Yeah that "bounce" in Lansbury's Rose's Turn cracks me up every time. But for me I also wish Lansbury made some different acting choices at times. For example, maybe it's because they keep taking it further/exaggerating it in recent revivals or recordings, but her "Everything's Coming Up Roses" isn't quite as ferocious as Patti's or Bernadette's in my opinion (Patti's probably being the most ferocious I've heard). I know Lansbury could have done it if she wanted to - she was more ferocious singing "Me and My Town" 10 years earlier in ANYONE CAN WHISTLE. And her "Rose's Turn" is pretty intense.
What I love about all these GYPSY recordings though is that the lead vocalists are so unique/individual/special. The performances are so different that (with the exception of Tyne's recording, unfortunately - wish I could have seen her) all of the recordings are compulsory listening! This discussion has been had before, but there seems to be much more personality in the voices of stars-gone-by than the new 'divas' (if there is even such a thing today).
As for the 'best'. I'd also vote LuPone's recording. The orchestra sounds great, LuPone is a monster vocalist and the supporting cast are excellent. I'm also partial to Bernadette's vocals (of course). However, it would have been great if she could have played the role as little as 5 years earlier, you can hear the deterioration in her voice from this performance in 1998 to the cast recording:
Her Carnegie hall performance in 1995 is even more impressive. By 2003 her vibrato seems to have become slower and her belt a little strained. LuPone makes the score sound so easy to sing, while Bernadette is being stretched to her limits. I don't really mind though. She still is a powerful vocalist and was able to sing the score.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
And the stunning audacity and gasp-inducing self-indulgence of Dolores Gray singing and diva-splaining "Rose's Turn" to a benefit audience. (And playing Louise as well as Rose.)
Ms. Gray once dug her fingernails into my palm, almost to the point of drawing blood, and said, "I was the BEST. ROSE. EVER. Why? WHY? YOU WANNA KNOW WHY? Because I was the only one who understood the PSYCHOLOGY."
Well, the difference is Ernest Lehman's rewrite was good. :P Dolores, may she rest, was either really bad at paraphrasing, or really thought highly of herself as a writer.
I didn't see this myself and didn't even know who Dolores Grey was at the time, but a number of members of the Lansbury cast did GYPSY at Papermill with Grey in 1976 and I heard the story from several sources.
Apparently, Papermill had "Papa's living room" on a wagon, which made for a tight fit. One night, toward the end of "Some People", Grey got her coat caught on the scenery and took most of the 7 bars before "But not Rose!" untangling herself. Then she still had to go to the door, turn around and come back for the plaque on the wall. Trying to do it all in a couple of seconds, she dropped the plague and had to bend over to pick it up.
This left her hind-end pointed at the audience as she sang upside down from between her ankles: "But not Rooooooooooooooo-ooooooooooooooose!" The image still cracks me up, but I have to give the lady credit for carrying on in the face of adversity!
As I've said elsewhere, members of the Lansbury company attributed the lackluster orchestra on her recording to Jule Styne's decision to conduct the recording himself. They adored Styne personally but said composers have a tendency to slow tempos so that the listener gets to hear every flourish. I've since had the same experience with composers conducting their own work.
That is most clearly seen with Leonard Bernstein... Obviously one of the greatest conductors--and I love many of his earlier recordings he conducted (the 1960s On the Town is impeccable, even a controversial piece like Mass,) but by the 1980s--perhaps I think feeling his age and wanting to make those definitive WSS and Candide recordings--the ridiculous casting of WSS aside--the tempi are EXCRUCIATING...
Yet, when critiquing conductor John DeMain during orchestra rehearsals for the 1980 Broadway revival, Lenny had John increase the tempi, at least for the Latin rhythms, the Prologue and "Cool."
To be fair, we may be used to slightly faster tempi for the dance music in WSS because of the original cast album. In the fascinating book about the music of WSS they reprint Sondheim's letters to Bernstein about the recording session--Bernstein was overseas conducting so couldn't attend. He warns Lenny that he may not like what Godard Lieberson did to the music which was slightly speed it up, Lieberson's reasoning (which makes sense to me) being that without the visuals of the dance you need to punch up the music to carry over the excitement to the listener. So the tempi did not match what was on stage (and indeed that awesome Ed Sullivan clip of Cool from WSS's 1959 return engagement is slightly slower than what's on the cast album.)
The tempo for THE DANCE AT THE GYM on the 'West Side' OBC is insanely fast. I've always wondered how the hell those dancers kept up with it for 8 shows a week. When I finally saw the film I suspected that it must have been 'sped up'.
can you believe the mods banned me?? and they said they did it because i was "violating our single name per user policy." Ive never even had another user name
I would say skip Immelda. Her performance may be great, but she doesn't have the vocal flourish of others.
I think Merman's cast album can do it all. She shows incredible force and you can tell that she still has a hold on the comedy of the piece, whereas someone like Patti seems to be performing it like Medea.
And Pinto, I can't believe the mods didn't ban you sooner, and that they lifted the ban. I don't care about multiple usernames, but you're so disruptive to the boards in general
I am not disruptive, and ive never had another username. They should be banning those people with several usernames (mr smith, bilbo, hamilton22, meagan hilty wanabe)
So let me get this straight. You post a big "I'M LEAVING BYE" message. And then you vanish for a week. ...and it was because you were banned. And those two things just happened to correspond.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
I know right. I think one of the mods just banned me for the sake of banning me, and the person that emailed me probably just came up with some BS reason as to why I was banned