Candide (1974 Broadway Revival Cast)
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Music CD Cover
Edition: Music CDFormat: Original recording remastered
CD Release Date: 2006-08-29
Music Label: Sony
Soundtracks:
Music CD 1
- Act 1. Overture
- Act 1. Life Is Happiness Indeed / Parade
- Act 1. The Best Of All Possible Worlds
- Act 1. Oh Happy We
- Act 1. It Must Be So
- Act 1. O Mistress
- Act 1. Oh Happy We (reprise)
- Act 1. The Rich Jew And The Grand Inquisitor
- Act 1. Glitter And Be Gay
- Act 1. Auto De Fé (What A Day)
- Act 1. This World
- Act 1. You Were Dead, You Know
- Act 1. The Rich Jew And The Grand Inquisitor (dialogue)
- Act 1. Spanish Music
- Act 1. I'm Easily Assimilated
- Act 1. I'm Easily Assimilated (reprise)
- Act 1. My Love
- Act 2. Barcarolle (Upon A Ship At Sea)
- Act 2. Alleluia
- Act 2. Sheep's Song
- Act 2. Bon Voyage
- Act 2. The Best Of All Possible Worlds (reprise)
- Act 2. You Were Dead, You Know (reprise)
- Act 2. Barcarolle (reprise) / The Wisest Man In The World
- Act 2. Finale. Make Our Garden Grow
- Candide, operetta in 2 acts (Chelsea version): Act 2. Sheep's Song
- Candide, operetta in 2 acts (Chelsea version): Act 2. Bon Voyage
- Candide, operetta in 2 acts (Chelsea version): Act 2. The Best Of All Possible Worlds (reprise)
- Candide, operetta in 2 acts (Chelsea version): Act 2. You Were Dead, You Know (reprise)
- Candide, operetta in 2 acts (Chelsea version): Act 2. Barcarolle (reprise) / The Wisest Man In The World
- Candide, operetta in 2 acts (Chelsea version): Act 2. Finale. Make Our Garden Grow
Free Music Notes for Candide (1974 Broadway Revival Cast)
Free Music Review: Make our garden grow
Hit: 5 Stars
Many people call the original 1956 mounting of "Candide" the most important production of the show, a seminal work, but in truth the most important version so far is this one. The most successful to date, this was the version that proved the show was viable as a piece of theatre, and every production of "Candide" since has either directly copied or borrowed from aspects of this production, its style, and its characterisations. (If you listen to Jim Dale in the 1997 Broadway revival, for instance, he's clearly following the trail that Lewis J Stadlen blazed in this version.)
There seems to be a convention among "serious" music lovers that "serious" composers like Leonard Bernstein should only be sung by those with "serious" voices, and on that basis this production is often dismissed as unsuccessful or undesirable. The shift of the roles of Candide and Cunegonde from middle-aged disillusioneds to teen-aged naives is often criticised; I've even heard it called "disrespectful" to Voltaire, which I think is merely being a bit precious. But with all due respect to artists like Robert Rounseville and Jerry Hadley, their performances of the title role carry nothing like the poignancy or longing for an assured place in the world that Mark Baker achieves here. Barbara Cook is justly famous for her recording of the role of Cunegonde, but Maureen Brennan carries more of the youthful naivety and completely uninformed self-assuredness, the eternal virginity in far more than merely a sexual sense, that makes sense of any modern telling of Voltaire's satirical, salutary tale. And Lewis J Stadlen ties it all together beautifully in a classic performance of wit and wicked teasing; it's a definite bonus that this recording includes such a large proportion of the show's narration and dialogue.
This production is denounced for being too light-hearted, flippant, a cartoon, but I think it's the one Voltaire would have approved. By contrast, most other productions -- especially now that the show has settled into the modern Opera company's "popular" repertoire -- are hide-bound, portentous, too self-consciously earnest and worthy. Serious music doesn't have to be po-faced to be appreciated.
It's a pity some of the original musical pieces had to be jettisoned in mounting this production, though anyone familiar with the modern-day full score knows that it's unproduceable without losing something, and probably was, even back in 1974. (The score continued to grow and be revised by Bernstein until he died. He never stopped tinkering with it, even after acting as producer for what was claimed to be the final, definitive studio recording.) As Bernstein himself commented, "I am sorry to say, we lost five songs that were in the original, but this version of "Candide" was exactly what I wanted it to be. It's exciting, swift, pungent, funny and touching ..."
It's hard to know why this recording has taken so long to resurface on CD, when other versions have been available for so long, but I'm delighted it has. I'm also pleased that Sony has managed to clean up the recording -- the original LP release was seriously marred by audio print-through on the original tapes, resulting in a continuous ghostly echo about a second behind the main track. Perhaps this recording has simply been waiting a long time to get to the top of the sound engineers' to-do list, but I'm pleased to report they've done a lovely job of cleaning it up. And if the resulting sound isn't so clear and immediate as the original LP was, it's nothing to complain about, either. And at least it's finally here.
Highly, highly recommended.
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