The guy who played Freddie in my old college's production of Chess had been basically disowned by his parents after he came out as gay. Hearing him perform this song was heartbreaking, you could absolutely hear the real-life pain in his voice. Shout-outs to Daniel, wherever you are now. I hope things are better for you.
The way this guy says "weapons," you either love it or hate it-- and I LOVE it! He just goes all out here, and for that, he gets props! This is my favorite version. But really, anyone who can sing this song even half as well as this is exceptional. Great song. Great execution.
I'm not going to play the "Who's better card?" The song is just wonderful no matter who sings it. It's a powerful song about child abuse and abandonment and how those scars still resonate even into adulthood. In the end, it's not self-indulgent or whiny the lyrics are more subvert than that. It's saying "Don't pity me, I'm a mess and this is why but I got out. But I know that I'm messed up but I'm fighting it and one day I'll be fine." I think both this version and the concept album recording brought out different things in the performance. Murray Head's is more detached, colder, almost analytical as if coming to terms for the first time "Oh yeah, this still bothers me, why?" Phillip Casnoff's version is angrier, more fierce and in the end more draining as if saying "I know this still bothers me, I've been fighting it my whole life and still fighting, but I'm so tired of it."
Great analysis of the two versions. I totally agree. While I really enjoy nearly every version, I actually like the rage in the Casnoff version. Freddie was going through so much at the time of the interview: the pressure of the match, the brutal spotlight of the press, the break-up with Florence. Anger is an energy.
In choir seniors at the end of the year can try out for a solo to perform during our last concert, I want to try and do this for senior solos next school year.
Phil is always my favorite on this song. Most people only know Pascal because they've seen the video of the concert version... more people probably saw the video than the Broadway run!
I'm a huge Colm fan, but he's a bit Valjean-ish in his approach to this song (naturally). This song requires range AND attack, which is why it's the hill that most tenors die on. This is far and away the best recording of this song anywhere.
We've been watching North and South and Casnoff is phenomenal in that as the dastardly Elkanah Bent. I saw him years ago as Frank Sinatra and forgot how good an actor he was. He is also a great singer.
I would have to agree with your comment. Although there is now videos of Constantine marilous ( I know I butchered that) on youtube. He nails it so well and it would be great if they did a production with him. Or even the concert show like they did with Adam. That would be so good.
Actually this is just the Broadway version. Like must musicals around that time, Tim Rice made the concept album with Murray head singing this. I do agree though that this is the best earliest ideration of this song though because they got someone who can sing it.
@@debbabe2254 I’m only stating facts. This is not the original, period. Who cares if he’s the original on Broadway? That’s not what I was stating. This version came 4 years after the original, calling it the original is just wrong, especially since most Chess fans (and Tim Rice personally) despise the changes the show suffered from when it went to Broadway.
You’re probably trying to sing the high C in chest voice. You need to use head voice, which is similar to falsetto except that it actually blends with chest voice
Gnerally I agree 100% with Stevethepriate, but You know, honestly, in this particular piece I find it easier to sing SON than WHO. SON is more open and free for me, while that OO vowel is a bit more constricted and tricky. I have a recent production of mine up on my channel if you'd like to hear it. I think you can tell the difference. I suppose it depends on the particular singer and what theyre comfortable with! :)
My first gay friend in the theater, after he watched from backstage a friend of his in tight pants performing Freddie, called this song a “butt-clencher”.
He is not singing a pure "oo" vowel. He forms the vowel in his throat, keeping the larynx still, jaw and throat relaxed. He "drinks the sound", the tone "spins" in the soft palate and rebounds to the resonators. To sing "son" with a dropped jaw, the larynx raises and the throat muscles engage. That's a problem. "Son" and "Who" are not that different to sing, except for more open jaw. Usually, singers tend to open their jaws too wide and too soon, raising the palate and losing resonance.
I have to kindly disagree, Murray doesn't have the range to do it. But the voice itself would be great if he had that range. If he can hold it longer on some of those notes then I would agree.
I'm sorry but I hate the broadway version of this because of the plot change and also I don't like this Freddie, in my opinion he is one of the worst who have played this role
Emma Forman the fact that he hits the high notes doesn't mean necessarily that his voice is good...I don't like his voice, and if we're speaking of high notes, then Pascal's one of the winners, especially because of how he kept a really high note for a lot of seconds at the end of this song and it was wonderful, even if I'm not a big fan of his interpretation of Freddie either
The guy who played Freddie in my old college's production of Chess had been basically disowned by his parents after he came out as gay. Hearing him perform this song was heartbreaking, you could absolutely hear the real-life pain in his voice.
Shout-outs to Daniel, wherever you are now. I hope things are better for you.
The way this guy says "weapons," you either love it or hate it-- and I LOVE it! He just goes all out here, and for that, he gets props! This is my favorite version. But really, anyone who can sing this song even half as well as this is exceptional. Great song. Great execution.
I loved it too.
I'm not going to play the "Who's better card?" The song is just wonderful no matter who sings it. It's a powerful song about child abuse and abandonment and how those scars still resonate even into adulthood. In the end, it's not self-indulgent or whiny the lyrics are more subvert than that. It's saying "Don't pity me, I'm a mess and this is why but I got out. But I know that I'm messed up but I'm fighting it and one day I'll be fine."
I think both this version and the concept album recording brought out different things in the performance. Murray Head's is more detached, colder, almost analytical as if coming to terms for the first time "Oh yeah, this still bothers me, why?" Phillip Casnoff's version is angrier, more fierce and in the end more draining as if saying "I know this still bothers me, I've been fighting it my whole life and still fighting, but I'm so tired of it."
Great analysis of the two versions. I totally agree. While I really enjoy nearly every version, I actually like the rage in the Casnoff version. Freddie was going through so much at the time of the interview: the pressure of the match, the brutal spotlight of the press, the break-up with Florence. Anger is an energy.
In my opinion, this is one of the best versions ever. ♥
Why is it not more intense? In the Swedish version it's so desperate and from the heart.
This performance is pure genius. I am more used to the London cast album, but love this version as well.
In choir seniors at the end of the year can try out for a solo to perform during our last concert, I want to try and do this for senior solos next school year.
Phil is always my favorite on this song. Most people only know Pascal because they've seen the video of the concert version... more people probably saw the video than the Broadway run!
Well to be fair, the Broadway version of the story isn't quite as good, at least in my opinion, still pretty good, but not great.
I very much like this, but I love the version by Colm Wilkinson on the album Stage Heros.
I'm a huge Colm fan, but he's a bit Valjean-ish in his approach to this song (naturally). This song requires range AND attack, which is why it's the hill that most tenors die on. This is far and away the best recording of this song anywhere.
Saw this cast on Broadway. Phillip Casnoff is and was astounding.
at my district thespian competition my troupes president sung this for his solo. Best in show and a 1000$ musical theatre scholarship.
We've been watching North and South and Casnoff is phenomenal in that as the dastardly Elkanah Bent. I saw him years ago as Frank Sinatra and forgot how good an actor he was. He is also a great singer.
I forgot how much I love this song
this is the definitive version of this song
I'm having a blast learning this tune
this amazing version
14 people don't pity the child.
I think it's 27 now...
Muy buenas gracias por cantarme este tema estoy feliz y orgulloso
Well this is better than Murray Head, Head could not hit the notes sadly. ALTHOUGH, no one will ever surpass Murray's One Night in Bangkok. :P
Cameron Nies I disagree. Phillip's to me is just as good, if not better. But to each their own
Some of the best lyrics ever written if you ask me.
Adam Pascal's version is very good. This one is too, though I must say I prefer the orchestrations in the original concept version with Murray Head.
I would have to agree with your comment. Although there is now videos of Constantine marilous ( I know I butchered that) on youtube. He nails it so well and it would be great if they did a production with him. Or even the concert show like they did with Adam. That would be so good.
He is the original and he is definitely the best. Slays it!
Rebecca Prozzo so true
Actually this is just the Broadway version. Like must musicals around that time, Tim Rice made the concept album with Murray head singing this. I do agree though that this is the best earliest ideration of this song though because they got someone who can sing it.
He's not the original... can you stop commenting this under every Broadway Chess video?
@@JF-sh2sm He is the original on Broadway. And your comment is rather uncalled for.
@@debbabe2254 I’m only stating facts. This is not the original, period. Who cares if he’s the original on Broadway? That’s not what I was stating. This version came 4 years after the original, calling it the original is just wrong, especially since most Chess fans (and Tim Rice personally) despise the changes the show suffered from when it went to Broadway.
Whenever I try to sing this I sound like a dying seal. Too many high notes.
+Will s Yeah, there are some high C-s... This isn't easy even for a tenor. I don't know what type are you, but I guess you got it. :)
Just about got it. It's got a sustained top C and a staccato top C#.
that's why i refer to this song as "pity the tenor"
You’re probably trying to sing the high C in chest voice. You need to use head voice, which is similar to falsetto except that it actually blends with chest voice
@@JohnDoe-gk7ok head voice??
that one symphonic- da da da daaaa- -da da da da da da dum - my heart goes with it
@zither74
I totally agree- pascal was good too but this one has so much Passion and it brings tears to my eyes!
Gnerally I agree 100% with Stevethepriate, but You know, honestly, in this particular piece I find it easier to sing SON than WHO. SON is more open and free for me, while that OO vowel is a bit more constricted and tricky. I have a recent production of mine up on my channel if you'd like to hear it. I think you can tell the difference. I suppose it depends on the particular singer and what theyre comfortable with! :)
My first gay friend in the theater, after he watched from backstage a friend of his in tight pants performing Freddie, called this song a “butt-clencher”.
He is not singing a pure "oo" vowel. He forms the vowel in his throat, keeping the larynx still, jaw and throat relaxed. He "drinks the sound", the tone "spins" in the soft palate and rebounds to the resonators. To sing "son" with a dropped jaw, the larynx raises and the throat muscles engage. That's a problem. "Son" and "Who" are not that different to sing, except for more open jaw. Usually, singers tend to open their jaws too wide and too soon, raising the palate and losing resonance.
Both recordings are good but this one has always been a bit better.
You're welcome. :-). Wanted to write more, but not sure if this thread was still watched.
post DREW SARICH'S Pity the Child!
de diez genial los saludo yo el niño pitty mendoza piana khalifa
Super random, but I would kill to hear the singer of the Hunter X Hunter theme song sing this...
Nick Metzger - So Best.
Challenge accepted
WHO IS THIS SINGING ! i LOVE it ! thanks
It's David Carroll (not Philip Casnoff; he actually played Anatoly, not Freddie).
xxkewldudexx wrong.
xxkewldudexx By now I assume you know that this is not David but it is indeed Phillip Casnoff. David was Anatoly.
+Mike Park Philip Casnoff.
th-cam.com/video/PlvBfe87n60/w-d-xo.html
The guy dueling with Patrick Swayze! Phillip Casnoff!
can be translated into Spanish please very good topic
First time hearing the english version, used to the Swedish one. Not as intense this one.
I like this oerformance better.. it does seem more "authentic".. and frankly, though Pascal is good, his voice reminds me just a little of a munchkin.
You say that he love you he is your father h3 let it go
Chris Murray is better!
Nobody does this like Murray Head.
I have to kindly disagree, Murray doesn't have the range to do it. But the voice itself would be great if he had that range. If he can hold it longer on some of those notes then I would agree.
this sounds too synthesised. London version is way superior
boo.. London version was the best, Chess concert was second best.
I'm sorry but I hate the broadway version of this because of the plot change and also I don't like this Freddie, in my opinion he is one of the worst who have played this role
Anais Amaya ok but his voice is a lot better. Murray head couldn't hit the (sustained, might i add) high notes in this song.
Anais Amaya i mean for example compare "I was only her son" with Murray Head's. A trillion times better here.
Emma Forman the fact that he hits the high notes doesn't mean necessarily that his voice is good...I don't like his voice, and if we're speaking of high notes, then Pascal's one of the winners, especially because of how he kept a really high note for a lot of seconds at the end of this song and it was wonderful, even if I'm not a big fan of his interpretation of Freddie either
Eew