Customer Reviews

On the Town (1992 London Concert Cast)

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

 

 

While the vocal performances here do not match the re-assembled original cast recording of 1960 in terms of dramatic and comedic interpretations, Tilson Thomas' reading of the score is every bit as good as Bernstein's himself in the 1960 recording. In terms of tempi, rhythmns, dynamics and sound this orchestral reading is the twin of Bernstein's. So one asks oneself, why assemble a studio cast to do it over again when the original is so exceptional??? We may never know the answer but the reading which was simulcast on PBS was amusing at moments, thanks to Comeden and Green's narration and filling in synopses of the dialogue lines skipped over, and the performance was well received by the audience. Here it is re-recorded without the audience.

The only thing I can point to is the inclusion of three numbers dropped out of town before the show's opening - Gabey's Comin/Pickup Song, Ain't Got No Tears Left, and The Intermission's Great. These make up for 7:54 minutes rightfully deemed unworthy of inclusion in the frozen show (especially the latter which is stupid beyond belief - although R&H stole the concept for their Intermission Talk in ME AND JULIET). The nightclub numbers So Long, Baby and I'm Blue are extended 31 seconds and 19 seconds respectively (they were shortened by these 50 seconds to fit onto the 1960 LP release.

So what do you have here that you don't have on the 1960 cast album? 50 seconds of the original show and 7:54 minutes of songs never used and of less than stellar quality.

Very little reason to prefer this over the original, especially with the vocal performances not up to par. Small wonder it went out of print rather quickly. Stick to the 1960 recording.

(For purists, that original LP release was unable to fit two numbers recorded for it onto the two sides of vinyl - DO RE DO and I UNDERSTAND. The former was added when the LP was re-released (to accompany the 1971 revival) and when it made its debut on CD, I UNDERSTAND joined it for a complete recording.)

I love this recording because there are many songs composed by Comden/Green/Bernstein. I think this musical is lovely, and far better than the movie version starring Gene Kelly. But compared with the musicals in these days, it seems to be old and it's not good to stage again. But you want to hear this musical, it's a must buy.

Frederica von Stade, who have sung Maria in "The Sound of Music" and Magnolia in "Show Boat," sings well the role of Claire. I like her singing very much. She and the rest of cast sings beautiful songs like "Carried Away" "Some other time." I can't understand why the former reviewer hate the singers. They are great, aren't they? Marie McLaughlin (why do they make recording CD by her?) and Samuel Raimy, Thomas Hampson are very special singer!

And, Leonard Bernstein is the very special person for all the people lives in Sapporo, Japan. Because he established "Pacific Music Festival" in Sapporo, 1989. Thanks to him, we can hear the soloists of Wiener Philharmoniker at the live or Michael Tilson Thomas' conducting. So, this album means special things to me.

You did a great job, Mr. Bernstein!

This is a good recording of this very enjoyable work. The quality of singing is fine and the orchestral work is particularly good. The music itself is really fun and well above the level of the great majority of Broadway musicals, including better known works like Oklahoma. This is the first of a group of excellent musicals; On The Town, Wonderful Town, and West Side Story, written by Bernstein and collaborators in the 40s and 50s. All are excellent and incorporated music and dance in innovative ways. West Side Story is the best known and most performed but I believe that the music in On The Town is the best of the group. All of these musicals, in one way or another, celebrate New York City.

The London Symphony and Michael Tilson Thomas play so well, the ballet interludes are worth the price alone. Unfortunately, I thoutght the vocalists left a great deal to be desired. I found their interpretations stuffy like they were afraid to let their hair down and sing. I'll say it again though, the LSO plays great!

I had to force myself to listen beyond Sam Ramey's first "I feel like I'm not outta bed yet"... why?... it comes down to two things:

1) When listening to opera singers performing musical theater I always have difficulty understanding "what" they're singing about. Sure, I can hear the words, but the purified sound sands down everything that was gritty and emotional. It's almost like a Musak treatment, taking the raw energy and vitality of the original and softening it for easier listening. This is usually never a problem with original cast recordings which may have less-than-perfect vocal production, but are 100% locked in with singing-saying what the music and words mean TOGETHER.

2) I find these type of recordings patronizing to the great number of extremely talented musical theater artists who would each bring better interpretations to the studio because they'd have actually performed the parts, on-stage, dancing and acting, for many shows in a row. From an interpretation POV, this recording sounds like it was banged out after a few coachings, a few rehearsals, and a lot of engineering time. That approach seems to belittle the dedicated contributions of music theater artists.

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This is supposed to be American Musical Theater, a little rough around the edges, packed with physical/musical/emotional vitality, intelligence, wit, etc. This recording does not convey those attributes at all. It is physically revolting for me to listen to this homogenized, purified, sanitized, corrected, over-engineered, and nonexpressive recording. I'm glad I borrowed it from the library.

A wonderful score from Leonard Bernstein detailing three naval soldiers' day of leave in New York City. Even if some of the songs are a bit past their prime, there are still great catchy tunes:

New York, New York
Taxi Number: Come Up To My Place (a very catchy duet)
Ain't Got No Tears Left
Some Other Time

This recording, however, is not the greatest. Its poor quality just reminds you of how dated some of the music is, so I recommend you get a different version.

Bernstein started a bad trend with his crossover West Side Story, in which Kiri Te Kanawa and Jose Carreras were painfully miscast. But that version has sold very wel over the years, so now we have MTT condcuting a big symphony orchestra and singers like von Stade and Hampson who try their best but feel all wrong. This is a great score, but here the whole sense of naive sailors on shore leave in the big city, plus the special jazziness of Bernstein in the Forties, doesn't come across. These are very sophisticated people trying to ham up WW II period charm--no thanks.

Okay, strait to the point. What was the first thing I noticed when I listened to this CD? The vocalists were too content on acting rather than singing. They really didn't do the singing and the way they acted seemed almost awkward at times. I thought the interpretations were much better on the CD Bernstein's New York which only had selections but were very good. I do still think Kurt Ollmann did wonderful. He's one of my favorite Bernstein interpretationists in his singing than most others even those he usually doesn't get the largest parts. He was also in DG's recording of Candide (as the boat sailor to South America) and Quiet Place (a member of the jazz trio in the Trouble in Tahiti section). I don't know about the other recording but you may wanna try one of those instead. Or maybe not. I don't know. I never did like the London Symphony anyways...