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Ocr: Cinderella

Various (アーティスト) 形式: CD
5つ星のうち4.7 226
￥2,908 税込
ポイント: 29pt  (1%)  詳細はこちら
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  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 12.5 x 14.25 x 0.97 cm; 108.86 g
  • メーカー ‏ : ‎ Ghostlight
  • EAN ‏ : ‎ 0791558447224, 0775662674912
  • 商品モデル番号 ‏ : ‎ 26922749
  • レーベル ‏ : ‎ Ghostlight
  • ASIN ‏ : ‎ B00CEHHL2C
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    5つ星のうち4.7 226

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ソイラテ
5つ星のうち5.0 聴いてみて
2014年12月16日に日本でレビュー済み
Amazonで購入
幸せな気分になれるミュージカル！女子力をアップしたい時にお薦め(笑)。
役に立った
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Jacqueline Moon
5つ星のうち5.0 You will sing along
2017年2月24日にカナダでレビュー済み
Amazonで購入
A production of Cinderella is coming to my city with a National touring company so I wanted to remind myself of all the classic songs from this musical. A great cast album to add to your collection.
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Yi-Peng
5つ星のうち5.0 A well-done first Broadway iteration of the R&H Cinderella
2015年4月15日にアメリカ合衆国でレビュー済み
Amazonで購入
The original 1957 score for the Rodgers and Hammerstein musical version of Cinderella only included 8 songs (not counting reprises). I'm doubly sure that Rodgers and Hammerstein would have expanded their score into a full-fledged Broadway musical were it not for Hammerstein's death in 1960. As such, all subsequent presentations of this musical (including the two TV remakes) have interpolated extra songs. After so many years, Loneliness of evening and There's music in you are now considered part of the R&H Cinderella score.

All the subsequent version of this Cinderella musical might not be sui generis R&H because others have had a hand in expanding the score for a full-length evening. This is different from, for instance, the extensions that Lloyd Webber and Rice made to Joseph and the Amazing Technicolor Dreamcoat when they expanded their original pop cantata version into a full-fledged musical. Many productions have ghostwritten sections of lyrics and music. The Godmother's song, There's music in you, has a paraphrase from One foot, other foot from Allegro. This ghost-written section was added to the song when it was inserted into the 1997 production.

Although there have been various attempts at a stage version of the R&H Cinderella, this version is the first mounting of the musical on Broadway. Douglas Carter Beane wrote a new book and the producers padded out the score with discarded songs from the various R&H musicals. It is remarkable that the extra songs maintain the existing tone of the original 1957 score and blend well into it.

The storyline of this version has its plus points and minus points. I know I've felt doubtful about the various subplots in this version. I know that there is a Tuscan proverb quoted by Italo Calvino that says "The tale is not beautiful is nothing is added to it." As such I am aware that the producers are responding to this proverb. However the sub-plots make the story lose focus. They tend to stick out like sore fingers and they don't evolve from the main plot like the Rolf-Liesl subplot in The Sound of Music, or the Tuptim-Lun Tha love story in The King and I. Hammerstein's intent for the script and storyline was that it be direct and focused, qualities that might be lacking in the telling of the tale here. On the plus side I am very happy that this version nods to the Perrault story and makes Cinderella attend TWO balls rather than one, as most other version do (including the 1957 TV version). This provides sensible grounds for stretching the score so it does not pad. The two acts are now of an equal length and the Fairy Godmother sings TWO songs to Cinderella, one before each palace event. Also it makes sense to separate the two love songs so that the Prince and Cinderella sing one at each palace function.

The cast recording reminds us that this score is pure joy. All the main songs from the 1957 TV musical are here on this recording, except for the Gavotte. The songs still serve the telling of the tale, define characters or set moods. Unlike You'll Never Walk Alone, Some Enchanted Evening or Do-Re-Mi, they did not lead lives as stand-alone songs outside their original contexts. Perhaps these songs have lived long in the towering shadow of the songs from the 1950 Disney film of Cinderella. As such, Bibbidi-bobbidi-boo, So this is love and A dream is a wish your heart makes have overshadowed the songs in this Cinderella score. In my own little corner, Impossible/It's possible, Ten minutes ago and Do I love you because you're beautiful are standouts in this score. The waltz-song, Ten minutes ago, is a patented Rodgers waltz in the tradition of The most beautiful girl in the world, the Carousel Waltz, Edelweiss and My Favourite Things. The Waltz for a ball is a worthy centrepiece of the score.

As presented here, the score includes the key interpolations in the subsequent TV versions and adds in four R&H trunk songs. It cuts out the Gavotte and the Royal Dressing Room Scene for the King and Queen, who were dropped in this production. The few trunk songs are sensibly chosen and maintain the tone of the original score. It helps that there are only three songs otherwise they would stick out from the original score like the extra songs that were included in prior drafts of the musical. The Prince's opening solo, Me, who am I (cut from Me and Juliet) sets up his character so well and Cinderella reflects on her night's experiences with He was tall. This song was the original introduction to Hello, young lovers from The King and I. In any case the score in its current iteration is tight and focused. Danny Troob, a veteran on Alan Menken's Disney musicals, orchestrated the score and did not let his Disney background intrude on the feel of the music. It is suitably lush yet sensitive and sensible throughout. Despite the frills that might distract from the main plot I tend to like this stage configuration of the R&H Cinderella much better than the other stage versions, including the version presented on the International Tour version with Lea Salonga.

As for the cast, this is an excellent team of performers who bring this time-honoured tale to life. Osnes ans Fontana are perfection as the leads. They shine individually and as a pair, in their various solos and duets. Osnes as the eponymous heroine is solid and spirited and, if I might say so, sings as a princess should. Her voice reminds me of some of the singing voices of the Disney princesses. Osnes does her best to animate the words she sings. Occasionally I wish she had been crisp in her delivery of some passages, notably in the bridge of A lovely night. Fontana as the Prince is well-characterised, grappling with his uncertainties and feeling his love for Cinderella bloom through the course of the story. He turns in ravishing renditions of Ten minutes ago and Do I love you because you're beautiful. I do note that sometimes the Prince doesn't sound as present as he needs to be. The balance of the recording does not quite do him justice. The stepsisters are suitably disagreeable and the Godmother is both a bewitching character and a spiritual earth mother figure to Cinderella at the same time. Her rendition of Impossible, It's Possible is vivacious yet grounded, and she offers a suitably touching rendition of There's music in you. In a way the Godmother reminds me of two other R&H earth mothers, Nettie and the Mother Abbess. Impossible/It's possible is the counterpart to June is bustin' out all over while There's music in you is the counterpart to You'll never walk alone and Climb ev'ry mountain. Victoria Clark delivers an elegant, understated and resonant rendition of this song, and it feels different from the Whitney Houston version in the 1997 TV version. In this context I see this as the equivalent of a Climb Ev'ry Mountain moment. In fact, the lyric of There's music in you includes the words mountain and music in the same song, thus anticipating the subject matter of The Sound of Music.

The album is excellently produced and the listener can literally feel the story unfold without the context of the stage show. It includes instrumental passages and snippets of dialogue that illustrate key moments (i.e. the Prince's search for Cinderella, the glass slipper episode towards the end.) As such this cast album flows and unfolds seamlessly to tell this time-honoured story in its own way.

If I had a few concerns about the music, I might mention something about The Prince is giving a ball and the inclusion of the discarded South Pacific song, Now is the time. This song feels out of place in this production because it sounds too militaristic for a dreamy, romantic-toned fairy tale musical. It makes the song lose focus when we are supposed to hear the announcement and the impact on the subjects of the kingdom. I also wish that the producers had included Do I love you because you're beautiful in the finale sequence. It reflects the burgeoning love for Cinderella and the Prince and might be more effective than another reprise of Ten minutes ago. Another concern is that the recording does not allow the orchestra to bloom and have definition, space and air. The recording seems rather close-miked, but unfortunately many cast recordings are engineered in this way. However the superb orchestra makes the score sound full-bodied and lush.

I am pleased that this musical did well on Broadway, running for nearly two years. This has allowed this Cinderella musical to take its place alongside The King and I and The Sound of Music as the main R&H successes of the 1950s. I know that scholars and historians might ask history to pass harsh judgement on latter half R&H and claim that the successful R&H musicals after Carousel are "more of the same" and "frippery" only fit for the 1940s and 1950s. However, it is good to have this particular screen-to-stage adaptation of the R&H Cinderella to take its place in their canon of Broadway musicals.

To conclude, I am very happy with this iteration of the musical. I find that I like it better than State Fair and better than most screen-to-stage musicals. More importantly, I like it much better than the other stage iterations of this R&H score that have been presented since the 1957 broadcast. It is still an enchanting score that does justice to R&H. It is a worthy telling of the fairy tale and I sense that this recording might endure and hold up better than the stage script. I heartily recommend this to any R&H fan, and as such it can take its place alongside any King and I or Sound of Music cast recordings.
17人のお客様がこれが役に立ったと考えています
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Andrea Cosentino
5つ星のうち5.0 Crea dipendenza
2015年7月10日にイタリアでレビュー済み
Amazonで購入
Canzoni bellissime specialmente IMPOSSIBLE!
Lo metti nello stereo e non puoi fare a meno di riascoltarlo. ASSOLUTAMENTE DA NON PERDERE!
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TRUE
5つ星のうち4.0 DELICIOSO
2014年8月11日にスペインでレビュー済み
Amazonで購入
Nueva versión del clásico musical que estrenó para televisión en su día Julie Andrews. Claro que Lea Salonga no es Miss Andrews pero posee una bonita voz y estilo que ya demostró en otro musical (Miss Saigón). La presente grabación se enriquece con unos medios técnicos y orquestación apabullantes. Los temas de Rodgers y Hammertein se escuchan siempre con agrado.
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Mr Terence Flint
5つ星のうち5.0 Cinderella-Broadway cd
2014年3月26日に英国でレビュー済み
Amazonで購入
Great to see this new version on cd.A UK version was done many years ago when the show was in London and starred Tommy Steele.Other songs have been added and others deleted from this new USA version-so the show feels completely new,so if you have the original cd this version is well worth buying.
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