COWARD'S THEATRE SONGS, September 29, 2002

The theatre songs of Noel Coward take a very different kind of approach than Bostridge gives them. They need an actor who happens to be singing. Except for a very few of the songs on this CD (written by Coward for operettas instead of musical comedies) Bostridge's approach is absolutely without any character. All of these numbers are impeccably sung by Bostridge, but none of them are ever really acted. Coward's songs MUST be acted whether they were written in a comic or sentimental vein. The result is another misfired cross-over album in what otherwise is a splendid career.

FOR WHAT REASON?, September 29, 2002

Emile Naoumoff has transcribed this wonderful music for piano solo and although he plays well, there is simply no reason for the reduction. Music of great inspirational and meditative value has now been reduced to just another "new age-y," office background solo piece.

Much more interesting and valuable are the NOCTURNES and three MELODIES Naoumoff has included on the CD.

AN ASTOUNDING ACHIEVEMENT, September 15, 2002

The book is divided into three distinct sections: the first deals with a British family at their great home, much like E.M. Forster might have written; the second part which takes place several years later during World War 2 takes us to France and part three is in 1999 and we are returned to the family home at a birthday party for one of the three leading characters, a celebrated novelist, who, during her childhood committed a crime so cruel that she has spent her entire life looking for some sort of atonement.

The depiction of the horrors of war in the second part of this novel is the most shattering I've ever read mainly because of McEwan's varied and specific details dealing with the lives of several soldiers retreating after a major defeat. One of these soldiers has been wrongly imprisoned for the crime in part one. Every other character is new to the reader, but fully and beautifully developed. Every section, every single page is so filled with life, both good and bad, romantic and villainous, nostalgic and adventure-laden that one cannot help but read and be thrilled at McEwan's control and mastery.

This is absolutely a book to treasure. HIGHLY RECOMMENDED.

ROBERT WILSON'S "ORPHEUS...", September 15, 2002

Robert Wilson is a director I admire greatly and this production is gorgeous: the costumes, the choreography, the stark settings and especially the lighting are all of a piece as if done by one person. The formal structure of the opera is stressed with Wilson's use of simple, symbolic gestures, mask-like make-up, few props and a bold use of color. The story is the mythic one of Orpheus who, in mourning for his wife, Euridice, decides to venture to Hades in order to return her to Earth. After various struggles, he does so with the great aid of the goddess, Amore.

There are only three principal roles in the opera, all sung by women and this cast is very good, if not up to the likes of Horne or in another fine recording, Anne Sofie von Otter, or in yet a third, Rise Stevens. In fact, there are times, especially in Act 1, when the mezzo, Magdalena Kozena, as 'Orpheus' frequently sings off pitch. Patricia Petibon does better as the goddess and Madeline Bender is fine as 'Euridice.'
Sir John Eliot Gardiner, his orchestra the Orchestre Revolutionnaire et Romantique, and the Monteverdi Choir are all superb.

MISSTEPS, September 5, 2002

Do we really need another CD collection with "It's A Grand Night For Singing" and "It Might As Well Be Spring?" These are terrific songs from the Rodgers and Hammerstein film, STATE FAIR, but they've been done to death for decades by every brand of singer and instrumentalist imaginable and Peters brings nothing new to her performances. Also "You'll Never Walk Alone" (CAROUSEL) and "Something Wonderful" (THE KING AND I) are sung well enough, but it is as if Peters is paying no attention to the lyrics: these numbers do not jump off the CD and force you to pay attention.

There are so many songs written by Rodgers and Hammerstein that beg to be recorded: songs from their "failure" PIPE DREAM and from their little known ME AND JULIET. To prove my point, it is the two selections from their third Broadway musical ALLEGRO that stand out on this album not only because "The Gentleman Is A Dope" and "So Far" are tremendous songs, but also because we have not heard them over and over and over again.

The biggest misstep on the album is a silly arrangement of "There Is Nothin' Like A Dame" from SOUTH PACIFIC in which Peters spends most of the song either growling or shouting. The biggest success is the short, sweet, simple "Something Good" from the film version of THE SOUND OF MUSIC in which words, music and performance come poignantly together.

SUPERB, September 4, 2002

The cast also includes the adorable Nanette Fabray and Astaire's perfect foil, Jack Buchanan. Just as SINGIN' IN THE RAIN romantically spoofed Hollywood, THE BAND WAGON does the same for Broadway.

This superb CD contains every bit of music in the movie including the nearly twelve minute "Girl Hunt Ballet" and some extras too: a few songs cut from the film and two demos sung by the composers. The sound is amazingly fine considering that all the cuts come from the film, itself. The score by Howard Dietz and Arthur Schwartz is filled with gorgeous melodies and clever lyrics. HIGHLY RECOMMENDED.