Why is it so important that they include every last note? I'm as nuts about this show as one can be, and even nuttier about the music, and I don't care that every last bit is included on every major recording.
Not saying it's wrong, just surprised people expect the whole show as a requirement when most cast recordings of most musicals don't feature the whole score.
I like the Complete Symphonic Recording but I have issues with it as well like most people. Despite its use of the 72-member London Philharmonia Orchestra, it's not the best representation of John Cameron's orchestration as they turn the strings way up and leave a lot of the rest of the instrumentation in the dust. It's by no means bad or even lacking. It's overall a fabulous recording, especially when heard through headphones or an excellent sound system but the mix could've been better balanced at the studio.
I respect other people's opinions but one I'm starting to respect less and less for how it seems to be a case where one person suggests something and everyone else copies them, spreading the same quote word-for-word that they first stated until it's the standard. And all because at the time it was stated it seemed to be the best explanation for why everyone has issues with the CSR.
Sorry, but I'm RIDICULOUSLY sensitive to the nuances of a recording and the assertion that the CSR has little chemistry because it was recorded in three different places and used a cast that didn't perform together in the show proper has long been one that doesn't ring true to me. Again, not saying I'm right and others are wrong but they are wrong when it comes to these ears, and these ears think it's a bunch of baloney.
In fact, it's remarkable that they managed to make it sound as if they were all in the same studio together. You'd think such an ambitious, complicated project at that time wouldn't have come out so seamless. But it is. Completely seamless, not only technically, but the cast sound great together and it's the one recording I had worn out as a kid playing straight through while picturing the show in my head, and the wonderful performances and chemistry had a lot to do with that. Bravo to the engineers for getting the toughest part of the recording production right, even if they didn't turn out a perfect recording.
That said, while the issues with the mixing are minor, the biggest issue I personally have with it and I suspect is the reason for the scapegoating, no chemistry mass hysteria, is some key roles were cast with actors who are not recording material.
It has been said that Kaho Shimada, Gary Morris, Gay Soper, Tracy Shayne, and Debbie Byrne "can't sing," which is, again, a bunch of bull. It's been said they were terrible in their roles, and again, bull-bull-bull.
The above listed actors are the ones that get the most flack, but personally, I only have a problem with Byrne, Shimada, and Soper. Let me make it clear that I used to be a HUGE Shimada fan and I still can be considered one although not as ardent. I fell in love with her beautiful Royal Variety Performance of "On My Own" in her native Japanese. Her acting choices are simple but powerful and I get chills remembering that clip.
I have clips of Byrne performing as Fantine in the original Sydney production and she is definitely one of the most moving in the role.
Gay Soper played the role like many others play it and I really dig her in that one "Master of the House" clip she appears in on that
Stage By Stage documentary.
But I fast forward most of their bits while listening to the CSR. I KNOW what made them great on stage, at least partially, and that's enough to know they were some of the best. But it just doesn't translate via audio alone. In fact, there are characteristics of their voices that come across badly on audio. Also, I'm the last person to worry so much about belting and the like, but one thing that puts me off about Byrne's Fantine is that she always sounds as if she's gasping for air. It may seem appropriate but Les Mis is the type of show I LOVE singing along to and her warbly performance that sounds like mostly head voice makes it less pleasurable to do so. So I turn that off and play Randy Graff instead!!! lol.
Soper tends to be offensively shrill and thin and Shimada sounds perpetually timid and reserved. Yet, I love them all. I LOVE what I've heard (yes, audio only) of Byrne's Norma Desmond and I don't skip Shimada's "On My Own," so not saying they have unattractive voices because they both can sound great, but for some reason, fall short most of the time on the Complete Symphonic. Whatever the case is, their vocals as recorded don't do the roles justice because they simply aren't recording material and don't perform in a way that satisfies us on a listening level for some reason. They're the type that are best when seen live or on video, but their vocals alone contain too many unusual ticks and the quality is too "quiet" (Shimada and Byrne) or too abrasive (Soper).
I'm in the minority about Morris, who I saw live as Valjean in the 1st national tour and is one of the best Valjeans I've ever seen. But I love him on the recording too and don't see what the big deal is about. Most people say he sounds "too American" and not Colm-like. Others say he sounds whiney and warbly. Still others think he simply "can't sing."
Of course I think those people have no perception and should go suck a big hunk of BALONEY.
Recreation of original John Cameron orchestration to "On My Own" by yours truly. Click player below to hear.
Updated On: 6/27/12 at 01:55 AM
... Seriously, it is a wonderful representation of the "original" show before the more recent changes. It is, as it states, complete. 
