- Audio CD
- Numero di dischi: 1
- Formato: Colonna sonora, Import
- Etichetta: Drg
- ASIN: B00003OP0U
- Disponibile anche in: Audio CD | Audio Cassetta | Musica MP3
- Posizione nella classifica Bestseller di Amazon: n. 207.855 in Musica (Visualizza i Top 100 nella categoria Musica)
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Kiss Me Kate - the New Broadway Cast Recording Colonna sonora, Import
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1.Another op'nin', another show
2.Why can't you behave?
4.So in love
5.We open in Venice
6.Tom, Dick or Harry
7.I've come to wive it wealthy in Padua
8.I hate men
9.Where thine that special face
10.Cantiamo d' amore
11.Kiss me, Kate
12.Too darn hot
13.Where is the life that late it led?
14.Always true to you (in my fashion)
16.So in love (Reprise)
17.Brush up your Shakespeare
19.I am ashamed that women are so simple
20.Kiss me, Kate (finale)
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Performers aside, this is a play that has the audience in its grips from the opening scene, and much of it is due to the witty dialogue and Cole Porter's tongue twisting and outrageous lyrics. This is definitely not the type of CD that you'll buy and listen to one time because you have tickets to or saw the musical, I guarentee you, it'll be in the player for a long time to come and keep coming back.
Viva Classic Broadway ! ! !
The leads in this revival are okay, but their voices lack the full, almost operatic quality that Drake and Morrison had; where Drake and Morrison could fill the hall with their high notes in "Where is the Life that Late I Led?" and "I Hate Men," these new leads, Brian Stokes Mitchell and Marin Mazzie, lack depth and color in their voices and virtually yell some of their lyrics, leaving the impression that maybe they just can't hit the high notes, or, God forbid, think yelling enhances the delivery of the lyric.
And no one -- and not Amy Spanger or Michael Berresse -- will ever equal Lisa Kirk's coy yet sophisticated sassiness on "Always True to You Darling in My Fashion," or Harold Lang's Mel Torme-like foggy whiskey voice on "Bianca."
Further, the "new" lyrics not in the original version of "Fashion," sound made up and not Cole Porter-urbane enough to have been part of the original song; maybe they were, but, if so my apologies to the Peru (Indiana) poet. The only song that may be better on the revival album is "Brush Up Your Shakespeare." The instrumental background on the revival album is okay enough, especially as they tried to stay true to the original scoring, and with new technology, you can hear it better, but the show just lacks something.
It lacks the aura of post World War II New York City and Broadway sophistication that Cole Porter, writing these songs on his piano in his Central Park penthouse, and Drake and Morrison, giant figures of the flourishing B'way stage then, conveyed in the original; in the late forties and early fifties, they pushed the envelope with lyrics and delivery that then -- and now -- conveyed a more mature, jaded, weary worldliness than the current crop of fresh-faced youngsters on the revival album is able to convey. The double entendres and word play (Harris pat/Paris hat) could only be Cole Porter; only Gypsy and Les Mis contain anything remotely as deliciously clever. The delivery of these lines on the original conveyed the singers' appreciation for the true wit of what they were singing; the revivalists seem not to get the jokes, or, if they do, think them all that funny.
I miss the almost symphonic overture and entr'acte which were on the original album but were omitted from the revival, and find the spoken intros to songs sometimes annoying, although they help put the songs in more context.
Our Broadway musical heritage has provided a canon of shows which should regularly be trotted out, the way the Met trots out its operatic canon; there should be a Broadway equivalent to the Met dedicated to the preservation and presentation of these shows.
"Kate" is part of that Broadway canon, and I give credit to this revival for letting us see it again. However, subsequent shows -- and this is one -- tend not to measure up to the originals in our eyes and ears -- "Guys and Dolls" and in some ways, "Cabaret" being two of the few exceptions -- because the original version of a memorable show song provides the true, authoritative template stamped in our mind, and thereafter, the only one we want to hear. At the risk of sounding like an old fogie (I consider myself a young one), that prejudice colors my reaction to this revival of "Kate." It is good, but not great, while the original was truly great, the stuff of legend -- brush up on it, why don't you.