Customer Reviews

The Noël Coward Songbook

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

 

 

I love this CD. I have a collection of Noel Coward performing his major songs, and I found it entertaining, but frankly I was never much drawn to it after the initial novelty wore off. I never really appreciated Coward as a composer because his campy persona and limited vocal talents got in the way. I bought this CD as a gift for a big Coward fan, and I am ashamed that I have not yet given it to him because I enjoy it so much. Bostridge is a really fine tenor. The beauty and subtlety of his voice bring out the beauty of Coward's melodies and the wit of his lyrics without overwhelming them with a heavy and mannered "classical" style, which is the bane of most such "crossover" CDs. The CD is also beautifully recorded. Outstanding songs include "I Travel Alone," "Parisian Pierrot," "World Weary," and "A Room with a View." Bostridge also has just the right touch with the goofier songs like "Mad Dogs and Englishmen," "Something to do with Spring," and "Any Little Fish." I highly recommend this CD to anyone who enjoys witty cabaret songs in general and Coward in particular. It really did give me a new and greater appreciation of Coward's considerable talents as a composer.

Sometimes musical artists should NOT attempt cross-over albums. I am a huge fan of Jessye Norman, Leontyne Price and Joan Sutherland, but their ventures into "popular" music were, at best, misguided and, at worst, heavy-handed and pretentious. Although Ian Bostridge does not embarrass himself, there is no question that he should stick to more "serious" music and leave musical comedy to other singers.

The theatre songs of Noel Coward take a very different kind of approach than Bostridge gives them. They need an actor who happens to be singing. Except for a very few of the songs on this CD (written by Coward for operettas instead of musical comedies) Bostridge's approach is absolutely without any character. All of these numbers are impeccably sung by Bostridge, but none of them are ever really acted. Coward's songs MUST be acted whether they were written in a comic or sentimental vein. The result is another misfired cross-over album in what otherwise is a splendid career.

I bought this CD after reading the reviews, asking if it is a wise choice. I love Ian Bostridge art, intelligent artist, great singer; I admire Noël Coward works, intelligent, caustic. But I was not sure of the mix of both.
After hearing it, I still have mixed opinions but I like it. Bostridge singing is, as usual, pristine,and his approach (as he pointed out on the album notes) is probably closer to Weill than Coward. Don't know if that is a right choice but it is valid as an artistic proposal.
Also, in this kind of albums I always miss the orchestral support. Jeffrey Tate sounds good at the piano, but a little weak given the fact that this is music for the stage.
Anyway, the album is good because it is not common to find the work of people like Coward. Also pay attention to Sophie Daneman's interventions, a beautiful voice that deserves more.

OK! IT'S NOT OPERA. BUT IT'S STILL BOSTRIDGE!

I have always admired the nonchalant and somewhat dry humor of Noel Coward lyrics, not to mention the interesting twists and turns that his music often takes, I admire Ian Bostridge for attempting his songs and doing a "bang-up" job of it!

A quote from Ian Bostridge prior to making this recording:"My first concern while contemplating a disc of Noel Corward songs was finding a voice for them,,,,,,We need to remember that, in Coward, we have not only a formidable playwright and screenwriter, but also the English equivalent of Irving Berlin or Cole Porter". After I heard this from Bostridge (on an interview on ABC) I began to appreciate the songs much more than previously. There is much philosophising going on as in "I Travel Alone" and some are quite humorous as in "Mad Dogs and Englishmen". One has to listen more than once to get it all, but it's worth the time. And I definately think that Ian found the voice to sing them.Do I prefer Bostridge singing classical??Of course!!!!!But I still enjoy a break now and then and I'll take this disc for that reason.

I was bitterly disappointed in this CD, and after playing it a few times it went permanently back into the cabinet. Bostridge is very mannered to his approach to Coward. When i was an undergraduate, I wrote my bachelors honors thesis on Coward, and consider myself fairly well-informed on the subject. I like several of his plays, his short fiction, and his (alas, not too-well-known) poetry. However, I can't abide his singing, I think he was an overrated and shockingly egotistical actor, but a glorious songwriter. Normally I despise crossover, but at 15 -41 years ago -- I bought "Joan Sutherland Sings Noel Coward" and after wearing out two lps found it in London on CD 10 years ago. It remains incredibly beautiful, witty, and filled with gorgeous Richard bonynge orchestrations. i would advise everyone who thinks they hate crossovers altogether to hunt this one down.
Does anyone want, free, Ms Renee Flemings crossover work? She should track them all down and burn them, as they are dreadful. The only other crossover opera singer i have enjoyed is the British soprano Sally Burgess, who is truly comfortable on the opera stage and crooning standards.
mitchell

I must say that I approached this album as a fan of Ian rather than Noel Coward (and admittedly still don't really have a good idea of who the man is). So in terms of Ian's singing, I like it a lot. He has a wonderfully dextrous voice and a clear tone, complemented by Jeffrey Tate on the piano and the soprano Sophie Daneman for several numbers.

Generally I find myself unable to appreciate the work of classical singers who do crossover albums, but Ian is an exception. It has been said elsewhere that he may lack a robustness in his voice, but here in fact, one would not wish for an overpowering tenor. He isn't at all overblown, unlike many other singers in crossovers. The lightness of his voice lends a kind of intimacy to these recordings, as if he were singing in a café or an at-home musical evening.

The material is, of course, a departure from Schubert, &c., but he handles it well. However, I do think that he has a better emotional feel for the 19th century German romanticists and the 20th century British classical composers (i.e. Britten). This recording is pleasant but it seems to me to lack the emotional depth of Ian's Schumann in particular - a perceived deficiency that might lie with the composer Coward rather than the performer.

I like to listen to this CD when I want to listen to Ian sing, but am not in the mood for his more serious/depressing recordings (a la Schubert & Britten). The lyrics are pretty inane, the same goes for the songs themselves - melodically speaking - but Ian makes them special. So four stars.