Customer Reviews

The Sound of Music: 1999 Live Australian Cast Recording

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4 star:		(3)
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This is the second "live" recording from an Australian Cast production I have purchased. The first was the 2010 "Live Australian Cast Recording" of the stage version of "Mary Poppins." I had heard of this recording but, until I recently did a search on Amazon, I had no idea it was a "live" recording. The fact that it is a "live recording" convinced me to buy it. Live recordings truly capture the magic of theatre. Having heard "The Sound Of Music" in various versions starring such diverse ladies as Mary Martin, Julie Andrews, Fredricka Von Stade, and Petula Clark, I was anxious to hear this Australian Cast Album. Overall, I am delighted with it and think this CD is a real "find."
Lisa McCune plays the celebrated role of Maria. I found McCune's performance to be very nice (she is definitely "in character") but not spectacular. McCune won't make you forget Mary Martin or Julie Andrews (McCune sounds a lot like Julie Andrews without being a carbon copy of her), and I definitely prefer McCune as Maria to Rebecca Luker (1998 Broadway Revival) and the "pop diva" interpretation of Petulia Clark (1981 London Revival). As is usually the case with recordings of this show, McCune truly comes alive singing "My Favorite Things" and "Do Re Mi" with the children. The recording gains strength in the supporting roles. John Waters finds hidden depths in the role of Captain Von Trapp. There is a lot of emotion and melancholy in his Reprise of "The Sound Of Music" with the Children, and "Edelweiss." Bert Newton and Anne Wood sing "How Can Love Survive?" and "No Way To Stop It", two songs from the play that were cut from the 1965 film version. These two cynical songs, extremely atypical for lyricist Oscar Hammerstein II, give the characters of Max and Elsa more edge and definition, and also provide a nice balance and contrast with the sentimental aspects of the plot. This recording also includes "I Have Confidence" and "Something Good" from the film version.
Other reviewers feel that Eilene Hannan is not vocally "up" to the demands of a huge number like "Climb Every Mountain." I disagree. True, nobody will ever top the mighty, definitive "diva power" version delivered by Patricia Neway on the 1959 Broadway Cast Album. Hannan's version is closer to the version that Harper McKay dubbed for Peggy Wood in the film version. Hannan's version is subtle; inspirational without knocking you out. And Hannan's version is definitely superior to the god-awful version performed by the screaching June Bromhill on the 1981 London Cast Album.
The biggest surprise here is Tim Drexl as Rolfe, the telegram boy crush of naive Liesel (Pia Morley) who joins the Nazis. Rolfe may be 17 going on 18, but Drexl is no babe in the woods. Drexl sings his "16 Going On 17" duet with Morley as a slightly dangerous, sexual come-on. And who knew sex could be found in such a seemingly innocent song, in such an otherwise chaste musical classic? Drexl's sexy spin on the song is brilliant.
I disagree with the reviewer who felt that this recording is lackluster. I think there is a nice balance between the actors, the orchestra and the audience. The sound is coming from the stage, not the audience. I hate those "live" recordings that are so obviously recorded from the audience. I hate that "bootleg" sound; and this recording definitely sounds "alive with the sound of music" to me.
With the exception of the Children giggling a bit too much in their songs with Maria, this production overall takes a more realistic, instead of an overtly sentimental, approach, to "The Sound Of Music." I appreciate that and find it especially refreshing. This live recording should be a welcome addition in the collection of any fan of "The Sound Of Music."

This recording of the Sound of Music is the best that I have ever heard. I was fortunate enough to play the role of Friedrich von Trapp in the Australian production and am featured on this live recording. However I still honestly believe that this is the best Australian version you will ever get.

As a musical theatre performer and addict, I must say I was excited by the idea of a "live" recording of my favorite musical, "The Sound of Music". The anticipation grew upon realizing it was the same revival production that graced the Broadway stage two years ago -- orchestrations and all. Where Rebecca Luker's (one of the great performers on Broadway today) performance, though wonderful, suffered on the cast recording because we were unable to fully appreciate her performance of Maria, the live recording allowed for much more opportunity for the acting aspect of the role to shine through. Lisa McCune does her best Julie Andrews impression, shining vocally in a role difficult not to associate with the film star. You can hear in her voice the sheer energy and "girlishness" needed for the part, and it shows as well in the children whenever they're together. Her counterpart, John Waters, plays Captain von Trapp with great poise and melancholy, making it difficult for the audience to dislike him (although most people already know his true motivation throughout the play). His rendition of "Edelweiss" is simply beautiful. The supporting roles are also wonderfully played. Max, Elsa, Leisl, Rolf (whom Tim Draxl plays perfectly as the young lover), the children, and the nuns are all wonderfully sung -- a difficult feat for a difficult score. The only weakness is that of the Mother Abbess, whose voice sounds too old (is that possible) and too shaky for the part. It's hard not to be distracted by this when "Climb Every Mountain", the big Act I closer, is butchered. Perhaps the biggest disappointment is with the recording itself. I understand it is a live recording, but that's the point... Shouldn't part of the joy of this recording be the sound of the applause? While it's there, it sounds like about 75 unenthusiastic patrons are clapping on cue... Better miking of the audience would have inspired much of the applause often heard on other live recordings.... The kind that gives you goosebumps. As well, there is an odd balance between orchestra and voices... It seems very voice heavy, where the orchestra falls into the background. The orchestra, for this score anyway, is just as important in the performance of the classic songs as the voices. I would have appreciate a stronger sound from the orchestra side, if only to compensate for the lack of sufficient audience response. When you hear this recording, you will appreciate the performances and reminisce back to the first time you saw the movie... That's what happened to me. But you'll also have this weird sense that "something was missing"... Perhaps it's the "live" part of the "Live Australian Cast Recording."

I own the London Palladium revival recording, the original musical movie soundtrack, the mary martin version, the revival on broadway etc. This cast recording is by far the best for a few reasons.

The mother abbess is superior, the cast is great, and it is a live recording. You hear it exactly as the audience heard it - which is something you often do not get in a cast recording. There are no 'echo's' and the quality is spot-on and crystal clear. I LOOOOVE this CD, and enjoy it over all other Sound of Music recordings! Not to be missed! you will thank me :)

This recording of The Sound of Music is taken from a recent Australian revival production based on the lavish 1998 Susan Schulman Broadway revival. Following hot on the heels of the 1998 recording, also on BMG, it features some additions and dialogue, with the applause that is usually associated with live recordings. On this record, the performances are generally strong and lifelike, thus making this performance sound rather competently adequate. However, I tend to prefer the 1998 recording of the show over this one, for its greater ability to really get into the R&H flavour.

Lisa McCune's Maria is a dazzling performance that shows her shining vocally just as Julie Andrews and Rebecca Luker did. Her voice has a youthful vigour, efferverscence and girlishness that can more than meet the expectations of the role, along with a well-built rapport between her and the well-cast children. Her counterpart, John Waters, plays Captain von Trapp with real depth, poise and melancholy that all make his portrayal so believable. Despite the fact that he sings well, I do feel that he ruins his rendition of Edelweiss with his somewhat trembly voice, and an inappropriate guitar accompaniment. The rest of the cast perform at the same level as the principals, with the voices of the children blending perfectly with each other and Pia Morley making as naive a Liesl as Charmian Carr, partnered by a seductively-voiced Rolf in Tim Draxl. However, even despite the perfect blending of Bert Newton and Anne Wood as Max and Elisa Schraeder, I do feel that there is a contradiction in Eileen Hannan's Mother Abbess. While she gives a fine rendition of Climb Every Mountain, where the slightly quicker tempo and stronger voice make for a starch-less performance, I do feel that at other parts of the recording, she tends to sound a little too uncomfortable with her matronly tones. Nevertheless, with the good overall quality of the principal cast, this recording shines nicely. The orchestra under Peter Casey also adds delight with its brisk tempi that keeps things lively and flowing, even despite a lack of balancing in the various parts.

However, I do feel that this recording has some downsides to it, apart from the botched rendition of Edelweiss. As a live recording, this naturally conveys the immediacy of live performances, but at the expense of balance problems. As Greg Gibson has pointed out, there seems to be an odd balance between the cast on stage and the orchestra in the pit. Well, while most of the orchestra can be heard, there are some occasions when detail is clouded. Also, the nuns tend to have grating voices that don't really blend in that well with each other. There are other weaknesses too, but even those would amount to only quibbles rather than major complaints.

Overall, while I feel this recording quite good, I don't really think that it matches the near perfection and overall consistency of the 1998 recording, even despite the odd balance between cast and orchestra in some places. Yet, I would still say that this is quite a good recording of the score and can be confidently recommended to any diehard Sound of Music fan of both stage and screen versions.