Audra McDonald - How Glory Goes
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Music CD Cover
Artist: Audra McDonaldEdition: Music CD
CD Release Date: 2000-02-29
Music Label: Nonesuch
Soundtracks:
- Any Place I Hang My Hat Is Home (Arlen-Mercer)
- Bill (Kern-Wodehouse-Hammerstein)
- I Had Myself a True Love (Arlen-Mercer)
- I Hid My Love (Marzullo, poem by J. Clare)
- Was That You? (Guettel-Robbins)
- I Won't Mind (Blumenkrantz-Kessler-Saines)
- Sleepin' Bee, A (Arlen-Capote)
- Come Down from the Tree (Flaherty-Ahrens)
- I Never Has Seen Snow (Arlen-Capote)
- When Did I Fall in Love (Bock-Harnick)
- Man That Got Away, The (Arlen-Gershwin)
- Somewhere (Bernstein-Sondheim)
- How Glory Goes (Guettel)
- Lay Down Your Head (Tesori-Crawley)
Free Music Notes for How Glory Goes
Free Music Review: Over-the-top at times, but incredible skill and timbre
Hit: 4 Stars
This is my first album from Audra McDonald, so I will not make the error of determining her ability based only on this album.
McDonald has a classic Broadway voice, and one that can be pictured in nearly any Disney production or classic stage work. Whether it is my adapted ear that hears the "belter" style as abrasive, or it is an actual problem wit McDonald's voice, there are points in this album when I feel my own larynx growing tight just listening to her! But that is traditional Broadway sound, and these classic pieces are performed quite well and within the suitable genre.
I would only challenge her to work to understand the difference in perceived timbre (sound quality) from stage to studio recording. What sounds beautiful on a large stage, in a theater filled with people, can sound harsh on a high-quality recording.
How Glory Goes Poster
After Audra McDonald's audacious recording debut with Way Back to Paradise, a collection of newly composed, highly sophisticated theater music, this new disc dominated by Harold Arlen standards would seem to be a retrenchment. On closer inspection, not so. Anybody who would risk comparisons with Barbra Streisand and Judy Garland by recording "A Sleepin' Bee" and "The Man That Got Away" isn't playing it safe. McDonald comes out fine, though, not because she's better than her elders, but because she's different. What pop singers do with rhetorical flourishes, the operatically trained McDonald does with color and phrase shape, much more so here than on Way Back to Paradise. Indeed, she is in radiant voice. The differences multiply with the orchestrations, which give a Coplandesque slant to "Any Place I Hang My Hat Is Home." Then there's the sequencing, which follows "The Man That Got Away" with "Somewhere" from West Side Story. On a dramatic level, it's a progression from devastation to healing. On a symbolic level, the signature song of gay-cult icon Garland is followed by the unofficial anthem of the AIDS era--with staggering impact. Not everything is great: sometimes McDonald runs dry of interpretive ideas. But at least five cuts are each worth the price of the CD. My favorite: "Come Down from the Tree," a playful gem about love and change cut from the Broadway show Once on This Island. --David Patrick StearnsAfter Audra McDonald's audacious recording debut with Way Back to Paradise, a collection of newly composed, highly sophisticated theater music, this new disc dominated by Harold Arlen standards would seem to be a retrenchment. On closer inspection, not so. Anybody who would risk comparisons with Barbra Streisand and Judy Garland by recording "A Sleepin' Bee" and "The Man That Got Away" isn't playing it safe. McDonald comes out fine, though, not because she's better than her elders, but because she's different. What pop singers do with rhetorical flourishes, the operatically trained McDonald does with color and phrase shape, much more so here than on Way Back to Paradise. Indeed, she is in radiant voice. The differences multiply with the orchestrations, which give a Coplandesque slant to "Any Place I Hang My Hat Is Home." Then there's the sequencing, which follows "The Man That Got Away" with "Somewhere" from West Side Story. On a dramatic level, it's a progression from devastation to healing. On a symbolic level, the signature song of gay-cult icon Garland is followed by the unofficial anthem of the AIDS era--with staggering impact. Not everything is great: sometimes McDonald runs dry of interpretive ideas. But at least five cuts are each worth the price of the CD. My favorite: "Come Down from the Tree," a playful gem about love and change cut from the Broadway show Once on This Island. --David Patrick Stearns
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