Customer Reviews

Sunset Boulevard (Original Canadian Cast Recording)

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

 

 

A beautiful highlights recording of the record breaking Canadiasn production. Here is LLyod Webber's best score yet. The range of tunes is phenomenal - from the lush symphonics of the overture, to the nostalgic 'With One Look', with the jazzy 'Lets Have lunch' inbetween - it's a tour de force ! Here, oscar nominated actress Diahann Carroll sings the role of a lifetime as Norma Desmond -'silent star of yesteryear.' Her voice is beautiful, husky and full of the history of the movies. The way she begins 'With one Look' in particular demands comment. She almost struggles to sing the first line, thus showing the courage the fragile Norma has to overcome to make her return. It is perfect evidence of Diahann's profound understanding of the role, which permeates this recording. The other two ballads - 'New ways to Dream' and 'As if we never said goodbye' are sung with the same vulnerability - an aspect of the character few other actresses have demonstrated to this degree. Above everything else, Carrolls vocals present us with a real, believable woman - determined, insane and manipulative yes, but also lovable, utterly understandable and achingly vulnerable. Rex Smith makes an angry Joe Gillis, his renditions showing his rage at having sold out to Norma and her crazy dreams. Anita Louise Coombe reprises the role she played in London and brings a sweet, yet powerful voice to Betty Schaefer. Perhaps Walter Charles as Max is the weeakest point here. He tends to droan a little, excuse the expression, in 'The greatest star of them all,' but redeems himself at the end with his marvelously strong direction of Norma's salome. The power with which he brings Norma to her senses in speaking the line 'Madame, the cameras have arrived,' really makes you understand just how horrific a story Sunset Boulevard is

I purchased this version of the musical because it WASN'T the Patti Lupone or Glenn Close cast. . . and boy, am I glad I bought it. Rex Smith's fantastic voice and perfectly cynical delivery are a pleasure. His is the best rendition of "Sunset Boulevard" that I have heard yet.

Diahann Carroll seems an odd choice, not so much because of her voice, but really because of who starred in silent movies back in the day. But since this is theater and not real life, it's really an inspired choice. Her voice may not be quite as strong as it used to be but she displays passion and vulnerability where appropriate. I also have a recording of the German version and have to say this one is preferrable. The German actress who plays Norma Desmond is much shriller than Ms. Carroll. The net effect is that she seems to be purely a lunatic, so you have a hard time believing that Joe Gillis likes her at all. Ms. Carroll, on the other hand, plays Norma as a lonely eccentric. As a result, her final scene is much more tragic.

I had the pleasure and the privilege of seeing the Toronto cast perform Sunset Boulevard in Toronto at the Ford Centre for the Performing Arts. We had front row seats and immensely enjoyed the musical. I was amazing to see and hear Rex Smith in person. The orchestrations were beautiful!

I was lucky to have recently purchased the CD. I was absolutely blown away! The music quality is superb and the voices are crystal clear. I also enjoy the London cast album, but Rex Smith makes this album stand out. His voice is expressive and magical. I personally prefer Patti LuPone as Norma Desmond. Diahann Carroll gives Norma Desmond a wonderfully dramatic quality. I only wish the full album had been recorded. The music is haunting, touching, and an absolute pleasure to listen to.

This highlights album of Lloyd Webber's hollywood masterpiece, Sunset Blvd, features Diahann Carroll as fading screen-star Norma Desmond. Rex Smith stars as Joe Gillis, the screen-writer she lures into her trap. Carroll's performance is unique; she is prone to sing-speak in places, but her husky style is compelling. Smith gives a fine performance as Joe Gillis. The recording is particularly worth noting for its atmospheric sound. The beautiful score is faithfully reproduced; from ballads to jazz.

This is a wonderful Canadian Cast Recording of SUNSET BOULEVARD. There are new orchestrations, and the music is jazzier and much richer. But as a whole it is not as strong as The Original London Cast with Patti LuPone, or The Original Broadway Cast with Glenn Close. Although this CD has some wonderful highlights.

Joe Gillis is played by the wonderfully talented Rex Smith (of Scarlett Pimpernel and Grease). His voice is Jazzy, rough, growling, and gutsy. He gives variety, levels, and depth to the character. The first song "Let's Have Lunch" sounds much more Jazzy and and livlier than on any of the other CD's. It just sounds more intriguing. Diahann Carroll definitely has stage presence but not the voice to hold the show. As Norma, she is very mysterious, tranquil, with much pain in her voice, as sung in "Surrender", her opening song. She eases into "With One Look" with her raspy voice. It starts off vocally weak, but she gets stronger and better as the song progresses. Her intensity shines well into the song, and she belts the last note, although I think it's lower than the other renditions.

Max, played well by Walter Charles has a tremendous Baritone when he belts "Youth which cannot FAAAAAAAADE!" All Max's are great on each CD. "Every Movies A Circus" is just as lively as "Let's Have Lunch." Christopher Shyer is vocally strong as Joe's friend, Artie. Anita Louise Combe (of Saturday Night Fever) is enduring as Betty. Her voice sounds young but much more mature than Meredith Braun in the London Cast (But I do LOVE Meredith.) She sounds a little more head strong, and more like the "studio smart ass" that she's refered to as being. She sounds ahead of the game. "Girl Meets Boy" is witty and smart. "New Ways To Dream" is filled with passion and pain. Triumph always come to Miss Carholl as the songs progress. But I think a lot of the delaying is the Musical Director's fault.

"The Lady's Paying" is great on all 3 CD's. I do love the way Diahanne goes crazy when she says, "Shut up! I'm rich, not some Platinum blonde b1t@#!" It's hilarious and DIVA! "The Perfect Year" is played a little fast for my liking. Elaine Paige's is the difinitive version (as heard on "Encore") When Miss Caroll gets to "It's New Years Eve..." she takes the key down a half step or so and it's not as effective. The Chilling ACT I finale where Max says "Madame found the razor in your room, and she cut her wrists" always gives me goose bumps. When Joe goes to see the distraught Norma, only Patti LuPone can find all the different levels when she says "I'll do it again! I'll do it again!" Diahanne is more sympathetic and in pain, which works for her portrayal.

"Sunset Boulevard" is fiercely sung by the amazing Smith. He belts and growls his way through it like a greedy gambler would. "As If We Never Said Goodbye" is a little fast, and once again I think the keys are lower than the other verisons to suit Miss Caroll's husky, sultry voice. "Eternal Youth Is Worth A Little Suffering" is snazzy and vibrant.

"Too Much In Love To Care" is one of my favorite's on this CD. I can hear more character struggle in Joe's voice not to love Betty. But he just can't resist her. He clearly belts "I haven't got a PRAAAAAYER!" There is definitely more sincere questioning from the confused Betty. She is in quite a predicament after all, she IS in love with her fiance's best friend!! There needs to be some struggle and confusion from both character's and that is potrayed beautifully by the both of them.

The "Finale" is quite good, too. Betty's plee "Say something Joe!" is said like I've never heard before. Joe is clearly trying to make Betty hate him so she doesn't get caught up in the mess he's in. These were clear character choices that worked. And the last monologue of Norma's is a little weak, not as sensational as Patti LuPone's. But the last few bars are strong and intense.

Like I said before, this Cd has some great Highlights, especially Rex Smith and Anita Louise Combe. For any SUNSET fan I strongly recommend this CD, you will not be dissapointed.

Diahann Carroll's voice falls far short of the demands the role of former silent screnn star Norma Desmond requires. She has trouble reaching many of the notes, and is prone to speaking the parts she is unable to sing. Rex Smith is brilliant as Joe Gillis. His voice is both moving and convincing whenever he sings. The rest of the cast is average. On the whole, there are better cast recordings of this show avalible.

Having seen "SB" onstage 4 times, twice with Betty Buckley in London, once with Glenn Close in NY, and once with Petula Clark in London, I certainly qualify as a fan of the show and the score. I have also heard the Patti LuPone and Diahann Carroll cast albums. I am prepared to say that Ms. Carroll and Ms. Buckley are the best Normas I have heard. Sadly, Buckley only recorded the songs on a limited issue CD. Both of those ladies steer a course between mannered overacting combined with undersinging which does not do justice to the almost operatic demands of Norma's numbers (that would be Glenn Close who sounds like a baritone one minute and an almost inaudible high soprano the next with notthing in between) and flat, underacting combined with a powerful, colorful voice which sounds like a woman of 35, not 50plus (that would be Patti LuPone).

On this release, Ms. Carroll's voice is rich and colorful, her acting grand in the old fashioned manner, but never becoming caricarture (Glenn Close). She creates a proud woman, deluded, fearful, craving love, but full of defense mechanisms. That is Norma. She creates sympathy and that is what a great interpreter does even with the most unsympathetic character. I also love the multicultural casting. Diahann has always been a black woman who is an actress, not a black actress. That is the key to her wide appeal, not to mention her beauty and elegance which come across even on record. You really believe that this Norma was once the greatest beauty and star in Hollywood.

Rex Smith is also excellent, singing smoothly and with the virility that Norma lusts after.

This is the best realization of this wonderful score. Listen with fresh ears and you will feel as I do, I am sure.

I feel that if you looking for somthing that is one of Andrew Loyd Webbers finest productions then you have come to the right place. This show has spectacular music and just mezmorizing words. This music has become a favorite among many of Webbers fans. This musical being on the heavier side as in the subject matter I feel that this is done well in that it keeps you going even up to the end. The quality of the sound is just wonderful and the people who perform it are just memorable. I will say that since this is not one of Webbers more popular shows but it did run on broadway for many years with astounding reviews when it was there. So if you are looking for something with great quality and style then look not further than Andrew Loyd Webbers "SUNSET BOULEVARD".

This recording is great. I first heard Diahann Carroll sing on "Dynasty" and thought she had a beautiful voice. She is also a beautiful woman and sings the part of Norma Desmond beautilfully

Sunset Boulevard is certainly one of the best scores Andrew Lloyd Webber has ever written. The composer admitted that it was his wish for a long time to make a musical based on the 1950 classic movie directed by Billy Wilder. After the successful 1991 revival of Joseph and the amazing Technicolor dreamcoat, Webber began working on Sunset together with Don Black, his long-time lyricist on "Tell me on a Sunday" and "Aspects of love" and Trevor Nunn as a director.

The plot concerns Norma Desmond, once a big silent movie star, who, after 20 years of being out of the picture business, still believes to be "the greatest star of all". She accidentally meets a 20 years younger unemployed writer Joe Gillis, who grabs the opportunity to edit the script she wrote for her big comeback to the screen, even though he knows it will never happen. That fact is also evident to Norma's butler, Max, but none of them has the heart to tell her the truth. Eventually Joe becomes Norma's lover and uses all the benefits that a life with an elderly and a rich woman has to offer. In the end, when Norma finds out that Paramount won't shoot her script and that Joe is in love with a young girl, she shoots him. When the police arrive at her house on Sunset Blvd, she is in a world of her own, completely unaware of who or where she is, thinking that she is in the studio making her comeback movie and says to all that she is "ready for her close-up". The plot itself is very beautiful and original, showing what can become of a human being when one can't deal with the rejection or acceptance of the present.

The show first opened in July 1993 in London and was later transferred to Broadway. This highlights album contains almost all the principal musical numbers performed by the 1995 Toronto Cast. Overall, the cast in question here is somewhere in the middle, the London one with Patti LuPone being the best, and the Broadway one with Glenn Close being at the bottom. The Toronto show was unique because it had a black Norma, played by Diahann Carroll. Ms. Carroll's Norma tends to be a bit quieter than the others. Her singing is not bad, although she has trouble stretching her voice entirely as the score demands it. Her best rendition is "As if we never said goodbye", because she puts all of her efforts into it. Rex Smith was not the best choice to play Joe, since he tends to be very over the top in his performances. Walter Charles and Anita Louise Combe give strong leads, but their counterparts in the 1993 London Cast recording are better.

As far as the score, it is simply beautiful. The rich and lush melodies perfectly bring the old Hollywood alive, and jazzy threads work perfectly. The themes tend to repeat themselves, but that is almost a Lloyd Webber standard, and here they form a nice whole so you don't notice it much. The two big numbers, "With one look" and "As if we never said goodbye", performed by Norma, are pure gold. Other melodies include "The greatest star of all", sung by Max; "The perfect year", Norma's hail to the New Year; "Sunset Boulevard" in which Joe sings about her new life with Norma; "Too much in love to care", a beautiful duet between Betty and Joe and many more. The orchestrations on this recording are wonderful, but the tempo is somewhat faster.

The CD comes with a booklet containing production pics, snippets from the production reviews and lyrics of the numbers.

Even though this is not such a bad recording of Sunset Blvd, I would recommend to anyone to buy the original 1993 London cast with Patti LuPone instead. It has almost the entire show and the singers are much better. The 1994 Broadway recording is the most complete of the three, however, it was ruined by the fact that Glenn Close cannot sing and she overacts the dialogue altogether. This highlights album makes a good addition for the collectors of the Sunset cast recordings.