The star of this recording is the score. There was clearly an effort here to preserve EVERY. SINGLE. word and note of the score as clearly as possible, and they’ve absolutely succeeded. If I have any notes, the cast is singing a touch too clipped and crisp to make sure we hear them precisely. But I’ll never turn down a chance to hear the brilliance of Sondheim’s lyrics, and I know he’d be proud of this album’s production.
There are a couple of vocal tics/nuances/affections that I hear throughout (eg in Sara and Patina’s songs) that I do wonder if Sondheim was in the studio he’d ask them to downplay. But overall I do think it’s nice how they seem to have stuck a balance between being able to honour and do justice to the score as written while also sounding contemporary in style.
Also, I don’t understand why someone would find Patina’s voice unpleasant - I agree from what I’ve ‘heard’ that Heather’s voice seemed exceptional. So dark and broody, so expressive, and Patina doesn’t quite get there. And I think Patina’s voice is probably more interesting and stronger sounding in lower registers whereas here she is often singing a bit higher. Overall though I think she sounds great and I prefer it to Vanessa William’s pleasant but thin and boring voice, or the grating vocals on the OLC.
Excellent album!! Phillipa sounds so gorgeous, the highlight for me so far. I need Joshua Henry leading shows every year on Broadway, his voice is just incredible. I'm not the biggest ITW fan, but this album will be on repeat for a long time.
Broadway Star Joined: 5/15/11
It’s a decent recording but I wish that Stephanie J B was on it and not Sara Bareilles. She’s very underwhelming.
The album is #6 on iTunes. Obviously Sara’s effect.
This is one of the most gorgeously realized cast recordings I've heard. Every note and every word is performed with loving care.
And I am SO glad Sara Bareillis's performance is captured here. Everyone's already discussed her Moments in the Woods, but even her Maybe They're Magic is a master class. Count me as one who is not impressed by the blunt vocal style of SJB in the clips released by the production.
binau said: "Has the orchestra been expanded at all? I'm surprised at how full it all sounds to be honest."
I believe they added two additional violins according to the liner notes. Beyond that, it’s the original orchestration. And yet, I hear textures in the brass and winds I’ve never heard on other recordings, as in “Giants in the Sky.” I know this score inside out, so it’s a joy to discover new things about it through this album.
Swing Joined: 11/9/12
The two additional violins listed were substitutes who filled in for the regular violinists unable to play certain sessions because of prior scheduling conflicts. The orchestration (and numbers of musicians) is the original and as played in the production.
It sounds incredible (except for Patina who I thought was a little dull on stage and on recording).
Something that's struck me as interesting is how much Sara plays with the music. There's incredible connection to lyric from her without sacrificing the musicality, but she's often not singing exactly what's written. Sondheim was often very strict about his music being sung as written (especially on recordings), but now that he's gone, I think we might start to see more artists take some liberties with his music, for better or for worse.
The fact Sondheim WAS so strict with certain things like that while on the other hand being totally fine with completely different interpretations (and I'm sorry but 99% of the time, them not working) always amused me.
Listening to it again now with headphones on and I'm struck with the clarity and beauty of Soo's voice. She really does have one of the best voices in theater, right now.
I think Sondheim would’ve been thrilled with Sara’s interpretation. Her slight changes always honor the music and lyrics, it’s nothing drastic.
Annaleigh Ashford sang Dot/Marie in a modern almost pop nature, and Sondheim was clearly a big fan of that performance and production.
He also loved Katrina Lenk who most certainly didn’t have a traditional approach to Company.
kidmanboy said: "This is one of the most gorgeously realized cast recordings I've heard. Every note and every word is performed with loving care.
And I am SO glad Sara Bareillis's performance is captured here. Everyone's already discussed her Moments in the Woods, but even her Maybe They're Magic is a master class. Count me as one who is not impressed by the blunt vocal style of SJB in the clips released by the production."
I agree about Sara’s “Maybe They’re Magic.” I’ve heard notes and intervals I’ve never heard anyone correctly sing before. It’s really a great track and masterful performance that was captured.
To be clear, I think Sara is definitive and I think Sondheim would've loved her performance, but I also think he probably would've made her stick to the score as written for a cast recording.
It's really wonderful. The orchestrations are just stunning. A small nitpick is I really miss the strong beat in the Witch's Rap, though I do think, in general, Patina sounds better here than she did in the theater. Sara is glorious.
Curious what people think about Sara’s performance is not what’s written. Is it her scoops? Her play with rhythms? She’s singing more correct notes written in the score than most people who play the Baker’s Wife.
Broadway Legend Joined: 9/11/16
I'm on the verge of tears. A definitive capture of Sondheim's masterpiece, from one of the most perfectly cast ensembles of all time. Steve would have been proud.
Love SJB but I have not been impressed with the clips released. Her belt is over the top and unnecessary. Bareilles sounds much more fitting to the role.
I really want Soo to be nominated for this performance. Her work is exquisite.
I personally love Patina's Last Midnight in the cast recording, the stage version was not my favorite because the tempo felt VERY rushed in the theater. However, I really miss Headley's "I'm the witch?" line reading. That interpretation was shocking and yet so crisp and obvious, that I audibly gasped when I first heard it.
HeyMrMusic said: "Curious what people think about Sara’s performance is not what’s written. Is it her scoops? Her play with rhythms? She’s singing more correct notes written in the score than most people who play the Baker’s Wife."
Yep, I’d have to imagine it’s the pop styled scoops that are throwing people off. I don’t hear incorrect notes either.
Just had my first listen and I agree it is a gorgeous recording. Hearing things, bits and pieces of music I know I'll be obsessing over on subsequent listenings.
Sara is wonderful. I think Joanna Gleason is still the gold standard. I saw her near the end of the original Broadway run and her performance is not something I think will ever be surpassed. Now, this may be heresy, but I also thought Emily Blunt was fantastic in the movie.
Gavin Creel. That's all. Just Gavin Creel.
I'm just going to enjoy the heck out of this. I'm sitting at my desk with a pair of crappy headsets on and I'm still loving it.
Can't wait to listen to it with good speakers at home!
Leading Actor Joined: 9/16/17
HeyMrMusic said: "Curious what people think about Sara’s performance is not what’s written. Is it her scoops? Her play with rhythms? She’s singing more correct notes written in the score than most people who play the Baker’s Wife."
Agreed. At multiple points I thought "that's not what's written, is it?" and opened up the score, and sure enough, it was. The cast is singing the score more accurately than I've ever heard this score sung. It's remarkable to hear such attention to detail.
Broadway Legend Joined: 12/29/13
JUST WONDERFUL......this years Grammy winner
Broadway Legend Joined: 1/25/20
Well, this is absolutely gorgeous. How wonderful to have this recording of this cast. Also, just great to have the tracks split up as each individual song. The one thing about the OBCR that has always bothered me was so many song being put together into one track. Sara, Phillipa, Patina, Brian, Gavin, Joshua, Julia, Cole, Aymee, this entire cast! Rob Berman and this orchestra! Bravo.
On a separate note, I am still sad Company didn't get this album treatment. If I could have both Company and this exquisite Into the Woods on repeat.. I'd be the happiest. To think we had them both at once. Lucky us.
Sweeney and Merrily albums to come soon I'm sure!
Ah well. Off my soap box.
I too will join the parade of raves for this album. It's an amazing complement to the OBCR, and I liked (but didn't love) the motion picture.
If I may quote Variety when this revival first opened, the biggest giant in the sky this go-around is Sondheim. I bet he has been hearing this wonderful ensemble of Broadway veterans (and phenomenal orchestra, bravo Rob Berman) all day from up above, and he has the warmest smile on his face right now that we loved seeing in person. This is just my opinion, but I feel that his later works feature some of his best lyrics — especially when he utilizes alliteration and turns of phrase, as he does here — while his earlier material includes a lot of his finest music. The intricacies of Sondheim's text take center stage in a revival that is clearly dedicated to him. The genius deserves it and so much more.
The cast is uniformly great. There are so many standouts I won't bother singling them out in this review. I actually enjoyed Cole Thompson more than Julia Lester on this recording. Patina's okay but I found her to be more of a succubus in Pippin. I was looking to hear more of that devilish, mysterious type with her Witch. My only other qualm is the more excessive Auto-Tune for David Patrick Kelly.
This better get a Grammy nomination for Musical Theatre Album and if so, it might just win.
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