A Little Night Music (1975 Original London Cast) Customer Review: “The Definitive Recording”
Having finally listened to the Original Broadway Cast Recording of this masterpiece, my verdict’s in and clear: the London Cast Recording is the definitive version.
The voices of the London Cast are, to a man (and woman) far superior — this is most obvious when listening to the Quartet who open the show, and act as the chorus. The American artists, while excellent, simply can’t compare to the power, range and tone of the Brits.
The arrangements are gorgeous, the choral work astounding, and the version of “The Miller’s Son” found here will floor you. Not only the best recording of this particular show, but possibly the best recording of any Sondheim show available on CD — Sweeney Todd is the only other contender, for my money.
The Orginal Cast Recording is great for a historical value. The British Cast is what you listen to when you want to hear the best show you’ll never have the privilege of seeing. It’s ruined me. But I’m not complaining.
Customer Review: Sondheim’s Greatest
I’m of the mind that A LITTLE NIGHT MUSIC (and SWEENEY TODD) are Sondheim’s two greatest works. Why? Because they drip with intelligence and exist entirely within the world of the music. NIGHT MUSIC is propelled by the steady pulse of 3/4, creating the impression that none of the characters would ever come to the realization that they are merely parts being acted and presented on stage–it happens in its own little universe. It’s so yummy…
Having said that, I conclude that the perfect cast album could only be completed with the physical presences of Desiree Armfelt and Fredrik Egerman and the rest of the gang. It seems that, when approaching these personalities, actors and actresses treat the music as the music and not as a phase of the dialogue–they don’t attack the parts with the brand of boldness and self-importance that each of these characters possesses. The London cast album suffers from such problems. None of the performers have the arrogant voices needed (unfortunately, only a couple have achieved voices somewhat-worthy of the score). Henrik cannot hit the high notes (he goes into falsetto); Charlotte is too shaky to be sufficiently biting; Fredrik seems too feminine; the Count–goofy instead of condescending–seems molded from Sesame Street. The quintet features voices too uneducated and careful. Still, Anne is cutely bubbly (even in voice), Petra is a fine belter, and Hermione Gingold as Mme. Armfelt really makes the listener savor every consonant in her speech. It is an excellent archive of Sondheim’s greatest. I would recommend this over the New York cast simply because Jean Simmons creates the closest Desiree I could ever imagine.
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