Pirate Queen, musical play: Act 2. Scene 4. Cistercian Abbey in Clew Bay. The Christening - Original Cast Recording, Schönberg, Claude-M
Let a Father Stand by His Son
Surrender
She Who Has All
The Sea of Life
Woman to Woman
Finale
The Pirate Queen, with a score by Alain Boublil and Claude-Michel Schönberg (Les Misérables, Miss Saigon), took a critical beating when it opened on Broadway, but as this catchy cast recording demonstrates, that ... more »reception was really unnecessarily harsh. Set in the 17th century, the show (which closed after only 85 performances) tells the story of Grace O?Malley (Stephanie J. Block), an Irish ship captain and pirate who defied Queen Elizabeth I (Linda Balgord). The combination of that setting with the fact that the producers also brought us Riverdance means an overall Celtic flavor. But fans of Boublil and Schönberg should not fear. The duo delivers plenty of the over-the-top, super-emotional power ballads they?re famous for--it?s hard not to wonder what Celine Dion would make of songs such as "Woman" or "I?ll Be There" (the latter sung by a man, but no matter!). Special kudos to Balgord, whose deliciously campy stage portrayal of Elizabeth I comes across well on "The Waking of the Queen," "The Role of the Queen," and two harpsichord-driven, vibrato-laden duets with Block, "She Who Has All" and "Woman to Woman." Also of note to fans of traditional singing is the participation of Áine Uí Cheallaigh (known from Riverdance) on several tracks. --Elisabeth Vincentelli« less
The Pirate Queen, with a score by Alain Boublil and Claude-Michel Schönberg (Les Misérables, Miss Saigon), took a critical beating when it opened on Broadway, but as this catchy cast recording demonstrates, that reception was really unnecessarily harsh. Set in the 17th century, the show (which closed after only 85 performances) tells the story of Grace O?Malley (Stephanie J. Block), an Irish ship captain and pirate who defied Queen Elizabeth I (Linda Balgord). The combination of that setting with the fact that the producers also brought us Riverdance means an overall Celtic flavor. But fans of Boublil and Schönberg should not fear. The duo delivers plenty of the over-the-top, super-emotional power ballads they?re famous for--it?s hard not to wonder what Celine Dion would make of songs such as "Woman" or "I?ll Be There" (the latter sung by a man, but no matter!). Special kudos to Balgord, whose deliciously campy stage portrayal of Elizabeth I comes across well on "The Waking of the Queen," "The Role of the Queen," and two harpsichord-driven, vibrato-laden duets with Block, "She Who Has All" and "Woman to Woman." Also of note to fans of traditional singing is the participation of Áine Uí Cheallaigh (known from Riverdance) on several tracks. --Elisabeth Vincentelli
"Since the ill-fated "Martin Guerre" in the 90's, I've been waiting for Boublil and Schonberg to make a comeback and recapture some of the glory they achieved with their blockbuster 80's musicals, "Les Miserables" and "Miss Saigon." Unfortunately, "The Pirate Queen" is more throwback than comeback. Despite some Irish folk stylings thrown in to fit this story about an Irish female pirate, the music is just too similar to their earlier works, never sounding sufficiently new or original. It's derivative, no question, but fortunately, it's derivative of shows I really like (well, not "Martin Guerre" so much, but I'm certainly a fan of "Les Miz" and "Saigon."). Schonberg has a talent for unabashed dramatics, and when he turns it on here in songs like "I'll Be There" and "A Day Beyond Belclare," I can't help but get lost in my nostalgia for the pop opera spectacles that introduced me to musicals and cast recordings. Unfortunately, even nostalgia can't do much about duds like "Boys'll Be Boys," a gratingly corny number that musically is sort of a cross between "Master of the House" from "Les Miz" and "What a Waste" from "Saigon." And don't even get me started on the depressingly banal lyrics throughout, which are never more than functional. But I like the performances of stars Stephanie J. Block and Hadley Fraser, who both have impressive voices that are a perfect fit for this style of musical. Overall, "The Pirate Queen" is the musical equivalent of a summer popcorn movie ("Pirates of the Carribean," perhaps?), and on that level, it works just well enough.
"
Something of a Disappointment
Mark R., Whittington | Houston, Texas USA | 07/16/2007
(2 out of 5 stars)
"The songs in this album were just not that great. The lyrics were not very singable (and indeed some of them didn't even scan properly.) The music also suffered quite a bit from a lack of Irish instrumntation. Most of the music seemed to be just standard, cookie cutter Broadway show tunes and not very memorable ones at that.
The cast did very well, though, considering the poor material it had to work with
All in all, it looks like this play was a lost opportunity. The story of Grace O'Malley is a compelling one and deserves to be told better than it was here."
Sure to leave you wanting more!
Teenage Musical Fan | 07/03/2007
(5 out of 5 stars)
"As a longtime fan of Broadway Musicals, I was delighted to be given the opportunity to see this show on Broadway over Spring Break. I loved every moment of the performance and after waiting three months, the Cast Recording arrived on my porch this morning. And a fine, fine disc it is.
This show was harshly and undeservedly trashed by critics, snubbed by the Tonys, and forced to close after only 85 performances on Broadway. What a shame that the public let this gem slip away.
The story of Grace O'Malley is the stuff of legend, and the score backing it is also legendary. Full of powerful ballads from Stephanie J. Block, one of the strongest singers I have ever heard, rousing chorus numbers, and beautifully harmonized duets, this CD is a must for fans of Broadway. This album stands on its own as a great collection of songs, designed to tell a story, that will live forever in the hearts of those who were lucky enough to see it live."
The Fourth Great Boublil & Schoenberg Musical
E. Nichols | Bloomington, IN USA | 07/18/2007
(5 out of 5 stars)
"I had the pleasure of seeing Pirate Queen both in Chicago 2006 and on Broadway in 2007. While I was disappointed that the cast album is only one CD long instead of two, I was quite surprised by the high quality of the recording and the amount of music packed onto the disc (25 tracks). This is a must-own for any fan of musical theatre, and the most exciting new musical to open in the past several years.
As a musician, I enjoy the chance to hear Schoenberg's musical style evolve through the years, starting with his solo French pop album, his first musical, La Revolution Francaise, and then the big three, Les Miserables, Miss Saigon, and Martin Guerre. Pirate Queen is a worthy addition to that impressive body of work. As I listen to PQ, I enjoy hearing moments where a little feature of his style reminds me of one of those other pieces. But I can also hear how his writing has evolved; PQ is full of action, but it's imbued in placed with a subtle hint of melancholy that rivals the most touching moments of the other big three shows (much of this is due to the use of a flatted 6th scale degree, which is a recurring musical motif of the show). I'll mention a few key points here:
1. Overture: much as in Miss Saigon, here local color is added to the score through various Irish instruments. The overture sounds very Irish, yet still evocative of the original slow introduction of Martin Guerre (London version).
2. Entracte: it's all instrumental, and when I saw it in the theatre audience members were sometimes talking over it, but this is the most exciting music in the score. It's in 5/4 time, with plenty of 4/4 and 2/4 measures thrown in to keep it sounding on-edge. Wild, tempestuous music. The 5/4 time signature reminds me of the amazing overture to La Revolution Francaise -- although I like the PQ entracte even more.
3. Woman: this "girl-power ballad" has a unique sound compared with most of Schoenberg's other work, although the build up to the climax follows his trademark strategy of letting the orchestra play the main melody and while the singer comes in later and sings in counterpoint for a few measures. It's my favorite musical device of Miss Saigon, Les Miz, and Martin Guerre, and it shows up here too on the words "I'm meant to fly, sail unrestrained..."
4. I'll Be There: a huge bring-down-the-house torch song for a tenor. It's closest in structure to Why, God from Miss Saigon, including a rather exciting bridge section (here with a lot of electric guitar) and the 2/4 measures of descending bass notes leading into each chorus. This song is nearly perfect -- I just which it were longer (it's 3:16 but feels over far too soon). Schoenberg uses electric guitar melody rather sparingly, but it shows up in just a few key points in Les Miz, for instance, and features quite prominently in this song, sometimes in unison with the string section.
5. If I Said I Loved You: This is a gorgeous love duet in act 2, with some amazing harmony. It really builds in passion, and makes nice subtle use of that Irish sound in the orchestrations.
6. Sail to the Stars: This Act 1 finale is an exciting, intense chorus number. It doesn't compare with the end of Les Miz Act 1, both nothing really does. Instead it's a melancholy but intense funeral scene, and is surprisingly effective.
7. My Grace: This is sung by the Valjean father-figure in the show, and it sounds a lot like a song missing from Les Miz. But it has a unique PQ sound to it, with the flat 6 scale degree. It's extremely moving.
8. Here On This Night: Originally this was my favorite song in the show, although If I Said I Loved You recently stole the #1 spot. This is the main happy love duet from an early part of the show. A classic Boublil & Schoenberg love song, with a sound that makes me feel as if I'm at love on a ship under the stars. Like the best of their love songs, the melody starts on scale degree 2 over the tonic, like Sun and Moon from Miss Saigon.
9. She Who Has All: The most unique aspect of this show is the harpsichord + high operatic soprano role for the Queen. It's an amazing performance, not too much vibrato, so even non-opera fans can enjoy it. This track is a duet between the two lead women of the show, so we get a Broadway singing voice in duet with the opera soprano. Amazingly, it works very well. I can't believe Schoenberg combined these two sounds so effectively in a duet near the climax of the show. Impressive! The duet Woman to Woman also has some of this quality. And the rest of the queen songs have a great early-music harpsichord sound fused with the modern musical orchestra.
10. The Wedding: mostly orchestral (with some chorus), this is a big Irish step dance number. It has a great sound for Irish step music fans; it sounds pretty classic but more bass-heavy, like The Chieftans fused with a rock band.
11. Boys'll Be Boys: this is like Master of the House meets Gaston, only I don't like it as much. Sort of disappointing, but it's an important and funny number.
12. The Sea Of Life: a nostalgic song towards the end of the show, this sounds like what Turning in Les Miz should have been. Turning was always my least favorite part of Les Miz, but Sea of Life is incredible. In a subtle thematic move, the opening melody is the same as the solo flute in the original London opening of Martin Guerre, with a slightly different rhythm and added accompaniment. Even more surprising: probably just by coincidence, the middle of this melody includes 8 notes (with different rhythm) from the "victory" music from Pirates of the Caribbean 3.
All in all, highly recommended!! My only complaint (besides it's premature closing on Broadway for no apparent reason) is really that we can't hear all the additional material that 2 CDs would give us, such as Grania's father's death scene (a modified reprise of My Grace, sort of like the scene at the end of Les Miz), and a very pretty Lullaby Grania sings to her son in Act 2."
Too Wonderful!
B. Kennedy | Chicago, IL | 09/13/2007
(5 out of 5 stars)
""The Pirate Queen" - the Broadway show which premiered with success in Chicago, but then was gone all too soon, months later, from New York, was a fantastic treat of lush melodies, elaborate costumes, and remarkable vocals, including that of Stephanie J. Block, Hadley Fraser, Marcus Chait, Linda Balgord, Jeff McCarthy, William Youmans and others. This show was too wonderful to have been closed down so soon! Now the stirring melodies and glorious Celtic dances can no longer be enjoyed visually. Thank goodness, then, that the CD finally came out! It is spectacular! Thank goodness we can still enjoy the most vibrant part of the show, the brilliant musical score brought to us by renown team, Alain Boublil and Claude-Michel Schonberg, who gifted those of us who adore musical theater with Broadway shows, Miss Saigon and Les Miserables. After listening to the CD I purchased from Amazon.com, I later ordered 5 more CDs to give as gifts, not only because they will be excellent gifts, but also to show my admiration and support for the show itself, and those who toiled to create it and perform it.
Musically, I believe it is similar to Les Mis, as opposed to Miss Saigon (my personal favorite!), packed with gorgeous melodies and striking vocals, mixed with episodic comic relief. The Celtic tone of the entire work is such a fresh sound for a musical - attaining an upbeat Irish musicality whereby one can hear the dancers and simply imagine them doing the energetic Riverdance. The overture alone is breathtaking. For some, who may not have the time or inkling to listen to the full score in one sitting, the music is conveniently packaged in one disc, which allows for easy skipping straight to your favorite songs. Of course, I prefer to listen to the score in full. While parts of it remind me of my other favorite Broadway songs, quite mesmerizing, especially the beautiful duets, there are also a couple of songs reminiscent of opera at its best. (Note: In contrast, there is a small bit of comic opera in the show, but I am referring to the second act, where a few operatic songs are invitingly beautiful!).
One last point, the storyline itself. I appreciated the storyline, but not nearly as much as until I saw the show several more times in Chicago. I think the storyline, based on the 16th century Irish chieftain and pirate Grace O'Malley, is so unfamiliar, unlike that of the people affected by the Vietnam War in Miss Saigon or the well-known story of Victor Hugo's Les Miserables. However, the more I watched and listened (I saw the show 4 times in all!), the more I came to relish the storyline, after first initiation. I hope others will enjoy this CD as much as me. The only good thing I can think of, about the show closing so prematurely, is that it now feels like "my little secret," unavailable now for anyone else to see. However, I would much, much prefer that this well-kept secret be shared with the world. Enjoy!
Track Listings (25) - Disc #1
![Seussical [2000 Original Broadway Cast]](https://nationalbookswap.com/cd//m/02/4802/514802.jpg)
