The Light in the Piazza [Original Broadway Cast Recording]

( 6 )

Editorial Reviews

Barnes & Noble
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.
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 ...
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Editorial Reviews

Barnes & Noble
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.
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.

"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.
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Product Details

  • Release Date: 5/24/2005
  • Label: Nonesuch
  • UPC: 075597982923
  • Catalog Number: 79829
  • Sales rank: 9,036

Tracks

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

Performance Credits
Original Broadway Cast Primary Artist, Indexed Contributor
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
Light in the Piazza Cast Ensemble cast
Lehmann Violin
Kelli O'Hara Vocals, cast
Katherine Livolsi-Stern Violin
Andrew Schwartz Guitar, Mandolin
Eugene Moye Cello
Sylvia D'Avanzo Violin
Mairi Dorman Cello
Technical Credits
Bruce Coughlin Orchestration
Janet Foster Casting
Robert Hurwitz Executive Producer
Todd Whitelock Engineer, Mastering
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, Mastering
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Customer Reviews

Average Rating 5
( 6 )
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Sort by: Showing all of 6 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Simply Fantastic

    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.

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  • Anonymous

    Posted October 1, 2010

    GO SEE IT, BUY CD, HAVE KLEENEX

    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.

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  • Anonymous

    Posted October 1, 2010

    A delightful feast of "Dividing Day" and "Fable".

    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.

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  • Anonymous

    Posted October 1, 2010

    Beautiful

    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.

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  • Anonymous

    Posted October 1, 2010

    Leaves You Breathless!

    "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!

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  • Anonymous

    Posted May 9, 2009

    No text was provided for this review.

Sort by: Showing all of 6 Customer Reviews