Anything Goes Comp Classical, Soundtrack
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|1. Anything Goes: Overture|
|2. Anything Goes: Act One: I Get A Kick Out Of You (Reno)|
|3. Anything Goes: Act One: Bon Voyage (Boys, Girls)|
|4. Anything Goes: Act One: All Through The Night (Billy, Hope)|
|5. Anything Goes: Act One: There'll Always Be A Lady Fair|
|6. Anything Goes: Act One: Where Are The Men? (Chorus)|
|7. Anything Goes: Act One: You're The Top (Billy, Reno)|
|8. Anything Goes: Act One: Encore: You're The Top (Reno, Billy)|
|9. Anything Goes: Act One: Reprise: There'll Always Be A Lady Fair|
|10. Anything Goes: Act One: Anything Goes (Reno)|
|11. Anything Goes: Act One: Finale Act One (Billy, Hope, Moonface, Reno)|
|12. Anything Goes: Act One: Entr'acte|
|13. Anything Goes: Act Two: Public Enemy Number One (Chorus)|
|14. Anything Goes: Act Two: What A Joy To Be Young (Hope)|
|15. Anything Goes: Act Two: Blow, Gabriel, Blow (Reno, Company)|
|16. Anything Goes: Act Two: Be Like The Bluebird (Moonface)|
|17. Anything Goes: Act Two: Buddie, Beware (Reno)|
|18. Anything Goes: Act Two: The Gypsy In Me (Hope)|
|19. Anything Goes: Act Two: Finale Ultimo (All)|
|20. Anything Goes: Appendix: There's No Cure Like Travel (Boys, Girls)|
See all 22 tracks on this disc
Along with Kiss Me, Kate, 1934's Anything Goes is usually thought to be Cole Porter's finest show. Even without a young belter named Ethel Merman as the lead, the show's parade of hits ("I Get a Kick Out of You," "All Through the Night," "You're the Top," and "Blow, Gabriel, Blow") would have secured it a place in Broadway's pantheon. This recording is the first one to use the original 1934 arrangements, painstakingly reconstructed with the help of one of the original arrangers, Hans Spialek, and it also includes three songs cut from the original production. And the excellent cast does the London Symphony Orchestra and conductor John McGlinn proud: Kim Craswell is her usual powerhouse as Reno Sweeney (if only a little brittle around the edges sometimes), while mezzo Frederica von Stade smoothly adapts to musical theater as Hope Harcourt. All musical-theater lovers should have Anything Goes in their collection, and this recording is quite a worthy one. --Elisabeth Vincentelli
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The later stage revivals (1962 and 1987) dropped some of the original songs and added other Cole Porter standards. While these versions play well on stage, there is something to be siad for hearing the original text and orchestrations. While no one can replace Ethel Merman's original star performance, it was not preserved because "original cast" albums were not being done in 1934. She did record some of the songs over the years but never with the original orchestrations. (Just think if EMI had made this set in the 1960s and brought Merman into the studio to record her interpretations! What a missed opportunity.) That said, Kim Criswell brings the requesite belt to Reno Sweeney's songs. Cris Groenendaal brings a pleasant light tenor to Billy Crocker's songs, and Frederica Von Stade (one of the few opera singers whose voice seems well suited to american musical theatre repretoire) is well suited to Hope's short musical scenes. As an ingenue, she doesn't get to sing all that much!
Not all is perfect. Jack Gilford was too old and frail having little voice left for Moonface Martin's number. And the Ambrosian singers sing correctly without having the proper "broadway" sound. Nevertheless, John McClinn conducts with precision, and the thick booklet is full of fascinating facts about the show, a detailed synopsis, all the lyrics and an amusing glossery explaing some of the obscure references in Porter's original lyrics.
I truly appreciate the authenticity of this (ANYTHING GOES) project. I only wish McGlinn and company had not approached the show with kid gloves, because it lacks the energy and immediacy of a good Broadway cast recording. There were times, when listening, I felt as I often do in a museum. The piece of art is a classic and much to be admired, but don't get too close. And you mustn't touch! Nevertheless, I highly recommend this recording. Kim Criswell deserves to be on your shelf along with Eileen Rodgers and Patti LuPone.
If you know any of these songs and want to hear them recorded with original orchestration, without anything added or taken away, and sung by very good singers, then this will fit the bill.
Orchestration is very good, nothing too lush or fancy, it just fits the words perfectly. And beautifully recorded.
The singers are all very good except for Jack Gilford who I personally thought was awful - but he only features once. Kim Criswell is exceptional.
With the CD comes a very informative booklet, giving full text of the lyrics, background to how the musical came to be written, and an explanation of the context of the topics covered by the songs.
I'm very glad I went to the trouble of getting this CD. If you want to hear Cole Porter's musical as it sounded originally, then get this!