Customer Reviews

The Sound of Music: 50th Anniversary Edition

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

 

 

The final musical from the teaming of Rodgers and Hammerstein, THE SOUND OF MUSIC first opened on Broadway in 1959, starring Mary Martin as the unruly postulant who is assigned the task of becoming governess to the seven children of widower Captain Von Trapp (played by Theodore Bikel).

Even the hugely-successful 1965 movie version--starring Julie Andrews--has done little to dim the enchantment and magic of the original 1959 Broadway cast album, now reissued in this lavish 50th Anniversary package from Sony Broadway Masterworks.

Mary Martin imbues Maria with a childlike wonderment and maternal warmth; you can completely follow her character's journey through Maria's songs on the cast album. Cutting through any possible sugar within the piece are the two numbers shared by the Captain's worldly mistress, Elsa (Marion Marlowe) and her wisecracking friend Max (Kurt Kasznar), "How Can Love Survive?" and "No Way to Stop It", which are the closest that lyricist Oscar Hammerstein II ever came to approaching the cynical, rueful ballads made famous during Richard Rodgers' days with Lorenz Hart. The fact that those two songs never made it to the eventual movie version robbed the Baroness Elsa of much of her impact, and gave the film no real sense of mounting conflict within the Maria/Captain/Elsa love triangle.

Playing the Mother Abbess, Patricia Neway graces the album with her soaring "Climb Ev'ry Mountain"; Lauri Peters is the love-struck Liesel, and Brian Davies plays Rolf. THE SOUND OF MUSIC opened on Broadway at the Lunt-Fontanne Theatre on the 16th November, 1959 (moving in 1962 to the Mark Hellinger Theatre) and eventually clocked up 1,443 performances before closing in 1963. Mary Martin's various replacements throughout the run included Jeannie Carson, Nancy Dussault, Martha Wright and Barbara Meister.

Bonuses featured in this 50th Anniversary package differ from those heard on the previous 1999 Broadway Masterworks edition, so collectors will be inclined to double-dip. Chief among the extra treasures is the "Pratt Family Singers" skit from Julie Andrews and Carol Burnett's 1962 Carnegie Hall album (which is begging to be reissued in it's entirety...hint, hint, Sony!).

For 50 years now, "The Sound Of Music" has received disdain from critics, who rebuke its excessive sentimentality, and adoration from international audiences. Buried somewhere underneath the odd mix of rebuke, disdain, and adoration lies a compelling musical with a lovely, final score from Richard Rodgers and Oscar Hammerstein II. To re-discover it, you can "start at the very beginning", with this excellent re-issue of the Original Broadway Cast Album from 1959.
This album was recorded at Columbia Records historic 30th Street Studio; where such other classic Broadway Cast Albums as "My Fair Lady," "West Side Story," and "Gypsy" were also recorded. In its original production, "The Sound Of Music", rather controversially, won eight Tony Awards, including "Best Musical" over Jule Styne and Steven Sondheim's darker, more complex, musical "Gypsy." Even more controversially, Mary Martin won the Best Actress Tony Award as Maria, instead of Ethel Merman as hard-driving, ambitious and obsessed Mama Rose in "Gypsy."
On the surface, Mary Martin, then 43 years old and fresh from her high-flying success as "Peter Pan", was far too old to portray 20 year old would-be nun turned governess Maria. But the rules are different on stage. And, perhaps taking a cue from her "Peter Pan" persona, Mary Martin was determined to be the theatrical personification of "youth, joy" and "freedom"-- qualities which are as well suited to Maria Von Trapp as to Peter Pan. Mary Martin sings her heart out as Maria, generating genuine warmth and infectious high spirits as she sings "Do-Re-Mi" and "The Lonely Goatherd" with the children. But the real singing star of this recording is Patricia Neway as the Mother Absess. Her mighty, diva power rendition of "Climb Every Mountain" can not, indeed, will not, be denied. Neway practically demands and rightfully deserves respect! The generation who grew up with the 1965 movie version will likely be shocked by this original Broadway version. This "music", under the direction of conductor Fredrick Dvorch, has a far more intimate "sound." There are also two songs, "How Can Love Survive?" and "No Way To Stop It" for the characters of Max and Elsa (Kurt Kaszner and Marion Marlowe) that were cut from the movie version. If there is a dud in Rodgers and Hammerstein's stage score, it is definitely "An Ordinary Couple", a duet for Mary Martin and co-star Theodore Bikel, that sounds like a deadly dirge. "An Ordinary Couple" was, mercifully, cut from the movie version and replaced by Richard Rodgers with "Something Good."
The bonus material included here is very informative and entertaining. The CD booklet includes an excellent essay by Bert Fink and several rare photos. My favorite photo shows the real Maria Von Trapp (a formidable looking-woman, indeed!) standing alongside Mary Martin and Florence Henderson; who was the "second Maria" (following Mary Martin-- thank God Florence Henderson did not play Maria in the movie)! The Bonus Tracks include a hilarious "Sound Of Music" Parody titled "The Pratt Family from Switzerland" from "Julie Andrews & Carol Burnett at Carnegie Hall" in 1962. Julie says, "And now, we bring you a happy song that I used to sing when I was a happy nun back home in Switzerland," to which Carol adds, "You all can sing along if it doesn't make you sick!" Richard Rodgers was so upset by this parody that, three years later, he was reportedly furious when Julie Andrews was cast as Maria in the film version. He changed his tune quickly enough; when the film became the most successful film of all time-- and became known in the industry as "The Sound Of Money." By the time the movie was planned, Mary Martin was pushing 50 and definitely too old now. In an odd show-business irony, Audrey Hepburn, an early candidate for the role of Maria, accepted the role of Eliza Doolittle-- that Julie Andrews had played to great acclaim on stage-- in the 1964 film version of "My Fair Lady." This left Julie Andrews free to accept film roles in "Mary Poppins" and "The Americanization Of Emily": and to replace Mary Martin as Maria in the film version of "The Sound Of Music."
"The Sound Of Music" has been embraced in practically every country in the world-- except Austria; where the real-life events took place. Austrians seem to hold the same disdain for "The Sound Of Music" as American theatre and film critics do. That finally changed in 2005, when the first German language production was staged in Vienna; the birth place of the real Maria Von Trapp. This CD includes Michael Kraus and Sandra Piers' emotional rendition of "Edelweiss" from that historic production. And finally, basking in the show's international appeal a bit more, this CD concludes with a Swedish version of "Sok Dig Till Bergin" ("Climb Every Mountain") by Tommy Korberg; proving that, after 50 years, "The Sound Of Music" is still moving in emotionally honest, far from manipulative, ways.

Rodgers & Hammerstein's last musical together is probably their most popular musical. Most people have known it through the 1965 film version starring Julie Andrews & Christopher Plummer which is in no doubt a classic. Not too many of those fans have probably heard this recording of the Original Broadway Cast starring Mary Martin & Theodore Bikel. This certainly though is just as and in some cases even more excellent as the film that followed.

Mary Martin certainly sounds a lot older than Julie Andrews (Julie was 28 at the time of filming and Martin was 46 in 1959. She also played a 12 year old boy in the title role of "Peter Pan" at the same time too, AMAZING!), but she still does well as Maria especially bringing warmth to "The Sound of Music" and "My Favorite Things". I love her in the reprise of "Sixteen Going On Seventeen" which in my opinion is the best recording of the number.

Theodore Bikel doesn't quite have the edge that Christopher Plummer gave to the role, but he still sings well and brings a folk like quality to his songs especially "Edelweiss".

The children aren't as smooth and polished here as in the film or in other recordings, but they do well here. Lauri Peters & Brian Davies's performance of "Sixteen Going On Seventeen" is quite nice too.

Marion Marlowe and Kurt Kasnzr provide ample support as Elsa and Max in "How Can Love Survive?" and "No Way to Stop It" (the latter with Bikel), these two songs were sadly cut from the 1965 film, but here provide context of Austria in the 1930s. The stage musical overall provides more context than the film does.

Patricia Neway is the highlight of the recording as the Mother Abbess and just about blows every other Mother Abbess away with her powerful yet touching rendition of "Climb Every Mountain". Others have come close to, but have not equaled and/or topped Neway's performance which rightfully won her a Tony for Best Supporting Actress. The nuns are glorious sung as well and the finale is especially touching.

Overall, you'll find this very different from the film. "My Favorite Things" is a duet sung by Martin and Neway instead of in the thunderstorm scene where Martin and the children sing "The Lonely Goatherd" instead. Also, "I Have Confidence" and "Something Good" (which thankfully replaced the only weak song in the score "An Ordinary Couple") written by Rodgers himself for the film are missing. It's excellent overall and I highly recommend you get both versions!

Although I respect the importance of the Sound of Music Original Broadway Cast Album, I find it very hard to give full marks to this recording and I sense people would throw brickbats at me for being underwhelmed by it. Yes it presents the score as it was first heard on the Broadway stage, way before the famous film with Dame Julie. Yes I know we must give Mary Martin her due credit for suggesting that R&H should write the show for her, just like giving Gertrude Lawrence her due for suggesting The King and I. However, when I listen to the recording, I wasn't really taken with the musical in its original form, and a good number of the performances on this album.

I give Mary Martin her due credit for being in her element when portraying Maria. Her rendition of the Sound of Music theme song that follows the chanting nuns that open the musical offers a different perspective from the Dame Julie rendition or even the renditions done by younger Marias with higher-pitched voices. She did a good job on Do-Re-Mi and Lonely Goatherd building her rapport with the children, but I felt uncomfortable as it sounded rather unnatural and a little forced. I must also confess that I wasn't exactly comfortable with the voices of the children either, or of Bryan Davies as Rolf. I was OK with Theodore Bikel's Captain, except that I felt as if Edelweiss was a little rushed, supposedly to fit the music onto the LP. Patricia Neway's Mother Abbess and the Elsa/Max numbers were like the saving grace of this recording. Neway really knew how to deliver Climb Ev'ry Mountain in full throttle with her sheer lung-power, especially the final two notes. At the same time, Kurt Kasznar and Marian Marlowe sang the lesser-known Elsa/Max numbers (How Can Love Survive and No Way to Stop It) with caustic wit, relish and biting sarcasm. I think these numbers are perhaps the most successful on the recording, and they help to make the Captain's dilemma's more real.

I know I'm not a keen fan of this recording as some of you are. However, I respect that it presents the first version of the score, before the revisions that the film made to it. It is fascinating to hear Lonely Goatherd during the thunderstorm scene, even though I feel that My Favourite Things is perhaps more effective here than during Maria's meeting with the Mother Abbess. And I also felt uncomfortable with the love-duet, An Ordinary Couple, as it felt rather pedestrian. Even Rodgers admitted to not liking the song, and that's why he took advantage of the film to write Something Good to replace it. (By the same token Rodgers wrote I Have Confidence for the film with a little help from Ernest Lehman and Saul Chaplin, so this recording pre-dates it and doesn't include it.) So while this recording is historically important in the history of the show, I didn't feel fond of the version of the score that it presents here.

This issue of the recording was released for the 50th anniversary of the original Broadway production, and it uses the same CD transfer as on the 1993 Sony Broadway CD and 1998 Columbia Broadway Masterworks reissue. It would have been lovely to have completely remastered the recording with today's technology, but the recording still sounds good in this transfer. Compared to the 50th anniversary issue of Gypsy, it doesn't include any unreleased music, and so one feels a little short-changed. The booklet includes many rare photos from the recording sessions and a Sound of Music essay by Bert Fink of the R&H offices, and I think it would have been lovely to have included an essay specifically about this production and the recording, rather than about the show in general. The bonus tracks are fascinating in themselves, though I admit more could have been included given the extra space at the end of the disc. It's great to have an accessible recording of the Pratt Family parody from Dame Julie's Carnegie Hall special with Carol Burnett, as well as two excerpts from some non-English cast albums. I'm especially taken by the German-translated version of Edelweiss, as I think the Vienna Volksoper cast has given us one of the most heartfelt renderings of the song available in any language. (Maybe this has inspired me to find the Vienna Volksoper CD from which it comes.) The 1998 CD included the Mitch Miller rendition of Do-Re-Mi that was done with the children from the cast, and it would have been nice to include that just to be complete.

I know you won't like me for saying that this Sound of Music CD isn't one of my favourite things. However, as with the other original cast recording of the R&H musicals, I can only venerate it coldly without really admiring it. There are strengths in this version, but yet I would say that I'm not really as taken with it as you are. It is a worthwhile addition to anyone's Sound of Music collection, but I feel fonder of the film soundtrack and also the 1998 Broadway revival cast as capturing more of the Sound of Music spirit, at least for me.

I listened to this new release in 20 bit technology and was blown away by the glorious sound. Mary Martin was never quite given credit for the incredible voice she had. From One Touch of Venus to South Pacific to her Annie Get Your Gun and The Sound of Music, her vocal talent is amazing.

See my review at [...]

This was a gift for a relative celebrating their 50th wedding anniversary and they were delighted with it. In addition it was delivered ahead of schedule in time for their anniversary.

I recently purchased the 50th anniversary cd edition of the Broadway Cast Album of THE SOUND OF MUSIC. I first got the original gate-fold covered LP when I was 13. Now, as an aging "Boomer," it still remains one of my favorite albums. Though many people prefer the soundtrack recording with Julie Andrews, which is very good, I've always been drawn to the cast album. It's amazing what the artists on this album accomplished eight times a week performing the show live. Though star Mary Martin sounds a bit too mature on the first version of the title song, the rest of her vocals are pretty astounding - especially her yodels on "The Lonely Goatherd." Theodore Bikel's soothing voice is another strength and his "Edelweiss" is definitive. I also believe Lauri Peters and Brian Davies do a far superior job with "Sixteen Going on Seventeen" than their film counterpoints. And what can one say about Patricia Neway's soaring "Climb Ev'ry Mountain?." Add Robert Russell Bennett's superb orchestrations and Trude Rittman's impressive vocal arrangements and I think this recording is timeless. Of the "extras," the Carol Burnett-Julie Andrews parody is a hoot while Tommy Korberg's "Climb Ev'ry Mountain" in Swedish is quite moving.