Painting My Kitchen by the king of the 16th note, john bucchino.
as far as speed and dexterity goes, Cloudburst by lambert hendricks and ross can hurt you if you're not careful.
I have played Amy in Company and I can tell you. "Not Getting Married Today" IS difficult. But, oh my, is it ever fun!
:)
Chorus Member Joined: 4/6/06
Chorus Member Joined: 12/31/69
I'm playing Cathy presently, and you're right when you say that some of the subtext can make the songs difficult to perform. Cathy has her share of difficult moments-- and the key thing with her is walking the fine line between histrionic bitch and damaged young woman. You know a piece is complicated when your co-star is singing a song in the midst of an extra-marital affair and still gains the sympathy of the audience.
As far as tempo and speed of the lyrics, "Both Sides of the Coin" from Edwin Drood pretty much beats all.
When it comes to subtext and conflicting emotions, "Lot's Wife" from Caroline or Change is a monsterous undertaking. "Rose's Turn" and everything in Passion is equally demanding.
Defying Gravity is pretty hard.
Green Finch & Linnet
Company
Steps of the Palace
Defying Gravity is pretty hard.
Yeah, hard to listen to...
You Can't Stop the Beat? Maybe moderately, but not really for a professional performer.
Leading Actor Joined: 8/13/04
I don't know if it's the most complicated, but "Fable" from Light in the Piazza is exhausting. The rhythms and emotions are both extremely complicated, the vocal range is pretty wide, and in the sheet music, they don't have the piano part from the show, so the recording doesn't help at all for those of us who are rhythmically challenged.
Ah, Fable isn't that hard to sing. Try singing along with "The Beauty Is" while accompanying yourself on the piano.
"Issue in Question" from Triumph of Love is a great song for guys but it's extremely difficult I would imagine...it's all over the place and very sudden.
I worked really hard to prepare when I sang Glitter and Be Gay....it's like running a marathon.
my 2 favorite tongue twister songs;
ephiphany and therapy, both have moments that i can only sing if i literally don't think about the words coming out of my mouth.
I agree that "A Little Night Music" wins this award (as an overall show)...
But "Now/Later/Soon" was a walk in the park compared to "A Weekend In the Country." My God, we spent FOREVER rehearsing that number! (And it was needed.) It took a LOT of concentrated work to make that one come together and gel. Everything from costume changes to set changes to meter changes in that song. But the payoff was magnificent.
As a solo, for women I would say, "The Worst Pies In London" from SWEENEY is pretty high on the list.
For men... (well, my own experience) it would be "Later." Playing the cello, acting, and hitting a high "B"... Not exactly your average, typical show tune.
And I didn't fake it. I PLAYED THE CELLO. Of course it helped that I was already a (pretty decent) violist. I'd gone to college on a double-scholarship for Voice and Viola, but I had never played the cello before in my life until I go the part of Henrik.
It was a huge feeling of accomplishment just to get through that number in one piece each night.
EDIT: I would also say that "Guido's Song" from NINE is high up there. Singing a duet with yourself and hitting all the "acting" moments in that song. Try it sometime.
Leading Actor Joined: 8/13/04
I sang The Beauty Is, too. I thought Fable was much harder, because it's just relentless. To each his own, though, I guess.
Swing Joined: 4/19/06
Hi! I've sung Therapy. I don't find it that difficult.. to sing - but to understand? Oh yeah!
Other songs that I think is difficult to sing because of the tempo:
Fast - Zanna don't!
Getting married today - Company (That's a real tricky one!)
Climbing Uphill - Last 5 Years
The second Kiss Me from Sweeney.
Not Getting Married Today...
Broadway Legend Joined: 12/31/69
Chorus Member Joined: 4/18/06
"Someone in a Tree" from Pacific Overtures.
That song covers the pivotal moments of the story. Everything changes after the signing of the treaty, and Weidman and Sondheim were brilliant. Because they don't know what happened they cover the event with the boy in the tree, the boy as an old man, and the samurai under the floor and piece it together through memory.
The text is complex, the interactions between the three narrators are structured wonderfully. The "he was only ten" interactions between the young boy and himself as an old man are touching and well done.
The song is also musically complex. You have already heard almost two minutes of the song before you ever hear the tonic chord.
I love it. Sondheim's best song ever.
Broadway Star Joined: 6/28/03
Franklin Shepard Inc. from Merrily We Roll Along is also pretty hard.
Broadway Legend Joined: 1/20/06
I've always had trouble with 'Another Hundred People' A song in my repitoire, which shouldn't be there by the way, it just is.
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