Cast Recordings - Seeking Your Advice!!

I am doing a mass order from Amazon.com today and I would like your input....

CANDIDE (OBC, 1974 Revival, 1997 Revival?) I am not familiar with this show at all. My criteria is this: most complete recording with the best performances.

CABARET (I have many recordings of this show. Is the new London recording worth purchasing?)

PACIFIC OVERTURES (I know the score, but I do not own a recording of this show. OBC or Revival? Or both? I will consider getting both.)

PORGY AND BESS (I am thinking about the Houston Grand Opera recording. What do you think?)

THREEPENNY OPERA (Again, I do not know this score at all. Which is the definitive recording?)

Thanks in advance for your assistance, BWW'ers :)

CANDIDE - OBCR. Then, if you need another, Scottish Opera. Get the National Theatre or City Opera versions before you ever think of buying the '74, '97 or the Bernstein studio recording.

CABARET - New London recording is just ok. Seek out the Original London cast recording with Judi Dench if you don't have it.

PACIFIC OVERTURES - OBCR for me, hands down. The revival recording depends upon your threshold of tolerance for B.D. Wong.

PORGY AND BESS - The Houston Grand Opera is a very good recording. I also love the 1951 Goddard Lieberson studio recording.

THREEPENNY OPERA - Top choice for me is the '76 Lincoln Center recording, in any form you can find it.

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Candide OBC!
Pacific Overtures OBC.

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While I think the Bernstein-conducted CD set is a letdown, I think the DVD of the London concerts leading to the recording is fantastic, not just for a reading of the score but also for its commentary by Bernstein about Hellman, the piece, etc.

I agree with what many have already said, but just to add to the pile:

Candide - Get the OBC. The '74 Broadway Revival is more complete and an enjoyable recording, but the Original Broadway Cast recording is, in my opinion, definitive, ESPECIALLY as your introduction to the score. If you love it, which you probably will, add other versions after this one.

Cabaret- I've been teetering over picking up this London Revival recording myself, but have so far resisted because most things I hear about it are negative. Too bad we can hear samples online.

Pacific Overtures- I enjoy the Broadway Revival recording, but the OBC is the one to start with.

Threepenny Opera- I own several recordings of this score (including a magnificent German recording with the amazing Ute Lemper) Unfortunately, there isn't a definitive recording of this show. All of the versions I own are musts for me for various reasons. That being said, choosing one to start, I have to said the 1954 Off-Broadway recording. The 1976 Broadway Revival is right on its heels for me (mainly for the amazing performance of Raul Julia), but as it is not available on CD, I would say start with the 1954 Off-Broadway and pick up the 1976 recording, however you may when you feel like seeking it out.

Thanks everyone! Here is what I ended up purchasing:

Candide - OBC
Porgy and Bess - Houston Grand Opera
Threepenny Opera - OBC (But I'll consider getting the Donmar in the future!)
Pacific Overtures - Both the OBC and the Revival! I couldn't decide.

I hope you all approve!

P.S. These are the other recordings I purchased:

Wild Party (LaChiusa)
Anyone Can Whistle (OBC)
Dessa Rose (OOBC)
Evita (Studio Recording)
South Pacific (New Broadway Cast)
Saturday Night (OOBC)

As well as the scores to Cabaret, Anyone Can Whistle, and Pacific Overtures!

Isn't it nice to treat yourself?

myshikobit-
And that is EXACTLY why recording companies don't release more cast recordings. (Well maybe not exactly, but...). When you don't buy them, they don't make them.

I can understand checking them out to peruse them, but if you like them, go buy them.

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You have already made your purchases so my input isn't worth much. I was going to add my thoughts on the Houston Grand Opera recording of PORGY AND BESS. I saw their production at the Gershwin Theatre in the mid-1970's and absolutely loved it. And I love their recording with one exception: Donnie Ray Albert as Porgy is more of a bass than a baritone, and he has trouble with some of his high notes; it is especially disturbing to me during his final numbers, including "I'm On My Way", where he is often flat.

The suggestion by Smaxie of the studio recording produced by Goddard Lieberson and conducted by the great Lehman Engel is a good one. If you have enough money you might try that one some day. It would be good to see PORGY AND BESS in NYC again, be it on Broadway or at the Met.

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"That's part of the fun of collecting something you care about."

I couldn't have said it better myself. You're a wealth of knowledge, frontrowcentre2!

I'll let you guys know what I think when I receive my shipment from amazon.com!

Amazon has used copies available (starting at $75) but no new copies. Sony deleted the title about 3 years ago.

When it was issued in 1951 it was historic as the first "complete" recording of PORGY (even with many small cuts representing the way the show played on Broadway in 1935.) From 1951 to 1976 it was the ONLY complete PORGY available. In teh late 1960's the budget label Odyssey reissued it (in fake stereo, alas) and kept it in print and available for under $10.

RCA's set of the Houston production restores virtually all of the cut music and offers an equally exciting listening experience. Around the same tiume London also issued a 3 Lp set but it was done by serious opera performers and while very well sung, it lacked the theatrical punch that Shepard brought to the RCA set.

Sadly, around this time Odyssey was phased out and their catalogue quietly disappeared. PORGY did not appear again until this 1998 reissue.
PORGY & BESS

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