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Sunday in the Park with George (Original Broadway Cast Recording)

May 16, 2006 | Format: MP3

$9.99
Song Title Artist
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30
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6:36
30
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1:23
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7:00
30
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1:01
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7:59
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3:07
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3:21
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3:55
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3:06
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4:32
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4:28
30
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7:17
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4:53
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2:53
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3:38
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3:52
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3:36
30
18
4:17
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Product Details

Customer Reviews

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Format: Audio CD
SUNDAY IN THE PARK WITH GEORGE surely must count as one of Stephen Sondheim's most amazing scores, one that continually rewards the listener with it's simplistic-yet complicated nature.

The Broadway production of SUNDAY IN THE PARK WITH GEORGE features the irresistible Bernadette Peters with Mandy Patinkin in the title role. The story takes what little is known of the life of Parisian artist Georges Seurat and weaves it into a story of life, loss and coming to know yourself. The first act follows George as he paints the legendary "Sunday Afternoon on the Island of La Grande Jatte". His mistress and model Dot (Bernadette Peters) attempts to pursue a relationship with George that goes beyond art. She is rejected and leaves for America with another man (and George's baby).

The second act of the show opens with George's great-grandson, also an artist struggling with his own inspiration. Dot's daughter Marie (also played by Bernadette Peters) gently guides his hand, but it's only when George returns to the scene of his great-grandfather's masterwork that the past comes to rest with the future.

The score is full of gems like Dot's manic opening number "Sunday in the Park with George", the wrenching "We Do Not Belong Together" and the eccentric "Everybody Loves Louis". One of the biggest highlights is the moving "Sunday" as well as the clarifying "Move On" where the younger George is visited by Dot and the other members of the Grande Jatte painting.

To get a better idea of the staging and direction within the piece, you may wish to also purchase the well-presented DVD which preserves the Broadway production. Definitely a score which improves with repeated listening.
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Format: Audio CD
This is a heckuva long review, so please bear with me:
After viewing Into the Woods for the first time I instantly became a Steven Sondhime fanatic. A friend of mine (Andrew Fox, who has written many reviews here) insisted that I absolutely had to see Sunday in the Park with George and lent me his tape of it. Knowing that it had won the pulitzer prize and that Bernadette Peters, who I loved in Into the Woods, starred, I went in expecting something incredible. While the show was obviously well written, the music great and Mandy Patinkin remarkable I couldn't help being a little disappointed. Peters, having vocal troubles during the recording, was NOT sounding very good, and the chorous as well didn't sound great. There's also the book, which is well written by James Lapine but doesn't quite measure up to the score like his fantastic book for Into the Woods almost would. The fact that the tape was battered from (obvious) repeated viewings didn't help either.
Still, I went out to buy the soundtrack so i could really listen to the music and I was blown out of my mind. Bernadette Peters voice is as loud and beautiful as usual and the backround chorous was sensational. This recording also allowed me to truly appreciate the brilliant lyrics and dot-painting inspired music. Like all Sondheim shows, similar themes are repeated throughout and the lyrics range from absolutely hilariious to heart wrenching. I'm planning on buying the DVD soon and I reccomend everyone get both this CD and that as this is the ultimate way to appreciate the score but you have to know the story to get the full emotional impact. Every song (yes, EVERY ONE) is fantastic in its own right, but here are some of the highlights:
1. Color and Light: one of the most incredible pieces of music I've ever heard.
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Format: Audio CD
This unique Stephen Sondheim show's main character is Georges Seurat, painter of the famous "A Sunday Afternoon on the Island of La Grande Jatte" among others. This beautiful spectacle of a show is accentuated, if not carried, by Stephen Sondheim's brilliant score. In the original cast, Mandy Patinkin and Bernadette Peters are breathtaking as George and his mistress/model, Dot. As the songs parallel George's paintings, the lyrics portray the contrasting feelings of both characters. George's love for Dot is equal for his love of painting, yet he expresses it through his work, and she does not understand. Dot sees only that he paints her because she's there, not because he loves her. Songs like "We Do Not Belong Together" "Sunday in the Park with George" and "Move On" will thrill and touch the listener, with the effect that all of Sondheim's music seems to have. The show also expresses the experience of art, with critics at every turn, and the difficulty of "Putting it Together". When the fated pair meet again, the past combining with the present at the finale, the listener will be uplifted and rewarded by the experience that is "Sunday in the Park".
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Format: Audio CD
Sunday In The Park With George is Stephen Sondheim's Pulitzer Prize winner. Is it his very best work? No. Is it amazing? Yes, warts and all. After getting badly wounded by 1980's Merrily We Roll Along (a neglected masterpiece, in my opinion, at least for the music) and after almost leaving musical theater altogether, Sondheim put pen to paper to create one of the most *personal* and original scores in any genre or era. His "pointalistic" style of writing perfectly compliments and in fact "describes" Seurat's style of painting. The orchestration is crystal clear and filled with Seurat's colors, and is well-served by the then-new digital sound technology. And for a composer often accused of being cold and aloof, Sondheim here finally poured out his soul and revealed his insecurities.

Patinkin and Peters are wonderful in what most non-singers would not realize are very demanding roles (especially for Peters, who actually injured her voice singing this role off Broadway while also singing an Andrew Lloyd Webber revue on Broadway). The supporting cast is also excellent. But the real "star" of the show is the show, or the idea of it. Never before has such an innately non-musical idea been so well-adapted as a musical. Never have such abstract and frankly intellectual concepts made it to a mass medium so well. Imagine if this work started out life as a book instead. I could just hear the critics saying it was "unadaptable" to the stage or screen. Sondheim and Lapine deserve kudos for that, for they handle realism, surrealism, fantasy, and an almost sci-fi-ish laser sequence with equal aplomb, blending styles and genres much better than many heralded 1990's movie directors with their over-hyped hybrid films.

So what are the weak spots?
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