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Post by Valancy on Jun 21, 2007 13:57:35 GMT -5
I have to disagree strongly on the ALW point. The Phantom of the Opera is not centered on the Phantom, but on Christine! If PotO is focused on Christine, then why's she such a dull and unappealing character? I mean, she has nice songs, sure, but no personality and no will of her own. *puzzled* In what way is it 50's movie music style? Not that there would be anything wrong if it was, but I find Levay's music amazingly varied. It may not appear so at first, but the more you pay attention, the more you notice. For one thing, I keep being amazed by how meaningfully he chooses his music and the repetition and variation of musical themes; and for another, he uses quite a mix of styles. Elisabeth has rather classical musical style, Gothic rock, very modern-sounding techno-ish music (Kitsch) and things I can't even classify. Mozart has classical musical style, rock and cabaret-ish music, among other things. Rebecca is more typical musical style for the most part, compared to those two, but it suits the piece, I think. Not saying you can't prefer ALW's music style, of course you can, but I don't quite understand your assessment of Levay's.
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Post by Fantasma da Opera on Jun 21, 2007 14:52:22 GMT -5
To clear up some other things: ALW's Requiem is not an opera. It's a requiem. And the fourth Harry Potter was composed by Patrick Doyle because Williams was working on Episode III. I've been wondering how Rebecca would turn out in the hands of ALW, though. Of course, I can't really imagine anything myself. I don't think it would be as good overall as Levay's, though. About the Requiem...well I considerit a genre of Opera. As for John Williams, that was what I read. I read that he was composing a very repetitive music and they needed someone fresh. Although I don't dislike Patrick Doyles work, and if teh only reaso for the 4th CD is the episode III envolvement of John Williams, then I'm hoping that this 5th movie has his music again. (I loved double trouble in the 3rd CD...the mix of some *scotish play* verses were genious)
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Post by duketgg on Jun 22, 2007 1:33:23 GMT -5
Answering to a question of Musicalzentrale, VBW has revealed that a live recording of Rebecca IN FULL LENGTH will soon be released. The original Vienna cast, conducted by Caspar Richter, is already working on it.
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Post by Bradford on Jun 22, 2007 2:17:41 GMT -5
If some Elisabeth-mad-fan sees you calling the Elisabeth music "cheap 50's" I think you will be in great live danger loool. so... I couldn't care less for the Elisabeth-mad-fans, although they are a lot especially on this board, but everyone is entitled to his/her opinion. I have to disagree strongly on the ALW point. The Phantom of the Opera is not centered on the Phantom, but on Christine! If PotO is focused on Christine, then why's she such a dull and unappealing character? I mean, she has nice songs, sure, but no personality and no will of her own. Well that's entirely your opinion, I personally don't find her dull. *puzzled* In what way is it 50's movie music style? Not that there would be anything wrong if it was, but I find Levay's music amazingly varied. It may not appear so at first, but the more you pay attention, the more you notice. For one thing, I keep being amazed by how meaningfully he chooses his music and the repetition and variation of musical themes; and for another, he uses quite a mix of styles. Elisabeth has rather classical musical style, Gothic rock, very modern-sounding techno-ish music (Kitsch) and things I can't even classify. Mozart has classical musical style, rock and cabaret-ish music, among other things. Rebecca is more typical musical style for the most part, compared to those two, but it suits the piece, I think. Not saying you can't prefer ALW's music style, of course you can, but I don't quite understand your assessment of Levay's. When I played Elisabeth for the first time I instantly got a feeling of movie music. The few first songs are not that much, but as the score progresses is more and more reminiscent of old-movies music. But I agree that I may need to listen more carefully next time for more subtle refferences as you said.
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Post by Valancy on Jun 22, 2007 2:47:14 GMT -5
Well that's entirely your opinion, I personally don't find her dull. Well, I do. Christine's really a prime example of a female musical character with no personality and all of her existence meant to be either a victim or a love interest. But I don't suppose this is the right topic to discuss that in more depth, I just wanted to point out I personally don't think that Phantom is about Christine, because if it is then it's failed at making its main point of focus interesting at all. Could be the feminist in me coming up. I don't tend to have patience for weak female characters who only exist for men. I do love Christine's songs, but goodness I wish she had a personality as well. I don't hear the 50's movie music style, but oh well. Maybe I haven't watched enough 50's movies. Anyway, I do think Levay's music improves on more listening. At first I thought Elisabeth's music was, you know, pretty good with some strong melodies but not sublime on a whole. But the more I've listened to it, the more I love it and the more depth I find in it. I'm even getting the feeling that the tunes which are dull or annoying are dull or annoying for a specific reason. And he really is excellent at using reprises and repetitions and variations of themes very meaningfully. ALW isn't nearly as good at that, and I can't easily think of many who are.
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Post by Fantasma da Opera on Jun 22, 2007 9:54:36 GMT -5
And he really is excellent at using reprises and repetitions and variations of themes very meaningfully. ALW isn't nearly as good at that, and I can't easily think of many who are. By the way...have you noticed (if you play piano) that the keys of "Eine Kaiserin muss glänzen" are almost the same as "Wenn Ich tanzen will"? ;D @ duketgg: What do you mean with recording of Rebecca IN FULL LENGTH? And were did you heard/read that? (I was hoping it wouldn't be live!!! grrr Let's hope they ask the audience to just aplause when there are no music at all)
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Post by Bradford on Jun 22, 2007 10:04:52 GMT -5
And he really is excellent at using reprises and repetitions and variations of themes very meaningfully. ALW isn't nearly as good at that, and I can't easily think of many who are. By the way...have you noticed (if you play piano) that the keys of "Eine Kaiserin muss glänzen" are almost the same as "Wenn Ich tanzen will"? ;D @ duketgg: What do you mean with recording of Rebecca IN FULL LENGTH? And were did you heard/read that? (I was hoping it wouldn't be live!!! grrr Let's hope they ask the audience to just aplause when there are no music at all) The woman in white was live recorded and you don't get to hear any clapping.
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Post by Fantasma da Opera on Jun 22, 2007 10:24:34 GMT -5
The woman in white was live recorded and you don't get to hear any clapping. Well, the Women in White is a ALW album. Rebecca is from VBW, and in, for example Elisabeth live recording there is claping...and I hate it.
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Post by duketgg on Jun 22, 2007 11:24:17 GMT -5
@ duketgg: What do you mean with recording of Rebecca IN FULL LENGTH? The integral version. All that is sung + dialogues. were did you heard/read that? www.musicalzentrale.de
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Post by Fantasma da Opera on Jun 22, 2007 13:17:07 GMT -5
@ duketgg: What do you mean with recording of Rebecca IN FULL LENGTH? The integral version. All that is sung + dialogues. were did you heard/read that? www.musicalzentrale.deAh ok. But as for the fact that it's a live recording...I didn't read that in the site. It just sais there is a Gesamtaufnahme comming out...it doesn't say that will be live
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Post by Milady on Jun 22, 2007 14:47:59 GMT -5
The Woman in White album was done in a way that is unfortunately not available to most productions. The Palace Theatre has a recording studio in the building that is hooked up to the theatre's sound system. They recorded straight off of the mics, which excluded audience noise and made for a more 'studio' sound. Parts obscured by the audience anyway were re-recorded in the studio, including the entirety of "You Can Get Away with Anything." That's a luxury not available to most live recordings because the sound would be vastly different.
If Rebecca is done live, there will almost certainly be applause. The audience on the night(s) of the recording paid the same price as everyone else to see the show and deserve to laugh and applaud freely. Consider the audience noise a trade-off for the energy on the recording that usually isn't there in the studio.
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Post by Fantasma da Opera on Jun 22, 2007 15:01:10 GMT -5
Yes, and that's my problem... I can't stand to people laughing and aplauding during the beggining and end of the songs...it ruines everything. (that is why I don't like concerts) I rather hava a studio recording were I can listen to every detail of the music without been cut in the begining and end of the songs. Oh, well...I'll keep my fingers crossed (Romeo und Julia just had the last song with aplauses. If Rebecca just has the last song with the aplauses, that's ok with me.) By the way, do you people think that the CD will include the Entr-akt and final medeleys?
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Post by Milady on Jun 22, 2007 16:35:39 GMT -5
By the way, do you people think that the CD will include the Entr-akt and final medeleys? They probably will include those if it's done live, as they did with Elisabeth. It's part of the live experience, after all. If it's in the studio, I wouldn't expect the curtain call/exit music and maybe not the Entr'acte. I frankly don't know why they decided to record the last song of R&J live and do the rest in the studio. I have no problems with live recordings, but that's jarring.
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Post by Valjean87 on Jun 22, 2007 17:16:47 GMT -5
For me I'm used to it. I love live recordings and to hear an experience of a lifetime from the audience. Also in the Palace Theatre, the OLC of "Song & Dance" was done completely live but didn't cut off the audience, it was just live. The Complete Chicago Dutch Recording is Live but it has audiences as well. Any Takarazuka Recordings is live with clapping(there are CD Singles that has the Studio Sound like their "Elisabeth" CD Singles).
All I can say is that I love live recordings, you can hear the whole entire act, entr'acte and the Curtain Calls. I just wish they can record Deniere's because I love to hear speeches from the cast and farewells.
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Post by Fantasma da Opera on Jun 22, 2007 17:42:06 GMT -5
I would like cast recordings IF they were maded in a special show...for example: in the begginig they would ask the audience to just aplause only when the music finnished completly, and just when the audience stoped claping their hands they would start the next song... But that is very hard to acomplish, so...for me, either they make a studio album, or they do as R&J and just tape the last song alive... Ah! And I don't see the problem of including the Entr'Akt and the final medeley in the CD...it would be even better, since with the claping, we almost never hear them properly... But well...since VBW not even anounced the 2CD of Rebecca in the site, they're probably doing it on studio (I hope...)
Edit:And notice, PotO full Original London soundtrack is not live recording and has the Entr'Akt
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