Subject: I have found a CD that I think you would enjoy
|Maury Yeston, Judy Blazer, Brian d'Arcy James|
Titanic (1997 Original Broadway Cast)
Genres: Pop, Soundtracks, Broadway & Vocalists
No Description Available. Genre: Original Cast Recordings Media Format: Compact Disk Rating: Release Date: 1-JUL-1997
Listen to Samples
No Description Available.
Genre: Original Cast Recordings
Media Format: Compact Disk
Release Date: 1-JUL-1997
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Member CD Reviews
Libby S. from LITTLE ROCK, AR
Reviewed on 8/4/2006...
It is okay. Just not one of my favorite musicals.
'TIL YOUR PORT IS FOUND
Guy De Federicis | east of here | 05/16/2005
(4 out of 5 stars)
"No kidding. The whole cast sings a Broadway song as the entire ship goes under in this outrageous, incredibly dramatic and stirring Broadway show that succeeds in treating the sinking of the Titanic with respect, without plunging to the depths of creative and real despair. The best musical sections concern communication among the ship's officers; an officer reporting on the ocean's temperment - "No sir, it appears to be a flat calm" ("No Moon") is delivered in a lifeless monotone like a sigh of relief before the iceberg takes their breaths; the frenzied and violent arguing among the ship's commanders and builder as the ship sinks, ("The Blame"), soars in intensity to operatic-like levels of tragedy. The musical also conveys a sense of time and regard for the generation of the Titanic; their hopes, fears, and understanding of their modern world, notably in "Barrett's Song", which delivers a life long passion of a young telegraph operator to the fateful journey. There's a rousing and emotion packed musical theme near the beginning and the end; "Godspeed, Titanic", and "Finale", and a song, "Autumn", taken from a song sheet actually found among the surviving artifacts of the ship, which fits securely and adds a haunting touch of authenticity. In the epilogue finale, the "Autumn" theme plays again in a moving musical interlude paying tribute to the lives lost. One can excuse the few imperfect moments; "Doing The Latest Rag", is a dull and obvious rag dance craze, typical of the 1910s, and particularly uninspired, and "Lady's Maid" is a touching but superficial and cliched 'immigrants coming to America' routine. All in all, it's a remarkable achievement. The CD includes a 43 page booklet with lyrics, pictures, cast and Titanic statistics. "A Night To Remember" the classic 1955 book by Walter Lord, remains the best source of the Titanic story, but this Broadway musical is a Titanic of a different color; a heart-felt, joyfull and tragic plunge to the ocean floor."
The best musical score ever written
Linda Wilson | 12/14/2005
(5 out of 5 stars)
"I saw Titanic live on Broadway, thought it was spectacular, and subsequently purchased the CD.
This is an amazing musical, deserving praise on every front. First and foremost, however -- if you're a serious musician, you will appreciate the score. The orchestration is rich and lush and with many subtle, refreshing touches. The pit orchestra is one of the finest ever, with a brass section that will truly blow you away. In Maury Yeston's hands (or his orchestrator's?), the fabulous brass section breathes life and dignity and excitement into a stellar score. The strings support the score wonderfully, too, as they subtley sing away beneath the cast. The ensemble of the entire pit, including the woodwinds and percussion, is to be commended, and as tight as any "legit" orchestra. Too often the Broadway orchestra is ignored; yet try doing a musical without the orchestra parts. In this case, the score and instrumentalists all but steal the show.
Which is not to downplay the cast, who are fabulous. The singing is wonderful. The songs are beautiful and appropriate and touching, as well as very singable. Yeston has managed to create a score and a book that are heartwarming and heartbreaking without ever being schmaltzy. As many times as I've listened to this CD, I always find my eyes getting slightly misty on nearly every song.
Yestin not only paints a real and inspiring portrait of passengers both imaginary and real; he includes some meaningful concepts as well -- for example, the idea that one anonymous and modest telegraph operator connects all the people in the world, themselves yearning to connect. (What we all want when all is said and done.)
I cannot disagree more strongly with those who have trashed this recording and musical in their reviews. In a world that increasingly elevates the trivial and the empty, this is a sophisticated, rich, wonderful musical and a serious (and entertaining) work. Its soaring melodies, poignant approach, intelligent lyrics, and above all, fabulous musical score combine to make it a tribute truly worthy of those who perished (and survived). This is not a musical for the Wednesday matinee crowd, for many standard "show" people, or for those who think Andrew Lloyd Weber is the apex of the musical. (Hardly. Listen to the score of "Phantom." It's a 3-hour "name that tune" from the classical canon.) It is, I believe, one of the best musical scores, if not the best, ever written for Broadway. And it was a real crime that the show was yanked as soon as the Tony nominations were made. I'm sure it would have had a long and highly successful run on Broadway."