Light in the Piazza(s) — Page 2

Oh, I am sure she did.


But WOW. That was pretty bad.

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Katie Clarke was a fine actress as Clara. In that respect it was a wonderful fit. As a singer, her her run at Lincoln Center was never complete. But I DO have to say that when she came back for the tour she had re-worked her vocal technique and her top notes were spinning and beautiful. The End of "Beauty Is" was sung as a sproano and NOT the mixed belt she was using in NYC. SO MUCH BETTER! She had used the time off to work on her voice. I think that's the mark of a real pro.

As good as her acting was in NYC, I just could not get over the fact that her singing was full of problems. But on the tour her singing was beautiful. I think it says a great deal about her (as an artist) that she would use her time off to work on her vocal problems. I became a fan after that!

I do have to add that I also thought Elena Shaddow was a beautiful "Clara" in every way. Kelli was so refined and it set a standard that was difficult to beat. We can guess that the production team wanted it that way when the show came to NYC...? But they also let Katie and Elena be their OWN kind fo Clara. What a nice variety!

Updated On: 8/25/07 at 06:14 PM

I think it was always pretty obvious the Piazza score would be published eventually, or at least it was once they released that selections book with the simplified piano parts. Luckily, Guettel seems to be a pretty piano-based composer as well, or at least that is what I would gather from Piazza's orchestration and the P/C score used for the New York production. They won't have too much work to do.

How awesome was it that Floyd Collins got part of the guitar part in the back though!

I always found it humorous that the Myths & Hymns book was originally sold as vocal selections even though it has always been a score, including a song not even in the licensed score to the show.

I have played through the score and although it's hard, the piano reduction sounds beautiful. It's not completely impossible, but it does require a trained player. If you can handle Sondheim and find JRB's groove and riffs, Guettel's triplets and odd meters shouldn't be too hard to figure out. That said, I can't wait for a published version of the score.

~Steven

americanboy99: Are you referring to me? I friggin' hated Clarke in the role, singing-wise. In the tour her vocals were decent, but I still had issues with her.

I'm saying that I prefer classical-style sopranos in the role, not that the casting directors do.

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I'm a little worried by this video:

http://www.youtube.com/watch?v=sLBzJ7-kZok

Beautiful singing, horrible, static piano. Just wait 'till it gets to the 2/4+6/8 part. The piano player is putting the emphasis on the eighth notes instead of the dotted quarter notes in the 6/8 measures. I applaud the singers for trying to put up with that mess. I can only imagine community theatres giving the score to their church-lady piano player, because they'll probably do the same thing in this video, just play the Piano-Rehearsal score which is much more difficult. (since you're playing constantly)

Yeah, Octet, with the constant triplets. She did play that very well. I clearly understand if if was sight-reading. I just hope it was a student, not the teacher. The only orchestrations that R&H theatricals are offering are the original ones by Bruce Coughlin.
Link:
http://www.rnh.com/theatricals/show.php?show_id=99&view=rental_materials

My voice teacher cried over having to play those pieces in lessons when I wanted to study them (for fun.) I actually had to leave the book with her so she could practice in between my lessons.

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The best voice for Clara is a MT legit soprano. One who has the free high notes, but can sound young and fresh. If Clara is too "operatic" in numbers like "Beauty Is" (last high note SHOULD be legit) and "The Light in the Piazza" it just would not sound right. It needs a good balance from a soprano who can "mix" her middle voice.

If this show had be written 15 years ago, someone like Rebecca Luker might have played Clara. It's that fresh lyric sound that seems to work best for this role.

When I first was this show I thought, "Wow! this would have been Rebecca's role." So, it's interesting that the casting notice asked for a Rebecca Luker type. I think that she would have been WONDERFUL in the role. In a few years I'll bet she could have a go at Margaret. Her voice has filled out and she a wonderful artist, so it might really work.....

Yes, the "middle of the road" MT legit soprano is more difficult to find these days. There are plenty of "classical" sopranos, but it's the working of the middle voice that makes the difference. In MT you have to have a middle voice that has focus and is a bit mixed. Barbara Cook had that to perfection. Luker is lighter, but she has it. Kelli O'Hara obviously has the ability to do it both ways. Elena Shaddow can do both as well.