She sounds amazing and I wish I could have seen this live. People get so attached to the person who originates that role that they often down allow for other people to shine in the same role. Christine Andreas is amazing in this. I had the pleasure of seeing the original and I love them both. Let's celebrate each other.
Christine Andreas really brings out a different interpretation vocally from Victoria Clark. She has much more of the classical Golden Age feel to it, whereas Victoria's feels more modern. Christine's is refined, restrained and melodically pure, while Victoria focuses more on the emoting and lets the feelings burst through in a raw way and her voice cracks more often. I love both interpretations. I think some of the reason Christine's might rub people the wrong way is she uses this very Golden Age type vibrato throughout the song, which might strike audiences used to modern musicals as old-fashioned and quaint. But I don't find that a problem -- she IS playing an old fashioned southern woman after all.
Honestly, I for one have no judgments whatsoever of what different voice type a long going performer has, and I even encourage it for the sake of variety in voice types(convinced especially by how it can be done amazingly well by shows like Great Comet or 1776) as it gives more individual characteristics to the performers themselves for me. It's odd to hear that people are put off by Christine's voice, since she's basically singing in an operatic piece(a contemporary opera, but still). I honestly miss hearing this type of vibrato too. She controls it so professionally, and her acting complements it so well, and I'd love to see her perform live on day in any new show she's in; ever since I heard her sing as Marguerite in The Scarlet Pimpernel! Plus, personally speaking, for some reason her voice makes me think of my mother(May she Rest in Peace). I just get this nostalgic feeling listening to her sing(especially in Pimpernel, which came out the same year I was born, 1997), and I feel like a kid again, being exposed to something amazing and beautiful for the first time. :)
Beautiful! Not thrilled with how the piano sounds at the beginning, though, and I really don't like that costume. Also, I love the moment when Signor Nacarelli comes and takes Margaret's hand, in such a courtly way; they don't seem to do that here. I wonder how the orchestra for the tour compared in size to the Lincoln Center one, and if it was the same in Los Angeles as for the rest of the tour stops. Pissed me off that not one of the three likely tour presenters in the area where I live, could be bothered to bring this show to us. Same thing with IN THE HEIGHTS, which we finally got in the non-Equity edition. Pretty good, but it's shameful that they didn't bring it here while it was the 1st national, union tour.
I saw the Lincoln Center production and even it was watered down. I think Adam wrote all these instrumental parts that are only heard on the recording. Once the producers get ahold of it they start eliminating parts. I think this happens a lot in modern broadway productions. What you hear on the recording is the ONLY time you will hear the music the way the composer intended it to sound. The only exception to this rule was the Lincoln Center production of "South Pacific" that went back in time and used this huge orchestra that is featured in the overture when the stage actually rolls back to reveal this huge orchestra in full formal wear.
R Como Yeah, it can be very disappointing. The one local production we've had of LITP (that I know of), here in the Dallas/N. TX area, was at a smallish theater-in-the-round (actually, theater-in-the-square, to be precise, and, despite Max Bialystock's contention, there are no bad seats there). They don't have room for a lot of musicians, even if they could afford them, and I really think I'd have preferred a quartet or quintet to the synthed-up sound they had, accompanying the acoustic instruments. Even just violin, piano and harp, or cello, piano and harp, or either of those with guitar would have been preferable. That's just not music that should be synthed. We're lucky here to have Lyric Stage, which does great, original-version productions of musicals with original orchestrations, that can take some real research to reconstruct. Their production of THE GOLDEN APPLE was recorded by PS Classics last year, and released as a live, double cd, which is wonderful! (Another apparently great production they did, that I didn't get to see, was of NINE, also with a full orchestra, made up of all female musicians! The worst example of sad pit tales I've witnessed recently was the non-union tour going around of RAGTIME (avoid, at all costs, especially if you love that show or score), which apparently had not one live musician playing. There was no pit, but there was a recording of musicians. That was far from the only problem with that show, but it was shameful. I would dearly love if the Dallas Opera would team up with one of the good theater companies around here, and do LIGHT IN THE PIAZZA, as well as MARIE CHRISTINE, and maybe some others. They did do a glorious production of SHOW BOAT this past season (it was in conjunction with Chicago's Lyric Opera), the first time they've ventured away from straight opera in many years,
This is astonishingly beautiful singing- so many stars ⭐️ ⭐️⭐️⭐️⭐️⭐️⭐️⭐️
She sounds amazing. I love how she takes her chest voice up higher than the others I've heard- it's very powerful to hear this belted.
God, what a rendition!! I’ve come back to hear this so often-grateful this recording exists.
I'm so thrilled I got to see her in person. She was really breathtaking
I saw Victoria Clark on Broadway who was superb. Watching Christine Andreas I get the impression she was really incredible, too.
Thank you so much for this, Christine Andreas is always fantastic!
She sounds amazing and I wish I could have seen this live.
People get so attached to the person who originates that role that they often down allow for other people to shine in the same role.
Christine Andreas is amazing in this.
I had the pleasure of seeing the original and I love them both. Let's celebrate each other.
Love her! One of the absolute best!
Christine Andreas really brings out a different interpretation vocally from Victoria Clark. She has much more of the classical Golden Age feel to it, whereas Victoria's feels more modern. Christine's is refined, restrained and melodically pure, while Victoria focuses more on the emoting and lets the feelings burst through in a raw way and her voice cracks more often. I love both interpretations.
I think some of the reason Christine's might rub people the wrong way is she uses this very Golden Age type vibrato throughout the song, which might strike audiences used to modern musicals as old-fashioned and quaint. But I don't find that a problem -- she IS playing an old fashioned southern woman after all.
Honestly, I for one have no judgments whatsoever of what different voice type a long going performer has, and I even encourage it for the sake of variety in voice types(convinced especially by how it can be done amazingly well by shows like Great Comet or 1776) as it gives more individual characteristics to the performers themselves for me.
It's odd to hear that people are put off by Christine's voice, since she's basically singing in an operatic piece(a contemporary opera, but still). I honestly miss hearing this type of vibrato too. She controls it so professionally, and her acting complements it so well, and I'd love to see her perform live on day in any new show she's in; ever since I heard her sing as Marguerite in The Scarlet Pimpernel!
Plus, personally speaking, for some reason her voice makes me think of my mother(May she Rest in Peace). I just get this nostalgic feeling listening to her sing(especially in Pimpernel, which came out the same year I was born, 1997), and I feel like a kid again, being exposed to something amazing and beautiful for the first time. :)
Gorgeous!
Brilliant
Powerful
Beautiful! Not thrilled with how the piano sounds at the beginning, though, and I really don't like that costume. Also, I love the moment when Signor Nacarelli comes and takes Margaret's hand, in such a courtly way; they don't seem to do that here. I wonder how the orchestra for the tour compared in size to the Lincoln Center one, and if it was the same in Los Angeles as for the rest of the tour stops. Pissed me off that not one of the three likely tour presenters in the area where I live, could be bothered to bring this show to us. Same thing with IN THE HEIGHTS, which we finally got in the non-Equity edition. Pretty good, but it's shameful that they didn't bring it here while it was the 1st national, union tour.
I saw the Lincoln Center production and even it was watered down. I think Adam wrote all these instrumental parts that are only heard on the recording. Once the producers get ahold of it they start eliminating parts. I think this happens a lot in modern broadway productions. What you hear on the recording is the ONLY time you will hear the music the way the composer intended it to sound. The only exception to this rule was the Lincoln Center production of "South Pacific" that went back in time and used this huge orchestra that is featured in the overture when the stage actually rolls back to reveal this huge orchestra in full formal wear.
R Como
Yeah, it can be very disappointing. The one local production we've had of LITP (that I know of), here in the Dallas/N. TX area, was at a smallish theater-in-the-round (actually, theater-in-the-square, to be precise, and, despite Max Bialystock's contention, there are no bad seats there). They don't have room for a lot of musicians, even if they could afford them, and I really think I'd have preferred a quartet or quintet to the synthed-up sound they had, accompanying the acoustic instruments. Even just violin, piano and harp, or cello, piano and harp, or either of those with guitar would have been preferable. That's just not music that should be synthed.
We're lucky here to have Lyric Stage, which does great, original-version productions of musicals with original orchestrations, that can take some real research to reconstruct. Their production of THE GOLDEN APPLE was recorded by PS Classics last year, and released as a live, double cd, which is wonderful! (Another apparently great production they did, that I didn't get to see, was of NINE, also with a full orchestra, made up of all female musicians!
The worst example of sad pit tales I've witnessed recently was the non-union tour going around of RAGTIME (avoid, at all costs, especially if you love that show or score), which apparently had not one live musician playing. There was no pit, but there was a recording of musicians. That was far from the only problem with that show, but it was shameful.
I would dearly love if the Dallas Opera would team up with one of the good theater companies around here, and do LIGHT IN THE PIAZZA, as well as MARIE CHRISTINE, and maybe some others. They did do a glorious production of SHOW BOAT this past season (it was in conjunction with Chicago's Lyric Opera), the first time they've ventured away from straight opera in many years,
I was involved in the tour. It was exactly the New York orchestration and musicians.