How Glory Goes

Editorial Reviews

Barnes & Noble - Steve Futterman
Few recent recordings have been as eagerly awaited as Audra McDonald's second album. Simply put, How Glory Goes comes through with flying colors on all counts. It's certainly no retread of the brilliant singer's debut Way Back to Paradise, which audaciously concentrated solely on the work of new theatrical composers. How Glory Goes tips the balance in favor of classic Broadway songwriters and trademark tunes, including four by Harold Arlen -- "Anyplace I Hang My Hat Is Home," "A Sleeping Bee," "I Had Myself a True Love," "I Never Has Seen Snow," and "The Man Who Got Away " -- Jerome Kern's "Bill," and Leonard Bernstein's "Somewhere." Although she consciously places ...
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Editorial Reviews

Barnes & Noble - Steve Futterman
Few recent recordings have been as eagerly awaited as Audra McDonald's second album. Simply put, How Glory Goes comes through with flying colors on all counts. It's certainly no retread of the brilliant singer's debut Way Back to Paradise, which audaciously concentrated solely on the work of new theatrical composers. How Glory Goes tips the balance in favor of classic Broadway songwriters and trademark tunes, including four by Harold Arlen -- "Anyplace I Hang My Hat Is Home," "A Sleeping Bee," "I Had Myself a True Love," "I Never Has Seen Snow," and "The Man Who Got Away " -- Jerome Kern's "Bill," and Leonard Bernstein's "Somewhere." Although she consciously places herself in comparison with two beloved divas who previously recorded incomparable versions of some of these songs -- Judy Garland and Barbra Streisand -- McDonald comes out smelling like roses, bringing her own personality to gleaming interpretations that highlight her faultless technique and judicious balance of poise and exuberance. McDonald still champions new generation composers. Among the newer songs, Adam Guettel's "How Glory Goes" (from the acclaimed musical "Floyd Collins"), and Jeff Blumenkrantz's "I Won't Mind" are beautiful and affecting songs made even more rewarding by McDonald's heartfelt performances. There's been plenty of praise and hype heaped on McDonald's shoulders lately: How Glory Goes confirms that she's worthy of every bit of both.
All Music Guide - William Ruhlmann
On her debut album, Way Back to Paradise, Audra McDonald made a point of championing the work of a new generation of musical theater composers. Having made her point, she turned, on her second album, How Glory Goes, to a mixture of the same kind of material and older songs by established theater talents, particularly Harold Arlen. Her performances of Arlen's "Any Place I Hang My Hat Is Home," "I Had Myself a True Love," "A Sleepin' Bee," "I Never Has Seen Snow," and "The Man That Got Away" confirmed that Arlen had found yet another champion among great women singers. McDonald's versions of the songs didn't make you forget those of predecessors such as Barbra Streisand and Judy Garland, but they had a theatrical precision and art-song esthetic those showier singers could never touch. McDonald brought the same attributes to musical theater standards like "Bill" from Show Boat and "Somewhere" from West Side Story, as well as less-well-known but worthy selections such as "Come Down from the Tree" from Once on This Island and "When Did I Fall in Love?" from Fiorello! She reserved five spaces on the album for contemporary composers, notably Adam Guettel whose "Was That You?" and "How Glory Goes" got sympathetic readings. The album's most moving song was "I Won't Mind," which treated the unusual subject of the love felt for a child by a family friend. It was such songs, on this and McDonald's previous release, that made listeners want to hear the whole scores of the works from which they were excerpted, or even see productions of them -- and, of course, that was the idea.
Entertainment Weekly - Daniel Okrent
As on her excellent first album, MacDonald boldly introduces a collection of little-known theater songs by contemporary composers.

As on her excellent first album, MacDonald boldly introduces a collection of little-known theater songs by contemporary composers.
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Product Details

  • Release Date: 2/29/2000
  • Label: Nonesuch
  • UPC: 075597958027
  • Catalog Number: 79580
  • Sales rank: 70,754

Album Credits

Performance Credits
Audra McDonald Primary Artist
Dennis Anderson Clarinet, English Horn, Oboe
Belinda Whitney-Barratt Violin
John Beal Bass
Herb Besson Trombone
Sarah Carter Cello
Bruce Coughlin Performing Ensemble
Katie Dennis French Horn
Paul Faulise Trombone
Al Hunt Bass Clarinet
Tony Kadleck Trumpet
Karen Karlsrud Violin
Karl Kawahara Violin
Kevin Kuhn Guitar
Karen Milne Violin
Lee Musiker Piano
Brian O'Flaherty Trumpet
Keith O'Quinn Trombone
Suzanne Ornstein Violin, Concert Mistress
Joe Passaro Percussion, Snare Drums
Dave Ratajczak Percussion, Snare Drums
Clay Ruede Cello
Jonathan Tunick Performing Ensemble
Rev. Dan Willis Oboe
Avril Brown Violin
Wayne duMaine Trumpet
Elizabeth Lim Violin
Warren Odze Percussion, Snare Drums
Debra Shufelt Viola
Dale Stuckenbruck Violin
Lorra Baylis Violin
Chris Komer French Horn
Sarah Adams Viola
Rick Dolan Violin
Chuck Wilson Flute, Tenor Saxophone
Eric Stern Piano, Conductor
Richard Heckman Flute, English Horn, Oboe
Laura Bontrager Cello
Helen Campo Flute, Alto Flute, Piccolo
Steve Kenyon Clarinet, Flute, Bass Clarinet
Don McGeen Bassoon, Bass Clarinet
Grace Paradise Harp
Ted Sperling Piano, Conductor, Performing Ensemble
Xin Zhao Violin
Marc Goldberg Bassoon
Adam Grabois Cello
Laura Oatts Violin
Larry Hochman Performing Ensemble
Peter Donovan Bass
Britt Swenson Violin
Mark Thrasher Bassoon
Richard Sarpola Bass
Shelly Holland-Moritz Viola
Michael Nicholas Violin
Robert Bush Flute
Sheila Brown Viola
Daniel Troob Performing Ensemble
Steven Hartman Clarinet
Technical Credits
Robert Hurwitz Executive Producer
Tommy Krasker Producer
John McClure Engineer
Lee Musiker Arranger
Ric Wilson Mastering
Eric Stern Arranger
Ted Sperling Arranger
John Clare Poetry
Frank Rich Liner Notes
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    wow

    Audra McDonald makes one stop in her tracks. Her fluidity & technique, but more importantly her characterization in each song, is exquisite. It is for ~this~ we strive.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    She's Outdone Herself

    An amazing confluence of great material, gorgeous singing, and beautiful orchestration. A must have for any theatre-music lover.

    Was this review helpful? Yes  No   Report this review
Sort by: Showing all of 2 Customer Reviews