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Light in the Piazza [Original Broadway Cast Recording]
     

The Light in the Piazza [Original Broadway Cast Recording]

5.0 6
by Original London Cast
 
Adam Guettel, one of the leading compositional lights on the Broadway horizon, has come up with another stunner in The Light in the Piazza. Winner of the Tony for Best Original Score, Best Performance by a Leading Actress in a Musical, and Best Orchestrations.

Overview

Adam Guettel, one of the leading compositional lights on the Broadway horizon, has come up with another stunner in The Light in the Piazza. Winner of the Tony for Best Original Score, Best Performance by a Leading Actress in a Musical, and Best Orchestrations.

Editorial Reviews

All Music Guide - William Ruhlmann
In his liner notes, former theater critic Frank Rich draws an obvious parallel between The Light in the Piazza, the first Broadway musical with songs by Adam Guettel which opened in 2005, and Do I Hear a Waltz?, the 1965 musical with songs by Guettel's grandfather, Richard Rodgers, and Stephen Sondheim. Do I Hear a Waltz? was about a matronly woman who finds love while on vacation in Italy; The Light in the Piazza is about a brain-damaged young woman who does the same thing. But just as Guettel is both the son and grandson of Broadway composers (his mother, Mary Rodgers, is best known for Once upon a Mattress), he is as much the spiritual descendant of Sondheim, a more cerebral, complex writer, just as Sondheim was of Richard Rodgers' old partner, Oscar Hammerstein II. The Light in the Piazza cannot be called a musical comedy. There are precious few laughs witnessing the torn feelings of Margaret Johnson (Victoria Clark), mother of Clara (Kelli O'Hara), who knows that her daughter is not mentally competent to fulfill her love for her new Italian fiancé Fabrizio Naccarelli (Matthew Morrison). But the serious subject matter has freed Guettel from any obligation he might have felt to write a traditional Broadway score. Instead, the music is a series of art songs and tone poems, some of them very beautiful. In particular, "Il Mondo Era Vuoto" (this is a show in which the Italian characters tend to speak and sing in Italian) finds Fabrizio expressing his love far more eloquently than he can manage in his broken English, and the show-closing "Fable," in which Margaret acquiesces to Clara's marriage only by doubting the authenticity of all love, are quite striking. At a time when the Broadway musical theater is dominated by broadly satirical comedies like The Producers and Monty Python's Spamalot, there has also been a less visible movement toward much more seriously intended fare, major examples being Caroline, or Change from 2004 and this show. Such works may not cause the stampede at the box office that their cartoonish competitors do, but they may have more to do with the future of the musical theater. The Light in the Piazza marks an overdue Broadway debut for a major composer, and it is a suitably uncompromising work. (The Light in the Piazza won the 2005 Tony Award for original score.)
New York Times
"The Light in the Piazza" has the most intensely romantic score of any Broadway musical since "West Side Story"...Mr. Guettel's songs, which share with Stephen Sondheim's equally great but less overtly tuneful score for "Passion" a fascination with mad love. Exquisitely arranged and orchestrated, "The Light in the Piazza" unfolds as a diaphanous swirl of strings and harp, flecked with reeds, guitar and delicate percussion; the more you listen to it, the more its mists assume form and substance.
Gramophone - Ken Smith
[A] sparkling score. Even the rare dull stretches are still marked by a keen ear for prosody and an ability to set each voice in its best light. The production is also blessed with one of the best casts a Broadway composer could hope for.

Product Details

Release Date:
05/24/2005
Label:
Nonesuch
UPC:
0075597982923
catalogNumber:
79829
Rank:
15016

Related Subjects

Tracks

  1. Overture
  2. Statues and Stories
  3. The Beauty Is
  4. Il Mondo Era Vuoto
  5. American Dancing
  6. Passeggiata
  7. The Joy You Feel
  8. Dividing Day
  9. Hysteria
  10. Say It Somehow
  11. Aiutami
  12. The Light in the Piazza
  13. Octet
  14. The Beauty Is (Reprise)
  15. Let's Walk
  16. 16. Clara's Interlude
  17. 17. Love to Me
  18. 18. Fable

Album Credits

Performance Credits

Original Cast Recording   Primary Artist
Mark Sherman   Percussion
Joyce Hammann   Violin
Prudence Wright Holmes   cast
Eugene J. Moye   Cello
Mineko Yajima   Violin
Cenovia Cummins   Violin
Victoria Drake   Harp
Adam Guettel   Guitar
Andrew Schwartz   Guitar,Mandolin
Richard Heckman   Clarinet,English Horn,Oboe
Katherine LiVolsi Stern   Violin
Belinda Whitney   Violin
Sylvia Davanzo   Violin
Victor Schultz   Violin
Ted Sperling   Conductor,Musical Direction
Patti Cohenour   Vocals,cast
Anne Lehmann   Violin
Shinwon Kim   Violin
Victoria Clark   Vocals,cast
Peter Donovan   Bass
Lisa Matricardi   Violin
Ariane Lallemand   Cello
Brian Cassier   Bass
Michael Berresse   Vocals,cast
Dan Riddle   Piano,Celeste
David Burnham   cast
Sarah Uriarte Berry   Vocals,cast
Matthew Lehmann   Violin
Christian Hebel   Violin,Concert Master
Glenn Seven Allen   cast
David Bonanno   cast
Robert Burkhart   Cello
Beau Gravitte   cast
Laura Griffith   cast
Mark Harelik   Vocals,cast
Jennifer Hughes   cast
Felicity LaFortune   cast
Catherine LaValle   cast
Willard Miller   Percussion
Michel Moinot   cast
Peter Sachon   Cello
Gili Sharett   Bassoon,Contrabassoon
Joseph Siravo   cast
James Tsao   Violin
Matthew Morrison   Vocals
Mairi Dorman Phaneuf   Cello
Light in the Piazza Cast Ensemble   cast
Lehmann   Violin
Kelli O'Hara   Vocals,cast
Katherine Livolsi-Stern   Violin
Eugene Moye   Cello
Sylvia D'Avanzo   Violin

Technical Credits

Bruce Coughlin   Orchestration
Janet Foster   Casting
Robert Hurwitz   Executive Producer
Todd Whitelock   Engineer
Adam Guettel   Composer,Lyricist,Orchestration
Ted Sperling   Orchestration,Music Direction
Judy Blazer   Libretto Translation
Craig Lucas   Book
Tom Wideman   Stage Manager
Judith Blazer   translation
Robert Edridge Waks   Editorial Coordinator
Frank Rich   Liner Notes
Philip Rinaldi   Public Relations
Linda Mason Ross   Marketing
Bartlett Sher   Direction
Elizabeth Spencer   Contributor,Book
Michael Yeargan   Set Production
Catherine Zuber   Costume Design
Robert Edridge-Waks   Editorial Coordinator
Steven Epstein   Producer

Customer Reviews

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Most Helpful Customer Reviews

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5 out of 5 based on 0 ratings. 6 reviews.
Guest More than 1 year ago
"The Light in the Piazza" sweeps you off your feet with the first note of the overture! The voices are amazing and the score is spectacular. Adam Guettel has created a masterpiece!
Guest More than 1 year ago
This is my first review of a Broadway score. I saw the play yesterday at a matinee. Even with a group of unruly middle-school children in the next section, the music captured them and quieted them down. I was hooked into the score and story from the first note and while the glorious Victoria Clark and Kelli O'Hara took the stage. The score is brilliant, sticks with you throughout, and will be very popular with those who fancy the current classical-multi language-crossover pop recordings (a la Andrea Bocelli, Il Divo, Sarah Brightman, etc), as the orchestrations swell, and there are some songs in Italian. Well....it takes place mostly in Florence (Fierenzi). All the Tonys and other awards and nominations are certainly well deserved. When music and voices as presented here can make me an emotional wreck for a good reason, it is so worth the time to check it out.
Guest More than 1 year ago
The music is as it says in my headline, beautiful. The songs have that romatic feel to them and I wish it wasn't a limited engagement. Even though my favorite musical is "Monty Python's Spamalot," and I was rooting for "Spamalot" through the entire Tony Awards ceremony, this show has beautiful music.
Guest More than 1 year ago
Oh, how do I actually "Say it somehow", to express my musings and ravings about this most exquisite recording? Like "Passion" by Sondheim and songs like "Losing my Mind" and "I'm still here" from "Follies", (also a Sondheim piece), this album is really for the discriminating musical theater fanatic, as well as for the theater/literary intellectual who wishes to hear something more than commercial theater pop (i.e "The Phantom of the Opera" or "Wicked", which I loved). With lush orchestrations and dazzling and poingant lyrics, it was reminicent of another gem which closed a couple years ago (Michel Legrand and James Lapine's "Amour"), another musical about love, loss and the arc of starting anew. Victoria Clark won a well-deserved Tony for her anguished and tormented mother. Like "Gypsy"'s Momma Rose, Clark's "Margaret" gets two eleven o'clock numbers which just pierce the heart where no other songs from recent musicals do: "Dividing Day" and "Fable". Listen to each intricate wordplay, and you'll find yourself crying your hearts out. Kelli O'Hara is a ravishing daughter, her title track is heartbreaking, whereas her romantic duet with Matthew Morrison "Say it somehow" is truly an inspired, and hopelessly romantic piece that many love songs today lack. Hopefully, a Tony Bennett, Renee Fleming, Diana Krall, or even Joss Stone would be willing to do it one day.
Guest More than 1 year ago
I just saw the national tour of this show and it is simply the most beautiful thing I have ever seen. I purchased this CD on the strength of what was presented on the Tonys whatever year that was, and have been in love with the music ever since. After having seen the show, the score is even more revealatory and wonderful. The way Guettel paints so perfectly the hights of love and the depths of dispair is spellbinding. Kelli O'Hara is wonderful as Clara, though I must say I enjoyed Katie Rose Clark's performance on the tour better. Matthew Morrison sounds beautiful, but again (and this is perhaps because seeing the action while hearing the music was so magnificent) I preferred David Burnham as Fabrizio. Victoria Clark will forever be Margaret. She simgs the rangy role so well, you just have to hear her to believe it. The orchestra is lush and beautiful and the recorded sound is rich and full. If, like me, you long for more classical type shows on the Great White Way, this is a CD to own and a show to see.
Anonymous More than 1 year ago