Anything Goes

Editorial Reviews

All Music Guide - William Ruhlmann
According to theater historian Miles Kreuger, one of three annotators of this 1988 studio cast recording of Cole Porter's Anything Goes, the show "has proved to be the most frequently revived musical of the 1930s and is performed almost daily by professional and amateur groups alike." Even so, it was relatively unperformed in major venues and rarely recorded until 1987, when a revised version opened on Broadway and became a hit. That production boasted both a new libretto and an altered score that interpolated songs from other Porter works. The whole point of this recording is to do the opposite, to present Anything Goes as it would have been heard in its original ...
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Editorial Reviews

All Music Guide - William Ruhlmann
According to theater historian Miles Kreuger, one of three annotators of this 1988 studio cast recording of Cole Porter's Anything Goes, the show "has proved to be the most frequently revived musical of the 1930s and is performed almost daily by professional and amateur groups alike." Even so, it was relatively unperformed in major venues and rarely recorded until 1987, when a revised version opened on Broadway and became a hit. That production boasted both a new libretto and an altered score that interpolated songs from other Porter works. The whole point of this recording is to do the opposite, to present Anything Goes as it would have been heard in its original production, with the songs originally written for it in the original orchestrations where possible, restored where necessary. John McGlinn, another annotator, who also served as the recording's conductor, explains that many of the orchestrations were lost and that he labored with one of the orchestrators, Hans Spialek, then in his late 80s, to re-create them. This is the recording's chief selling point: it is a work of aural scholarship and, with a 144-page booklet, its notes presented in English, German, and French, and also a work of considerable research. All of that is impressive. But no attention at all is given in that lengthy booklet to the recording itself, which employs a cast of opera and operetta singers who, for the most part, lack the liveliness necessary to put across a frothy musical like this. Frederica Von Stade, as the ingénue Hope Harcourt, is especially stilted, while Cris Groenendaal, as the male romantic lead Billy Crocker, has none of the friskiness and charm the part calls for. Thank God, then, for Kim Criswell, who digs into the starring role of evangelist-turned-nightclub singer Reno Sweeney as if she were channeling its creator, Ethel Merman, but also with her own spunkiness, and saves the proceedings during the many songs in which she appears. And a second thanks must go for comic actor Jack Gilford as Moonface Martin (Public Enemy Number 13), who also adds some humor to what is supposed to be a musical comedy. Still, on the whole, this is a recording more valuable in theory than in practice, with a booklet that's more enjoyable than the disc it accompanies.
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Product Details

  • Release Date: 5/17/2011
  • Label: Warner Classics
  • EAN: 5099994894424
  • Catalog Number: 48944
  • Sales rank: 317,995

Album Credits

Performance Credits
John McGlinn Primary Artist, Conductor
London Symphony Orchestra Performing Ensemble
Ambrosian Chorus Choir, Chorus
Frederica Von Stade Vocals
Kim Criswell Vocals
Bruce Hubbard Vocals
Cris Groenendaal Vocals
Jack Gilford Vocals
Michael B. Wailing Vocals
Rebecca Caine Vocals
Bryan Landrine Vocals
Judy Green Vocals
Simon Green Vocals
Del-Bourree Bach Vocals
Phil Ossafee Vocals
Dustin Stacks Vocals
Technical Credits
Robert Russell Bennett Original Orchestration
Cole Porter Composer
Russell Warner Arranger
P.G. Wodehouse Book
Hans Spialek Original Orchestration
John Fraser Producer
Michel Roubinet Liner Note Translation
Russel Crouse Revision
Howard Lindsay Revision
Martin Cotton Liner Notes
Eckhardt van den Hoogen Liner Note Translation
Guy Bolton Book
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