How Glory Goes

How Glory Goes

by Audra McDonald
     
 

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 theSee more details below

Overview

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.

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Editorial Reviews

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.

Product Details

Release Date:
02/29/2000
Label:
Nonesuch
UPC:
0075597958027
catalogNumber:
79580
Rank:
71204

Related Subjects

Tracks

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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
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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