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Do I Hear a Waltz [Original Broadway Cast] Import

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Le recensioni clienti più utili su (beta) 4.7 su 5 stelle 7 recensioni
6 di 6 persone hanno trovato utile la seguente recensione
4.0 su 5 stelle Another Sondheim "failure" provides a rich listening experience 8 settembre 2014
Di Allen Smalling - Pubblicato su
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Like ANYONE CAN WHISTLE from the year before, DO I HEAR A WALTZ? (1965) did not perform as well as was hoped. While WHISTLE's lyrics and music were written by Stephen Sondheim alone, in WALTZ he wrote the lyrics to Richard Rodgers' music. This is a love story based on the 1952 play THE TIME OF THE CUCKOO by Arthur Laurents, who became the musical's librettist. (Americans of that age probably knew the story best, though, as the movie adaptation SUMMERTIME (1955), starring Katharine Hepburn and Rossano Brazzi.) Here, as in prior versions, an unmarried American woman (played by Elizabeth Allen) travels to Venice, makes the acquaintance of several other American travelers in her pensione, then meets and is courted by the Italian owner of a local gift shop (Sergio Franchi).

Although Laurents, Rodgers and Sondheim were barely speaking to each other by opening night, DO I HEAR A WALTZ? eked out 220 performances on Broadway, enough to make a minor hit of the title song. Sergio Franchi, in very fine voice in this production, even released a single of "Someone Like You" (flipside "Take the Moment"). Sondheim's witty lyrics (as well as that big-Dollar era) especially show up in songs like "This Week, Americans," a love song to the U.S.A. and its residents by the pensione owner, and "What Do We Do? We Fly!", a satiric paean to the distinctly mixed joys of transoceanic flight, even back then. The album was captured by Columbia recording whiz Goddard Lieberson, and remastered for CD using the 20-bit process, yielding a very rich sound. This version comes in a cardboard gatefold with a supplementary booklet that recreates the original album-liner notes. Recommended.
5.0 su 5 stelle I hear the waltz, and it makes me want to dance! 13 luglio 2016
Di Mark Waltz - Pubblicato su
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This is a nice original recording of the only work Richard Rodgers and Stephen Sondheim did together, and while their off-screen relationship was rather rocky according to rumor, old school Rodgers and new school Sondheim seem to be twirling a baton between them as the king of Broadway musicals of the 1940's and 50's hands it off to the king of the 1970's and 80's during a time when Broadway was in danger of loosing favor in the public eye. This is far from a perfect show, but having seen it twice (the 2001 revival in Pasadena, also recorded, and the 2016 Encores revival at City Center), I can say it holds a place in my heart, not only for its gorgeous score but the fact that it is sort of a one-woman version of "Follies" that has a heroine, not always likable, but certainly believable. "We're Going to Be Alright" is a pre-cursor to the "Follies" song "Love Will See Us Through", although the original version here cuts out a very racy lyric that Mrs. Rodgers apparently hated. It's hard not to like a score that deals with the issues of flying, and Carol Bruce's "This Week Americans" (followed by a very acerbic reprise) is a deliciously un-p.c. song about prejudices filled with humor. Elizabeth Allen was far too glamorous to be believable as a bitter spinster, but sings the role well. Sergio Franci is romantic in the leading male role, his songs among the finest male ballads ever heard on Broadway. Great supporting performances by such familar faces as Madeline Sherwood ("The Flying Nun") and Stuart Damon ("General Hospital") also add to this show's memorability.
5 di 5 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle Glorious Music! Clever Lyrics. Superb Recording! 15 settembre 2012
Di Gentleman Jim - Pubblicato su
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"Do I Hear a Waltz" is an undeniable 'lost gem.' Regardless of how it played on Broadway when it opened, this recording is wonderful to listen to and an inspiration of gloroius musical comedy as it should be written. There is one melodic, tuneful song after another with bright, crisp, poignant lyrics for each of these beautiful songs. It is Richard Rodghers at his most melodious and Stephen Sondheim at his cleverest.

From the opening strains of the music that sets its mood to the end when the music again closes the show, this score is superb. The title song is hauningly beautiful (and huummable!)and the specialty numbers throughout not only add charactrization- which all good songs should- but briskly move the story along and augment the emotions.

No one who invests in this recording will be disappointed if he or she truly loves and appreciates melodic, tuneful, haunting music that undescores a poignant and gentle love story. "The Time of the Cuckoo" as a film is enhanced by the musical treatment of this wonderful score. It is a true joy to listen to and savor.
2 di 2 persone hanno trovato utile la seguente recensione
4.0 su 5 stelle Overlooked Gem 5 maggio 2014
Di Arouet - Pubblicato su
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Almost every song in this unlikely collaboration by Rodgers and Sondheim has a memorable melody and is either witty or poignant. People at the time were put off that it did not have the optimistic, uplifting ending of the Rodgers/Hammerstein canon, and no, it is not a deep dark story like much of Sondheim. No matter, if you are into AMT, this should definitely be in your collection.
1 di 1 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle Magical score by Richard rogers and Stephen Sondheim.. ... 11 febbraio 2015
Di Doug Kingsman - Pubblicato su
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Magical score by Richard rogers and Stephen Sondheim....sheer beauty!

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