Les Miserables (1987 Original Broadway Cast)
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Free Music Notes for Les Miserables (1987 Original Broadway Cast)
Free Music Review: Good Supplement to Complete Symphonic Recording.
Hit: 5 Stars
This album is really where things begin to get interesting in Les Misérables's great number of cast recordings. With the show's success in London, the Broadway opening in 1987 was more or less inevitable, and two of the major stars were imported from London: Colm Wilkinson and Frances Ruffelle. The rest of the cast was filled with Broadway stars, and with mostly good results.Like the Original London Cast (OLC), the Original Broadway Cast (OBC) album is a highlights recording. I believe it has more of the material than the OLC, and with good cause: the music here is fast. Very fast, actually. The kind of fast where performers don't get to hold out their notes. Just like the slowness on the OLC, this works both for and against the OBC.
The up tempo may scare away seasoned Les Miz fans...it loses a bit of the richness of its flavor. The more dramatic songs are enlivened by this interpretation, for instance "Confrontation," "Plumet Attack," or the barricade sequences. The Loud Hailer, particularly, is the strongest in all the recordings-the sound seems omnipresent here. "Javert's Suicide" is well-tailored to the speed, as well, making Terry Mann's great acting of Javert's final desperation all the more thrilling. The ensemble songs, notably "At the End of the Day" and "Lovely Ladies," are stronger for it as well. Of course, it has its downsides-mostly in the grand ballads like "Stars," or "I Dreamed a Dream," or "On My Own," where it just seems rushed. All in all, though, it makes for a much more driveable, generally listenable recording, whereas the OLC is more of a leisurely album, great for relaxation.
Sonically, the album is superior to the OLC-ironically, the album with the more hurried music seems like it was given more time to be completed. It would prove a fine template for upcoming foreign cast albums, and made for an excellent release of a fine American cast.
Colm Wilkinson's Jean Valjean is wonderful as always, and here you can hear him absolutely on top of the role. Likewise, Frances Ruffelle (mm...Frances Ruffelle...what a voice, what a beauty...oh, sorry) is on top of her Eponine, the role that would make her famous and she would make famous-her imperfect voice lends so much more character to 'Ponine than Lea Salonga (who, in the Tenth Anniversary Concert (TAC), seems more to reprise her part as Kim in Miss Saigon than to play Eponine). So that's it for the imports.
The highlights of this cast are Terrence Mann (Javert) and Michael Maguire (Enjolras). Though perhaps Phillip Quast is a better Javert on the Complete Symphonic Recording (CSR), and Anthony Warlow (also on CSR) is a slightly better Enjolras, these two are still incredible in their roles, both in terms of acting and of singing. Terry Mann is simply a fantastic actor, and this is his only Les Miz album, while Maguire is also on the TAC. Leo Burmester turns in a splendid Thenardier, and it may be your only chance to hear a non-Cockney interpretation of the role, so he's another one worth checking out. Randy Graff doesn't have the hold over me in her interpretation of Fantine that Patti LuPone (OLC) does, and she's no Ruthie Henshall (TAC), but she's still an excellent Fantine. Braden Danner is cool as a non-Cockney Gavroche (though Ross McCall (CSR) epitomized the part), too. And Judy Kuhn (Cosette) and Anthony Crivello (Grantaire) make excellent showings in their parts, with Crivello being probably the best recorded Grantaire, and Kuhn making Cosette more than a throwaway part.
All of which brings me to the one, single reason I do not wholeheartedly recommend this album to you. There is one major role I have not mentioned yet: Marius. David Bryant plays Marius. (Michael Ball, who originated the part and is a great actor and singer, was on the OLC, CSR, and TAC.) Unfortunately, he is wretched. His voice is terrible, and his acting worse. Marius' big solo, "Empty Chairs at Empty Tables," is a hit played to beautifully agonizing sorrow by Michael Ball, but Bryant delivers it as a flat, boring song. His parts in "Red and Black," "One Day More!," and "Drink With Me" are cringe-inducing, which is a great shame-Anthony Crivello's delivery in "Drink With Me" is nothing short of incredible, as is Michael Maguire's in "Red and Black." "One Day More!" would be the perfect version of the song if not for Bryant. He is the single low point in a great cast, which is truly a shame.
I don't know whether I should tell you to get the OLC or the OBC. I think the Les Miz fan needs a core of 3 albums: the Original French Concept Album, the Complete Symphonic Recording, and then either the OLC or the OBC. The CSR is really not optional-it's the complete score, with Philip Quast, Anthony Warlow, and Michael Ball as its highlights. If you want a version of Les Miz you can listen to at leisure, get the OLC. But if you want a more upbeat, high-speed recording you can listen to whenever you like, go with the OBC. In any case, it's a worthy album for newcomers and fans alike.
Free Music Review: Great recording!
Hit: 5 Stars
There have been, to date, five official English-language recordings of Les Miz - Original London, Original Broadway, Complete Symphonic, Manchester (1992 UK Tour), and Tenth Anniversary. Here, we have the Broadway. I feel this recording the closest English recording to the live experience. And yes, I am rather fond of the OBC, as it was my first Les Miz album. It is also my most listened-to, and probably favorite of the English recordings. I REALLY wish I could say I've heard a better one. On each recording, some of the orchestra's sound ends up being sacrificed, usually in favor of the strings - This time around, the sacrificial lambs seemed to be the percussion and low brass, and though they can still be heard, they're not very distinct, which is sad, because:A. This is probably the English recording that lets them shine through the most.
B. Those are two of the four main components of the live orchestra of the show.
Now that that's out of the way, on to the performers - Firstly we have Colm Wilkinson. I feel that he turned in a better performance in London, but there are just as many who would agree to just the opposite. Then there's David Bryant's Marius. I don't like to slam performers, and I'm not about to, but I don't find his interpretation to be all that appealing vocally. I never saw him live. Even if I had, I would've been about six or seven years old at the time, so I could never have appreciated whatever he pulled off live. But whatever that was, what spark had landed him in the original Broadway cast of this mega-musicals of all mega-musicals just doesn't come across on this recording. Maybe he was sick for the recording sessions? I don't know, but his performance is hindered by something, and it's not the same thing that hinders Terrence Mann's «Stars,» which I believe I have pinpointed, and will get to in a moment. No, I'll get to it right now. I see a battle. A furious battle. I see a conductor half-asleep, lazily waving his baton at a tempo just a little too fast for the material, and not realizing that there are occasional places that call for a performer to hold out a little longer than usual. I see Terry furiously waving his hands at the oblivious conductor (who does a fine job on many other numbers, particularly «Confrontation»). Poor Terry...his «Stars» never quite got a chance to shine through here.
Randy Graff appears here as Fantine, and she's passable - not my favorite by far, but she's Fantine-y enough for me. I do feel, however, that she gets bashed far too often. She's convincing on «I Dreamed a Dream,» and dies well in «Come to Me,» certainly not at the superstar level of Ruthie Henshall or Patti luPone, but she's easy to listen to. As far as Enjolrati go, Michael Maguire kicks much kick-needed booty, just a teeny-weeny notch below Anthony Warlow (as far as recorded Enjy's go). I've never been a big Éponine fan - I've heard enough about her from rabid teenage fans of the show, but I love Frances Rufelle's voice. She, however, turned in a much better performance on the OLC, where she wasn't forced to experiment with/fake an American accent. Judy Kuhn shines through as the under-written Cosette, and Anthony Crivello is nice and brandy-soked as the equally under-written Grantaire. The Thénardier's are fab here. It's so good to hear a couple that haven't fallen into the Cockney mold. Many fans would disagree with me on the next point, but I love the ensemble on this recording. There's a raw energy of catching a cast in their prime here that is absolutely wonderful to hear.
Then there's the overall sound quality. It could stand to be remastered, imo, and remastered WELL. When I listen to this album, sometimes I feel like I'm standing in the Imperial (alright, Broadway Theatre at the time), having returned late from intermission, and am listening to a performance from behind the doors. There have also been some changes to the show since its Broadway première. The orchestrations have been updated, Yamaha keyboards replaced by mean-sounding Kurtzweil's. This recording still doesn't give much of an impression of seeing a live performance (many ensemble reactions are missing, many scenes are missing - it's only a 100-minute «highlights» version - , some lyrics have changed, blah, blah, blah, gripe, gripe, gripe...), but it's the closest you'll find on record. It'd be nice to have an updated complete album with the pure theatrical orhestrations (read: NO augmentation, especially in the strings) and new performances on record, but this is still a fine Les Miz album.
Free Music Review: AMAZING!!!
Hit: 5 Stars
This was the first CD I purchased of Les Misérables, my first exposure to the music was a local High School performance which didn't do it justice, but I bought this CD after seeing it. It took awhile to get really into it for me, but this is incontestably my favourite musical of all time (yes even more than phantom of the opera).
Now I have three english versions of this play, this CD (the OBC), the OLC (Original london cast), and the Tenth Anniversary Recording..... the latter being the #1 Les Mis CD, with a truly "dream cast."
But comparing the london and the broadway recordings I came up with this....
the broadway has a much richer sound quality, and is much more exciting because as many other reviews have pointed out, the london cast recording is much slower.
as far as the actors.....
Jean Valjean - Broadway ---- Colm Wilkinson is in both, I like him better in the OBC (this CD) better.
Javert - Broadway ----TERRENCE MANN, no doubt!!!!!!!! Although he is nothing compared to Phillip Quast in the 10th anniversary CD, who is THE Javert..... Javert is my favourite character, "stars" being my favourite song, Roger Allam of london lacks the vocal power that Terrence mann of broadway has.
Fantine - Both (maybe london a little bit more)----This is tough to say....Patti LuPone in the london recording is one of my all time favourite singers, but despite what others say I like Randy Graff's (Broadway) belt..... Both are unique and each makes "I Dreamed a Dream" (in my opinion the best female vocal in the whole play) their own.....
Marius - hmmm.... both Broadway and London ---- yes, yes I know London's Michael Ball is Marius, but I don't think he's all he's cracked up to be, David Bryant is just as good (would like to hear Hugh Panaro on a recording of les mis as Marius!!!)
Cosette - No opinion -- since cosette's character doesn't sing any solo's or anything (except in "In My Life") i don't think she matters much, I like both Judy Khun (Broadway) and Rebecca Caine( London), both are excelent singers (especially loved rebecca caine's canadian version of phantom with colm wilkinson).....
Eponine - Broadway --- Let me just say Frances Ruffelle is brillant, but the tenth anniversary's Lea Salonga shines in this role.... Frances Ruffelle is in both recordings and won a tony for her role of eponine, I like her on the Broadway recording much better.....
Enjorlas - BROADWAY ---- MICHAEL MCGUIRE IS ENJORLAS. AMAZING, he stands out soooo much in "one day more." David Burt of london is fine, but nothing, nothing compared to Michael mcguire (who also won a tony for this role).
the Thénardier's - Broadway ---- the london Thénardier's are just as good, but Leo Blumester of broadway is my preferred thénardier.....
I think that covers most of the main characters, both recordings are delightful, and a true les mis fan should have both.... but if you had to buy one or the other buy this broadway cast recording, but if you were going to only buy one les mis CD ever get the 10th anniversary recording, which has an amazing cast...including colm wilkinson (valjean), phillip quast (Javert), Ruthie Henshall (fantine), michael ball (marius), judy khun (cosette), Lea Salonga (eponine), michael mcguire (enjorlas), jenny galloway and alun armstrong (the thénardier's)..... Can't wait to see the new revival coming out in november, but whats up with the cast for that?!?!!?!
Anyway, ultimately the broadway recording is more enjoyable in my opinion than the london CD.....
Free Music Review: Les Misérables one of the all-time greats
Hit: 5 Stars
Les Misérables is undeniably one of the greatest musicals to have ever been conceived in the history of Broadway. Absolutely beautiful music sets off a story filled with laughter, tears, and empathy. This cast most certainly sets off the train that took 16 years to stop, and it's not hard to see why.Jean Valjean is the hero of the story, and how appropriate that Colm Wilkinson, a hero to so many, play this role. His voice is absolutely stunning with strength to blow over buildings and control to emulate - as shown in his powerful rendition of "Bring Him Home". Although he did not originate the role of the Phantom, Wilkinson has also become known as everyone's favourite Angel of Death in the Phantom of the Opera after originating the Toronto role. Wilkinson is arguably one of the fathers of Broadway, and his performance as Valjean is a testament to that.
Terrence V. Mann, quite the veteran on the Great White Way, does a fabulous job as Javert. Mann never got too much recognition other than a Tony nomination for this role because Javert is the antagonist of the show, as the audience simply feels for Valjean and more or less tries not to remember Javert. That, however, has nothing to do with his performance because he portrays the character beautifully.
As the ill-fated Fantine, Randy Graff gives the performance of the show. Her version of "I Dreamed A Dream" is arguably one of the most popular and most often played song from any musical ever created. She's not simply a one-song-wonder, however. Graff's powerful and technically sound voice is off-set by her acting abilities. In a cast of beautiful voices, Graff is probably the most an actor as well as a singer. She creates a character in Fantine that makes the audience feel for a woman whose life has brought her nothing but sadness. Cheers to Graff.
As the cynical and yet hilarious Thénardiers, Leo Burmester and Jennifer Butt are wonderful. There isn't much to say about them, other than that they're wonderful. Jennifer Butt particularly does a great job with the woman who "loves her husband but won't say it". She even outdoes her hubby a few times on the recording.
As the young lovers of Cosette and Marius, one half of Judy Kuhn and David Bryant is wonderful, and the other half isn't as impressive. David Bryant disappoints as Marius with a voice that is just screaming for more breath support. Marius is love-struck, yes, but he's not a little boy about it. I wish Bryant would have shown more strength in his role. Judy Kuhn does not disappoint at all as Cosette. Kuhn's voice is to die for, with an incredibly (almost incomprehensibly) controlled bell-like coloratura soprano. Some people find the role of Cosette somewhat annoying, and I can see why, but Kuhn makes the character extremely enjoyable. She doesn't make the role to "fluttery" and with her voice one could never dislike Kuhn's performance.
The rest of the cast is wonderful with secondaries and a chorus that are just as good as the leads. Michael Maguire as Enjolras does an absolutely wonderful job. Let's not forget, Wilkinson, Mann, and Maguire were all nominated for Tonys for Les Misérables, and it was Maguire who won. He has one powerful voice. Gavroche is a fun role to listen to. One notable ensemble member is Ann Crumb. She has a voice to be reckoned with, having gone on to originate the roles of Rose Vibert in Andrew Lloyd Webber's Aspects of Love and Anna in Anna Karenina.
I recommend that anyone buy this recording of Les Misérables. Even if you are not into musicals, this score will make you not care; and who knows, maybe it'll help you fall in love with musicals.
Free Music Review: An excellent recording
Hit: 5 Stars
Inspired by the long and tedious yet wonderful novel written by Victor Hugo, Les Miserables has become one of the most recognizable and beloved musicals of the twentieth (and early twenty-first!) century. Sadly, Les Miserables stopped its run on Broadway in May of 2003. I suppose you can only hope for the off broadway cast to come near your city to experience the magic, but this CD will due while you wait!This is the second CD of Les Miserables recorded in English after the London Cast. Colm Wilkinson and Frances Ruffelle came to America to join the Broadway Cast, and we are glad that they did! Their energy is needed in such a musical as this!
The basic plot of LES MISERABLES the musical is the struggle of Jean Valjean, an ex-convict, to become a part of society again. He was sent to jail for 19 years just for stealing a loaf of bread in order to feed his starving family. Of course the musical does not touch most of what is in the book because the musical is only three hours long, whereas it would take a couple of weeks to finish the book! Jean Valjean is haunted by his past and cannot find food or shelter because of the yellow ticket he wears that proclaims that he is an ex-convict. A kind bishop allows him to stay, and Valjean takes advantage of the old man by stealing silver and taking off. Valjean is brought back by constables to face the bishop, but the bishop lies for him. Valjean is touched when the bishop tells him that his soul is bought for God. Valjean changes his life around and breaks his parole by leaving the city. The story gets involved with the miserable Fantine and her orphaned daughter Cosette, and it then goes to the romance between Marius and Cosette. And then there is the revolution. There are fighting songs that will make you get goosebumps.
Many people have problems with this recording because they think that one singer is not as good as another singer of the same part on a different version of Les Miserables, but you must admit that although not flawless, this recording is pretty damn good! I like it better than the London Cast recording because musically it is superior. It is much crisper and the music has a better pace. The singers are strong, and although you may think that another singer of the same part is better, you must admit that nothing is really wrong with the singers here.
Many people have a problem with Terrence Mann as Javert. While I privately like Philip Quast better, you cannot say that Mann has a terrible voice. I never saw the man perform, but I have heard and read that he is an excellent actor. He was also in Beauty and the Beast. He has a strong voice, but I believe the downfall is that his voice sounds too young to be Javert. He has a marvelous voice, but he just doesn't sound like a tough guy! It's kind of cute because Philip Quast has this intimidating performance while Mann sounds like a pushover! I still love his performance, though!
Colm Wilkinson, of course, does a wonderful job as Valjean. He sounds much better on this recording than on the London Cast! Ruffelle is perfect as the desperate Eponine. Some people find her whiny, and I did at first, too. But now I love her and admire her.
I recommend this CD because it is just wonderful! I also recommend the Complete Symphonic recording because it contains the entire musical, and the 10th Anniversary recording is wonderful!