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Camelot Original recording remastered
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|7. Follow Me|
|8. Act I: The Lusty Month of May - Julie Andrews/Ensemble|
|9. The Lusty Month of May|
|10. Then You May Take Me to the Fair|
|11. How to Handle a Woman|
|12. Before I Gaze at You Again|
|13. Act II: If Ever I Would Leave You|
|14. The Seven Deadly Virtues|
|15. What Do the Simple Folk Do?|
|16. Fie on Goodness|
|17. I Loved You Once in Silence|
The marvelous original cast features Richard Burton and Julie Andrews-and a young Robert Goulet making his Broadway debut!
For one brief, shining moment, there was a place known as Camelot--and this 1961 recording is the only document available of JFK's favorite musical, the one that's been used to describe his presidential administration ever since. Truthfully, Lerner and Loewe's musical score for this retelling of the King Arthur story doesn't measure up to My Fair Lady, which was still playing when Camelot opened on December 3, 1960. That being said, the three principals here were stronger musically than their 1968 film counterparts--Julie Andrews and Robert Goulet (who became a star as Lancelot, thanks to "If Ever I Would Leave You") could sing, while the pre-Liz Richard Burton could recite those great lines with Shakespearean flair, even if he never scored a hit with "MacArthur Park." --Bill Holdship
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Top Customer Reviews
But it DOES work as a recording. Richard Burton and Robert Goulet are perfectly cast and handle their musical numbers well. Julie Andrews provides the spark and sparkle that elevate this show. Guenevere is her richest part: She goes from an immature girl ("Simple Joys of Maidenhood"); to a petty young queen ("Then You May Take Me to the Fair"); through awakening emotions ("Before I Gaze at You Again"); unhappiness ("What DO theSimple Folk Do") and finally heartbroken resignation ("I Loved You Once in Silence.") Julie manages to display this huge range of emotions on the record using just her voice. Today we can only listen and imagine what a wonderful stage performance she gave.
CAMELOT ws not well recieved by the critics. It was ignored by the 1961 Tony awards (BYE BYE BIRDIE won that year.) This original cast recording was so well produced that it, along with several scenes showcased on the ED SULLIVAN HOUR helped turn the show into a box office hit.
Columbia's deluxe Lp is reproduced here with outstanding sound and generous notes. (The many colour pictures that decorated the Lp cover are reproduced here in black & white!) The note reveal some interesting trvia: the voice of Nimue on this recording is actually the understudy as the actress who created the role on stage was too ill to make the recording.
For years rumours persisted that "The Jousts" and "The Persuassion" had been recorded because the original Lp cover listed the songs. This proved to be false, and all the recorded numbers were used on the finished Lp. The CD has no bonus tracks but does correct the track order to follow the order the songs are heard in the show.
Richard Burton, as Arthur, is stunning in his powerful, lordly acting, is incredible, and he sings so well that I find it astinishing that this was his first singing role. Julie Andrews is as wonderful as Guinevere as she is anywhere else, perfectly distilling both the joy and wit of "Lusty month of May" and "You may take me to the fair", and the quiet melancholy of "Before I gaze at you again" and "I loved you once in silence". Roddy McDowall is impishly delightful as Mordred in the deliciously profane "Seven deadly virtues". But Robert Goulet's proud, passionately performance, very reminiscent of Richard Kiley's Don Quixote a decade later, has made Lancelot, potentially a boastful, insipidly sappy boor, into my favorite character from "Camelot".
Since there is little of the play's dialogue on this CD, the other aspect of its greatness is the songs. Guinevere's slow, tragic romantic ballads are a bit bland, but they have quite clever lyrics and are stunningly well-performed by Julie Andrews. Still, my favorite songs remain "Ce'st moi", Lancelot's self-praising solo, and the heart-rending finale, "Camelot (reprise)". Ironic, isn't it, that the song I like the least is the original version of the song "Camelot".
Also high on the list is the sardonic, maliciously hilarious "Fie on goodness", which is sung by Arthur's traitorous knights, and which gives a rather persuasive argument in favor of the human need for sin and guilt. Yet more favorites are the bitterly tragic "Guinevere" and the joyous "Lusty month of May", both of which are a true joy to listen to.Read more ›
Most recent customer reviews
The level of talent helped to elevate this overlong work to "classic" status. This is an unwieldy piece - it aspires to be operatic, but falls short. Read morePublished on April 12 2004
Well as always Julie's voice is so magnificent and pure. It is worth it to hear her voice, but I wasn't impressed with the rest of the cast. Read morePublished on Dec 30 2003 by J. Ourada
This is a wonderful musical performed wonderfully by Julie Andrews and Robert Goulet. Only I prefer Richard Harris for the role of King Aurthur. Read morePublished on July 19 2003
What a great album! There are things about the movie and musical that are better in each than in the other, but this soundtrack is the best. Read morePublished on May 11 2003 by C. J. Kellerman
I had to scroll through to the 30th and last review to find someone who got it right. THE BOOK OF THIS SHOW IS HORRIBLE. Read morePublished on Aug. 6 2002 by ELT
CAMELOT is one of the gems of the Lerner and Loewe musicals, which also include BRIGADOON, PAINT YOUR WAGON, MY FAIR LADY, and GIGI. It is clearly one of their best. Read morePublished on Jan. 2 2002 by Pope
This recording is absolutely brilliant! I was taken to see the show as a birthday treat when I was eleven years old, when it came to Londons West end. Read morePublished on Dec 17 2001 by Richard Braybrook
Truly this is one of the better cast albums I've heard from an original Broadway cast. Richard Burton, and especially, Julie Andrews and Robert Goulet are magnificent; yet Goulet... Read morePublished on Dec 9 2001 by John Kwok
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