in the 10th Anniversary edition versus the studio-recorded Complete Symphonic version, where Warlow could presumably have sung many takes until the best was chosen.


THE BAD

1. The overacting, which I went into a bit above. Warlow, Gary Morris, and especially the Thenardiers are all guilty. I actually think that Gary Morris's voice is fine, though in songs like "One Day More," his inability to hold long notes is very noticeable. However, it is his acting that really detracts from his performance. "My GOD, Cosette! I heard a CRY in the dark!" I wonder if a poor director was presiding over this version, telling the performers that they must scream in order to make themselves heard? This version's Thenardier, meanwhile, is the first that struck me as repulsive, while Madame Thenardier screeches like a debauched Smurfette.

2. This version's Eponine, who has an uneven vocal performance. While it was admirable that the singer could sing the part without knowing English, in several places, her poor diction is noticeable and takes you out of the scene. Dozens of people had played Eponine by the time of the Complete Symphonic Recording -- why not go with someone who could sing the part clearly?

So all in all, this recording is worth the money, as long as you buy it for its parts rather than the whole.

I cannot tell you how many times I love hearing this collection. With that being said, I am going to ruffle some feathers by stating that (1) Gary Morris is way under appreciated for his voice and range. His voice and talent are perfect for the stage. The songs in this collection shows him at his best and if his version of "Bring Him Home" does not move you, then I feel really bad for you. I know that many love Colm Wilkinson (and I did too) but when I saw Morris perform his version with his style (along with the moving symphony), it was incredible and left me amazed (almost as amazed as hearing Michael Crawford in Phantom). Morris continues to show his amazing voice to the other songs with the same powerful range and subtleness (when necessary) that makes you want more. I do not say this lightly (since I have seen Les Miserables three time including with Colm) but Morris is so much more superior in every way. It is too bad he cannot display his gift and talent more in his country music albums. (2) Kaho Shimada - is magnificent and in my opinion, much better than Lea Salonga. Why, because first of all, Ms. Kaho did not know any English when the recording was done. I find this fact amazing. Second, the emotion she translated in her performance is not bound by this fact (and perhaps frees her to display her range). Ok I love Lea in Aladdin, Miss Saigon etc and her performance in the Les Miserables' Albert Hall performance but in terms of pure singing (no visuals) Ms. Kaho excels. The rest of the cast is just as good as the recording but this is expected (thought I would have selected others). However, Michael Ball and Philip Quast nail their parts as Marius and Javert. This is the must have collection (and yes I have all the others) due to the fact that you get the best of the best in performers but you also get the missing music and therefore, you hear the play as it was meant to be heard. (Again the strings on "Bring Him Home" without Morris is hauntingly beautiful (on the same level as "The Mission" soundtrack)). I hope that you enjoy this classic as much as I still do.