#1
Posted: 12/21/12 at 12:31pm
Les Miz Soundtrack Highlights now available on iTunes
#2
Posted: 12/21/12 at 12:46pm
It's only $5 on amazon today!
#3
Posted: 12/21/12 at 12:48pm
Really? Wow. It's like $15 on iTunes. Either way, I think I'm gonna wait for the full album to be released.
#4
Posted: 12/21/12 at 12:50pm
I shelled out the $5 and got it.
It makes me excited to see it next week, although I wonder why "Do You Hear the People Sing?" is not considered a 'highlight'.
It makes me excited to see it next week, although I wonder why "Do You Hear the People Sing?" is not considered a 'highlight'.
#5
Posted: 12/21/12 at 12:53pm
^^ I agree with "Do you hear the people sing".
#6
Posted: 12/21/12 at 12:59pm
Do you guys think they'll put out an album with the full score or will we just have to be happy with the highlights cd?
I hope we get a full album
I hope we get a full album
#7
Posted: 12/21/12 at 1:02pm
Doesn't the full album get released on the 24th? Or am I remembering that completely wrong? I'm 99.99% sure that we will get a full album.
#8
Posted: 12/21/12 at 1:05pm
^It hasn't been announced. The highlights CD is being released in stores on the 26th. The digital release came early.
#9
Posted: 12/21/12 at 1:10pm
I hope we get a full album, too.
Just like I would have liked a full version of the following albums:
1980 Original French Concept Cast
1985 Original London Cast
1987 Original Broadway Cast
1987 Original Israeli Cast
1988 Original Hungarian Cast
1988 Original Vienna Cast
1990 Original Swedish Cast
1991 Original Dutch Cast
1991 Paris Revival Cast
1992 Original Danish Cast
1992 Original Czech Cast
1993 Original Korean Cast
1993 Original Spanish Cast
1994 Japanese "Blue" Cast
1994 Japanese "Red" Cast
1996 Original Duisburg Cast
1996 Swedish Värmland Cast
1998 Original Antwerp Cast
2003 Japanese "Orange" Cast
2003 Japanese "Green" Cast
2003 Japanese "Light Blue" Cast
2003 Japanese "Violet" Cast
2008 Dutch Revival Cast
2008 Le Capitole de Québec Cast
2010 Polish Revival Cast
2010 Spanish Revival Cast
2011 Czech Cast
Oh! And what I consider to be "full" is everyone's idea of "full" - everything included within the Complete Symphonic Recording!
Oh! Plus that well scene that was added before those awful, awful cuts were added to reinvent the show!!
I'm being half serious. :)
Because the beautifully adapted orchestrations that respect the original work's integrity warrant a need for something more complete. =)
Just like I would have liked a full version of the following albums:
1980 Original French Concept Cast
1985 Original London Cast
1987 Original Broadway Cast
1987 Original Israeli Cast
1988 Original Hungarian Cast
1988 Original Vienna Cast
1990 Original Swedish Cast
1991 Original Dutch Cast
1991 Paris Revival Cast
1992 Original Danish Cast
1992 Original Czech Cast
1993 Original Korean Cast
1993 Original Spanish Cast
1994 Japanese "Blue" Cast
1994 Japanese "Red" Cast
1996 Original Duisburg Cast
1996 Swedish Värmland Cast
1998 Original Antwerp Cast
2003 Japanese "Orange" Cast
2003 Japanese "Green" Cast
2003 Japanese "Light Blue" Cast
2003 Japanese "Violet" Cast
2008 Dutch Revival Cast
2008 Le Capitole de Québec Cast
2010 Polish Revival Cast
2010 Spanish Revival Cast
2011 Czech Cast
Oh! And what I consider to be "full" is everyone's idea of "full" - everything included within the Complete Symphonic Recording!
Oh! Plus that well scene that was added before those awful, awful cuts were added to reinvent the show!!
I'm being half serious. :)
Because the beautifully adapted orchestrations that respect the original work's integrity warrant a need for something more complete. =)
Recreation of original John Cameron orchestration to "On My Own" by yours truly. Click player below to hear.
#10
Posted: 12/21/12 at 1:15pm
I downloaded it from Amazon last night> I really enjoyed almost all of it. I didn't care much for Bring Him Home, but never really cared much for that song anyway.
#11
Posted: 12/21/12 at 2:46pm
"Bring Him Home" was one of only three numbers I had issues with.
At first I thought it was Jackman's fault. That lasted for about a minute and decided it wasn't when I realized the only difference from how it's usually sung, is a lack of falsetto at certain points. And even if that's directly written into the official vocal score, it can't make it at fault because the whole thing comes off odd, even the parts that don't call for falsetto.
And just listening to Jackman alone is enough to ensure he handles it well. In fact, those easily impressed by WoW! vocals and high notes will declare him the best Valjean evar!1!! due to being one of only two men I've ever heard sing the entire thing in pure chest voice and belt the falsetto parts.
The other dude is one of the Mexican Valjeans: Fazio Galvan.
I'd hastily say what I think of that approach but its effectiveness is highly dependent on the images that accompany it, and could work well if the dynamics gel with the interpretation.
My immediate reaction is that it's more effective sung quietly and delicately at key points, which was the same reaction I had with Galvan's rendition. But like Galvan's unconventional rendition, once I stopped contorting my face in odd ways due to how jarring it all was, I realized I liked it more than I didn't.
Plus the intent and purpose is very grounded in it being a prayer and being delicate and quiet is common, but not the only way people pray, which makes the original approach sensible and effective and logical, but NOT definitive. Not until I see what that vocal approach brings after seeing the whole picture. Most other songs have given performers more flexibility, so I know what is more effective.
This song was specifically written to tailor to Colm Wilkinson's incredibly high and powerful voice and so hasn't seen much variation.
I can tell you now I am not a fan of the orchestration for this song in the film, which is ironically one of only a few numbers in the show that did not suffer much "reinvention" in the ambitious anniversary reed fest and maintained the integrity of the original.
Now, it's one of the few numbers they've tampered a bit too much with for the film. At least it will never be called a "concoction" lacking cohesion that sounds like a bunch of wailing birds or penny whistles in a bad nightmare everyone calls a dream. I don't like it because it's too busy and I'm just waiting for everyone to declare how groundbreakingly NOT busy it is and how it reinvents itself, like Madonna.
The other numbers are "On My Own" and "Valjean's Soliloquy." I have no issues with how they are sung. "On My Own" is basically the emo fest of anniversary editions, sadly retaining the thinned out sound and thinking its better than its obviously superior original version.
"Valjean's Soliloquy" has been improved but what's there replacing the much superior original string section is still left in, for reasons I will never understand due to how badly the new version pales in comparison. I do have a positive note on the orchestration of this song. Two, actually. One I already mentioned, that it has been improved. The other, the one radical change that isn't true to the original apart from the mysterious preference for the chucking of that string section, is more an adaptation for the screen, and I can't deny the tasteful way that they've taken the brass attack and turned it into an introspective string part that is better suited to the medium.
That brass attack is perfect for the stage version and not at all "wrong." It's important to differentiate between what doesn't work due to different medium and what doesn't work because it sucks.
I never would have thought that I'd have a problem with only 3 songs, after the whole thing was turned to crap in celebration of the show's 25th.
Wishes do come true. Pigs do fly. And hell freezes over.
At first I thought it was Jackman's fault. That lasted for about a minute and decided it wasn't when I realized the only difference from how it's usually sung, is a lack of falsetto at certain points. And even if that's directly written into the official vocal score, it can't make it at fault because the whole thing comes off odd, even the parts that don't call for falsetto.
And just listening to Jackman alone is enough to ensure he handles it well. In fact, those easily impressed by WoW! vocals and high notes will declare him the best Valjean evar!1!! due to being one of only two men I've ever heard sing the entire thing in pure chest voice and belt the falsetto parts.
The other dude is one of the Mexican Valjeans: Fazio Galvan.
I'd hastily say what I think of that approach but its effectiveness is highly dependent on the images that accompany it, and could work well if the dynamics gel with the interpretation.
My immediate reaction is that it's more effective sung quietly and delicately at key points, which was the same reaction I had with Galvan's rendition. But like Galvan's unconventional rendition, once I stopped contorting my face in odd ways due to how jarring it all was, I realized I liked it more than I didn't.
Plus the intent and purpose is very grounded in it being a prayer and being delicate and quiet is common, but not the only way people pray, which makes the original approach sensible and effective and logical, but NOT definitive. Not until I see what that vocal approach brings after seeing the whole picture. Most other songs have given performers more flexibility, so I know what is more effective.
This song was specifically written to tailor to Colm Wilkinson's incredibly high and powerful voice and so hasn't seen much variation.
I can tell you now I am not a fan of the orchestration for this song in the film, which is ironically one of only a few numbers in the show that did not suffer much "reinvention" in the ambitious anniversary reed fest and maintained the integrity of the original.
Now, it's one of the few numbers they've tampered a bit too much with for the film. At least it will never be called a "concoction" lacking cohesion that sounds like a bunch of wailing birds or penny whistles in a bad nightmare everyone calls a dream. I don't like it because it's too busy and I'm just waiting for everyone to declare how groundbreakingly NOT busy it is and how it reinvents itself, like Madonna.
The other numbers are "On My Own" and "Valjean's Soliloquy." I have no issues with how they are sung. "On My Own" is basically the emo fest of anniversary editions, sadly retaining the thinned out sound and thinking its better than its obviously superior original version.
"Valjean's Soliloquy" has been improved but what's there replacing the much superior original string section is still left in, for reasons I will never understand due to how badly the new version pales in comparison. I do have a positive note on the orchestration of this song. Two, actually. One I already mentioned, that it has been improved. The other, the one radical change that isn't true to the original apart from the mysterious preference for the chucking of that string section, is more an adaptation for the screen, and I can't deny the tasteful way that they've taken the brass attack and turned it into an introspective string part that is better suited to the medium.
That brass attack is perfect for the stage version and not at all "wrong." It's important to differentiate between what doesn't work due to different medium and what doesn't work because it sucks.
I never would have thought that I'd have a problem with only 3 songs, after the whole thing was turned to crap in celebration of the show's 25th.
Wishes do come true. Pigs do fly. And hell freezes over.
Recreation of original John Cameron orchestration to "On My Own" by yours truly. Click player below to hear.
Updated On: 12/21/12 at 02:46 PM
#12
Posted: 12/21/12 at 2:50pm
Why would they list "The Final Battle," and only feature cannons, gunfire and yelling and NOT Aaron's, "Let others rise, to take our place until the earth is free?" Did I just not hear it, what is going on?! I want my five dollars back!
Updated On: 12/21/12 at 02:50 PM
#13
Posted: 12/21/12 at 5:08pm
@CATSNYrevival The CD is already available; I found it at my local Walmart today. Target said they weren't carrying it.
#14
Posted: 12/21/12 at 6:30pm
As I have said in another thread, Bring Him Home was really the most disappointing song for me in the film. It wasn't bad by any means, it just lacked any tenderness to it. And there are times when it really just feels like Jackman is uncomfortably straining to hit notes that I don't think he should have any problem hitting.
#15
Posted: 12/21/12 at 8:32pm
http://www.youtube.com/watch?v=0obQ_a6Cm-c
Les Misérables - Craft Featurette: Sound Mixing / Editing
Very interesting video to watch if you haven't already... :)
Les Misérables - Craft Featurette: Sound Mixing / Editing
Very interesting video to watch if you haven't already... :)
#16
Posted: 12/21/12 at 9:38pm
I got the soundtrack today in the mail from Amazon. Here are my thoughts (I have not seen the film yet btw). I was debating whether to listen before seeing the film, but I simply could not wait.
Overall I am very glad I bought it, I was worried that just listening as standalone songs without the film would diminish the performances given the way it was filmed; but the vast majority of the songs I will listen to again and again. And I'm listening again while writing it, each piece is getting better during each listen.
1. Look Down: LOVE the into overture. Full rich, beautiful. And wow, all the chain gang solos are cut. =( In fact most of the song has been cut. This is my least favorite part where Russell Crowe sings. It also feels like his first scene he shot.
2. The Bishop: Also has some wacky cuts (although I am trying to reserve judgement till I see how everything fits together, it is highlights after all). Colm sounds terrific, but miss the powerful music right where the two constables arrive, but that might be in the movie, just not on the disc.
3. Soliloquy: Much quieter than the stage version, but digging the interpretation and changes. Especially love the end of the song. Well done Mr. Jackman.
4. At The End of the Day: Yippie! The intro is there and it's loud and powerful, Huzzah! Anne sounds great, I enjoyed it a lot. Rock it Foreman! He's especially excellent.
5. I Dreamed a Dream: One of the best parts of the disc. I was tearing up, and when it was done, I went back and listened to it again. Anne, you are a Goddess. Gorgeous and raw and everything the song should be.
6. The Confrontation: Not bad. Enjoyed the new orchestrations, looking forward to seeing it with the action etc. But not the best version of this song.
7. Castle on a Cloud: Perfect. =) Isabelle sings like a dirt covered angel. Well done young lady.
8. Master of the House: LOVE it! Sasha is so good, sad he's not getting more attention from this film, because he really sounds loose and natural. I'm probably one of the few people who didn't mind Helena in "Sweeney" and although she doesn't have the strongest voice, she just oozes sexy and sass, and it sounds like such a fun take on Madame T. Can't wait to see their stuff on the big screen. Note: didn't someone mention they hated how there was a couple doing it in the background during the new national tour...well now you can hear it in a recording of the song.
9. Suddenly: Nice. It's not particularly groundbreaking, its a nice song, and will fill a plot gap. But I'll be bummed if this wins an Oscar over Adele's "Skyfall" though...just sayin.
10. Stars: This was a song I was most excited to hear. One of my favorite songs from the show. Meh. I think this version will grow on me, but Crowe just doesn't have the comfort with singing that everyone else has; and he sticks out like a sore thumb (album wise). I will go into the film with an open mind though, I'd like for him to win me over. Wish he could have held that last note just...a little...longer. Oh well.
11. ABC Cafe/Red Black: Mmmm Aaron Tveit and Eddie Redmayne....Sounds great. Little lyric changes here and there. Solid, very good. Interesting that the end of the song which is supposed to be a solo for Enjolras was split up and given to the other students too.
12. In My Life/A Heart Full of Love: I love Eddie's voice, I'll say that now, but I'm sure I'll say it again. Samantha Barks is perfection. I literally cheered when I found out she'd be taking over for Taylor Swift. I also am enjoying Amanda's Cosette, I know lots of people aren't. Yes, she has trouble with that highest note at the end, but I like her. And she looks beautiful and perfect for the role, I can totally see Marius falling for her as so as he sees her.
13. On My Own: You go girl! I'm partial to this character. Can you tell? Samantha makes me proud, I hope she gets tons of work after this. This is also one of the few straight songs sung in the traditional style close to the stage version, without much whispering or talk singing involved. It's terrific.
14. One Day More: I was slightly underwhelmed by the clip that was released, but just listening to it loudly on the disc made me want to cheer. Hope I have the same reaction in the theater.
15. Drink With Me: Firstly how did this song make the highlights cut and "Do you Hear the People Sing" and "Little Fall of Rain" didn't? Whatev. It's good though. Love how Gavroche now sings the "women" part of the song. very nice.
16. Bring Him Home: Hugh's voice is so different from any other Valjean, but I really liked it. Like On My Own, it was sung very traditionally, unlike Soliloquy where so many liberties were (effectively) taken.
17. The Final Battle: I hear Hadley Fraser! Woot! Aside from that, Omg, LOVE the new music, LOVE LOVE. I also loved the old version, but it's like Final Battle Remix. Dig it. Check it out around the 1 min mark.
18. Javert's Suicide: I weirdly was hoping that is would be called "Javert's Soliloquy", you know, spoilers? But I guess if you buy the CD you probably already know what happens. I really wanted him to scream "ON!" at the end, like Drew Sarich did in the revival. YouTube it, you'll thank me (3:52 mark!). Crowe would have benefited from less trying to sing properly and more shout his way through. Anyone else feel that way?
19. Empty Chairs at Empty Tables: Someone else mentioned that this is like the "I Dreamed a Dream" of the 2nd act. I totally agree. For the record, those are the two songs I have listened to the most on this recording. For "And I can hear them now..." Eddie goes up gently into his falsetto and it's GORGEOUS. But then he belts at the end. So gorgeous. Can he please get an Oscar nomination for this film?
20. Epilogue: Love that the Bishop now takes Eponine's place at the end (who would have thought I'd say that), but it really fits better at the end. Great, solid ending.
So to wrap up. It was worth the $10 or so on Amazon. It you're looking to pick up just a couple songs from iTunes, go with "I Dreamed a Dream", "Empty Chairs..", "On My Own" especially.
I also wish Paul Bettany had been cast as Javert. Remember that? A couple websites even announced that he'd been cast. Anyone have any dirt on that?
https://screenrant.com/hugh-jackman-les-miserables-paul-bettany-sandy-119799/
Overall I am very glad I bought it, I was worried that just listening as standalone songs without the film would diminish the performances given the way it was filmed; but the vast majority of the songs I will listen to again and again. And I'm listening again while writing it, each piece is getting better during each listen.
1. Look Down: LOVE the into overture. Full rich, beautiful. And wow, all the chain gang solos are cut. =( In fact most of the song has been cut. This is my least favorite part where Russell Crowe sings. It also feels like his first scene he shot.
2. The Bishop: Also has some wacky cuts (although I am trying to reserve judgement till I see how everything fits together, it is highlights after all). Colm sounds terrific, but miss the powerful music right where the two constables arrive, but that might be in the movie, just not on the disc.
3. Soliloquy: Much quieter than the stage version, but digging the interpretation and changes. Especially love the end of the song. Well done Mr. Jackman.
4. At The End of the Day: Yippie! The intro is there and it's loud and powerful, Huzzah! Anne sounds great, I enjoyed it a lot. Rock it Foreman! He's especially excellent.
5. I Dreamed a Dream: One of the best parts of the disc. I was tearing up, and when it was done, I went back and listened to it again. Anne, you are a Goddess. Gorgeous and raw and everything the song should be.
6. The Confrontation: Not bad. Enjoyed the new orchestrations, looking forward to seeing it with the action etc. But not the best version of this song.
7. Castle on a Cloud: Perfect. =) Isabelle sings like a dirt covered angel. Well done young lady.
8. Master of the House: LOVE it! Sasha is so good, sad he's not getting more attention from this film, because he really sounds loose and natural. I'm probably one of the few people who didn't mind Helena in "Sweeney" and although she doesn't have the strongest voice, she just oozes sexy and sass, and it sounds like such a fun take on Madame T. Can't wait to see their stuff on the big screen. Note: didn't someone mention they hated how there was a couple doing it in the background during the new national tour...well now you can hear it in a recording of the song.
9. Suddenly: Nice. It's not particularly groundbreaking, its a nice song, and will fill a plot gap. But I'll be bummed if this wins an Oscar over Adele's "Skyfall" though...just sayin.
10. Stars: This was a song I was most excited to hear. One of my favorite songs from the show. Meh. I think this version will grow on me, but Crowe just doesn't have the comfort with singing that everyone else has; and he sticks out like a sore thumb (album wise). I will go into the film with an open mind though, I'd like for him to win me over. Wish he could have held that last note just...a little...longer. Oh well.
11. ABC Cafe/Red Black: Mmmm Aaron Tveit and Eddie Redmayne....Sounds great. Little lyric changes here and there. Solid, very good. Interesting that the end of the song which is supposed to be a solo for Enjolras was split up and given to the other students too.
12. In My Life/A Heart Full of Love: I love Eddie's voice, I'll say that now, but I'm sure I'll say it again. Samantha Barks is perfection. I literally cheered when I found out she'd be taking over for Taylor Swift. I also am enjoying Amanda's Cosette, I know lots of people aren't. Yes, she has trouble with that highest note at the end, but I like her. And she looks beautiful and perfect for the role, I can totally see Marius falling for her as so as he sees her.
13. On My Own: You go girl! I'm partial to this character. Can you tell? Samantha makes me proud, I hope she gets tons of work after this. This is also one of the few straight songs sung in the traditional style close to the stage version, without much whispering or talk singing involved. It's terrific.
14. One Day More: I was slightly underwhelmed by the clip that was released, but just listening to it loudly on the disc made me want to cheer. Hope I have the same reaction in the theater.
15. Drink With Me: Firstly how did this song make the highlights cut and "Do you Hear the People Sing" and "Little Fall of Rain" didn't? Whatev. It's good though. Love how Gavroche now sings the "women" part of the song. very nice.
16. Bring Him Home: Hugh's voice is so different from any other Valjean, but I really liked it. Like On My Own, it was sung very traditionally, unlike Soliloquy where so many liberties were (effectively) taken.
17. The Final Battle: I hear Hadley Fraser! Woot! Aside from that, Omg, LOVE the new music, LOVE LOVE. I also loved the old version, but it's like Final Battle Remix. Dig it. Check it out around the 1 min mark.
18. Javert's Suicide: I weirdly was hoping that is would be called "Javert's Soliloquy", you know, spoilers? But I guess if you buy the CD you probably already know what happens. I really wanted him to scream "ON!" at the end, like Drew Sarich did in the revival. YouTube it, you'll thank me (3:52 mark!). Crowe would have benefited from less trying to sing properly and more shout his way through. Anyone else feel that way?
19. Empty Chairs at Empty Tables: Someone else mentioned that this is like the "I Dreamed a Dream" of the 2nd act. I totally agree. For the record, those are the two songs I have listened to the most on this recording. For "And I can hear them now..." Eddie goes up gently into his falsetto and it's GORGEOUS. But then he belts at the end. So gorgeous. Can he please get an Oscar nomination for this film?
20. Epilogue: Love that the Bishop now takes Eponine's place at the end (who would have thought I'd say that), but it really fits better at the end. Great, solid ending.
So to wrap up. It was worth the $10 or so on Amazon. It you're looking to pick up just a couple songs from iTunes, go with "I Dreamed a Dream", "Empty Chairs..", "On My Own" especially.
I also wish Paul Bettany had been cast as Javert. Remember that? A couple websites even announced that he'd been cast. Anyone have any dirt on that?
https://screenrant.com/hugh-jackman-les-miserables-paul-bettany-sandy-119799/
Updated On: 12/21/12 at 09:38 PM
#17
Posted: 12/21/12 at 9:53pm
Great review, Eponine! :) I saw a screening of the film earlier this week (I tried to avoid all clips and snippets throughout the past few months) and it was simply breathtaking. I really wanted to own a copy of this soundtrack, whether or not the album was "highlights" because they sounded great, IMO.
I had to get comfortable with the unexpected key change in "Master of the House", and I did while watching the film because Sacha and Helena really do a great job, IMO. They are the source of comic relief and what you see onscreen during this scene just makes you enjoy every minute of the musical number!
I was able to notice the album's cuts, and I really wish they had left Fantine's Cosette verse in "At The End of The Day", same with the beginning of "On My Own" ('And now I'm all alone again...') but come to think of it I don't remember that even being in the film, but I'll take what I can get until we get a complete soundtrack, which we better!!!
Releasing the soundtrack before the film was released was my only concern because a lot of the vocal aspects make more sense when you've seen the actual performance on screen... if that makes any sense?
And they did try to get this album released quickly (they finished the final product of the film a few weeks ago, or so I'm told) so I hope they take the time between now and summer to fix how things sound and stuff when we should get the home video release and (hopefully) that deluxe complete soundtrack!
I had to get comfortable with the unexpected key change in "Master of the House", and I did while watching the film because Sacha and Helena really do a great job, IMO. They are the source of comic relief and what you see onscreen during this scene just makes you enjoy every minute of the musical number!
I was able to notice the album's cuts, and I really wish they had left Fantine's Cosette verse in "At The End of The Day", same with the beginning of "On My Own" ('And now I'm all alone again...') but come to think of it I don't remember that even being in the film, but I'll take what I can get until we get a complete soundtrack, which we better!!!
Releasing the soundtrack before the film was released was my only concern because a lot of the vocal aspects make more sense when you've seen the actual performance on screen... if that makes any sense?
And they did try to get this album released quickly (they finished the final product of the film a few weeks ago, or so I'm told) so I hope they take the time between now and summer to fix how things sound and stuff when we should get the home video release and (hopefully) that deluxe complete soundtrack!
#18
Posted: 12/21/12 at 10:01pm
"Releasing the soundtrack before the film was released was my only concern because a lot of the vocal aspects make more sense when you've seen the actual performance on screen... if that makes any sense?"
That makes perfect sense, exactly why I was worried to listen to anything beforehand, I didn't want to be too judgmental with stuff out of context. But I just couldn't keep my paws off every little tidbit I could find
That makes perfect sense, exactly why I was worried to listen to anything beforehand, I didn't want to be too judgmental with stuff out of context. But I just couldn't keep my paws off every little tidbit I could find
#19
Posted: 12/21/12 at 10:19pm
I've never liked Master of the House as much as I like it on this soundtrack.
A little swash, a bit of buckle - you'll love it more than bread.
#20
Posted: 12/21/12 at 10:23pm
From the CD's liner notes...
"In preparing this CD, we can't have the film's stunning and emotional visuals and therefore the soundtrack recording has been slightly remixed.... We all very much wanted this album to stand alone and be different from all the previous stage recordings, reflecting the fresh approach the film has taken in putting [the score] onto the screen...." -Cameron Mackintosh
"Our objective was to protect the spontaneity of the drama and the unity of the musical work, reinventing them as if they had been written this way in the beginning. Add to that, the challenge of putting down the live recording of actors and making the orchestrations after shooting, and you have a picture of how exciting the journey has been. Once again, our aim with this recording is to offer a visual and powerful evocation [of the film]. While listening, we love to visualise the scene - so make yourself comfortable, put on the CD, close your eyes and 'watch.'" -Alain Boublil & Claude-Michel Schönberg
"In preparing this CD, we can't have the film's stunning and emotional visuals and therefore the soundtrack recording has been slightly remixed.... We all very much wanted this album to stand alone and be different from all the previous stage recordings, reflecting the fresh approach the film has taken in putting [the score] onto the screen...." -Cameron Mackintosh
"Our objective was to protect the spontaneity of the drama and the unity of the musical work, reinventing them as if they had been written this way in the beginning. Add to that, the challenge of putting down the live recording of actors and making the orchestrations after shooting, and you have a picture of how exciting the journey has been. Once again, our aim with this recording is to offer a visual and powerful evocation [of the film]. While listening, we love to visualise the scene - so make yourself comfortable, put on the CD, close your eyes and 'watch.'" -Alain Boublil & Claude-Michel Schönberg
#21
Posted: 12/22/12 at 1:50am
Oh, man. It's really hard to get used to the sound of the live singing. It's like the tinny sound of dialogue added onto musical Soundtracks. Instead this is constant.
Updated On: 12/22/12 at 01:50 AM
#22
Posted: 12/22/12 at 2:23am
sadly the constables during the prologue do not sing in the movie! i was a little bummed about that part
#23
Posted: 12/22/12 at 6:20am
Does anyone else think that the new orchestrations sound more like the underscoring from a non musical film score than the score from a musical?
#24
Posted: 12/22/12 at 6:21am
Does anyone else think that the new orchestrations sound more like the underscoring from a non musical film score than the score from a musical?
#25
Posted: 12/22/12 at 7:00am
I'm not too familiar with SBC's work (haven't seen the Sweeney movie, Borat, etc.) but I just listened to Master Of The House...is the accent (and subsequent mis-pronunciation of words) a character choice or is that just him?
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