I once heard an interview with Barbara Cook where she spoke about Bernstein's insistence on precise diction of the Ha-Ha HA-HA-HA-HA. She said it nearly killed her - but WOW! INCREDIBLE!!
The greatest thing about Seth is his deep love of the work he talks about. He can take it apart while never losing the appreciation for the work as a whole. Thank you!!!
When she sings "grand duke", she is simply separating the consonants. Sondheim was big on this; when he teaches "Send in the Clowns", he is a stickler for separating the Ts in "there ought to be clowns".
Seriously...it's just proper enunciation. I'm kind of surprised that he pointed it out. There are 2 Ds, ending and starting separate words. They both need to be there.
I bought the original cast album at a used record sale in Massachusetts for $1 about 20 years ago. When I got it home I noticed it was autographed by Ms. Cooke. Amazingly when i played the album my African Grey parrot memorized and repeated the laughing part almost perfectly.
Seth Rudetsky, you are just AMAZING. I've been listening to Barbara Cook singing "Glitter and be Gay" for half my life and thanks to you it's become a whole new experience. I'm hearing things I didn't hear before and my appreciation of Bernstein's genius and the divine Barbara's brilliance has deepened immeasurably and Ithank you for that. Don't ever stop doing what you're doing.
This video literally inspired my obsession with all Broadway music. I couldn't be more grateful to you Seth! Although I've never met you, you have been so influential in my life. I can't thank you enough!
Again, amazing insights into an "iconic" performance. Another feature of Cook's version that sets it above all others is its sincerity. Most singers, and this is especially true of operatic sopranos, inevitably ham it up. They don't need to! Cook always sings from the heart and this is one of the best examples. She lets the music be humorous because, after all, the joke is obvious. Her few little word twists (jewels, for example) are just enough. Please, more deconstructs!
Among the very many who've appropriated this aria, NOT ONE has ever equalled the creator of this role, Barbara Cook. Not only totally on top of the technique required, but completely understanding the character and her complex attitude. So many others ruin it by trying to play it for laughs.
That is true of most productions. The first one I saw, the Minnesota Opera, was by far the best, the New York City Opera production was much worse, the last the worst of all. The Guthrie theater thought they could do it as a comic strip with a 9-piece band. Trashy. The Hellman book is essential.
I suspect the "Grand-uh Duke" was to differentiate the two different D's. "She just lands an Eb for an hour and a half" - hahaha!! And yeah, Eb's 8x a week. Insanity. When the school chorus assigned me to the soprano part in middle school, my dad threw down this gauntlet for me. "So, you think you're a soprano, eh? Do this." I worked for years. No (minimal) internet back then, so it took some time to find the sheet music, but I performed this at the final concert of my senior year of high school. When I sang this for my dad in our kitchen, about a year prior to that concert, it was the only time I ever saw my dad cry. Now I sing Tenor and Baritone more than anything else, but I can still manage to crank out an Eb on a good day. Thanks, Dad. And thank you, Bernstein, for writing such an incredible piece. I love his music so very much - though I tend to prefer "Candide" and "Mass" to "West Side Story."
This guy is AMAZING!!!! I teach young and aspiring opera singers and I would LOVE for this guy to teach my classes for just ONE day, the students would LOVE him!!!!
Seth I love you so much! Thank You Thank You Thank You! This video of yours got me out of bed today - AND Singing! I’ve been a fan of yours for years and years - “I’m obsessed” 😂 These days of being isolated, social distancing, sheltering in place, while watching death and poor decisions, have wreaked havoc with my spirt. Seth your enthusiasm is virile and vivacious at once. It is your thorough and often personal knowledge of the music and desire to share it with us that that make you so beloved. Seth, It was so nice to escape to the theater with you today - Along with Barbara Cook, Leonard Bernstein and others. It lead to vocal a exercise experience like I’ve never had before. I feel buoyant and purpose filled. I hope I get to meet you some day. Enough gushing, for now - Love, Richard from Boston
Just posted the version by Natalie Dessay... what a voice and what an actress! Love this deconstruction, very funny and very instructive. Kudos to you! I'll check to see if there are more deconstructions....
I've only just discovered the marvellous Seth, I was looking for tips to improve my singing ability and confidence and I haven't had time to see if it could work or not as I'm hooked on all his Obsession video's, I have saved as many as I can get on my phone and now I'm never going to get to finish his lessons, wonderful tips and a true aficionado of musicals.
Like you... I am CRAZY about that song. I love your passion and love for this wonderful work of art. I want to thank you so much for posting this video. I have watched it like 4 times in a row... i told you I was crazy. Barbra Cook... Oh How I Love You. I would love to know what you think of her work in She Loves Me? I loved her in it.
I think I'm going through a Bernstein phase - in January they were actually doing a production of Candide with Kelsey Grammer across the street from where I was doing Bernstein's Mass, but between balancing rehearsals and schoolwork I never got a chance to see it :(
This is fantastic. I mostly had Kristin Chenoweth's version in my head, I feel she performed it a lot like Cook, but wow, it's just so much fun to see you yak and play and have no idea how to analyze these freaking crazy Bernstein rhythms.
I think no one would understand what she was saying if she said "Gran..Duke" (softening the d and attaching it to the hard d). What's a granduke? But Grand Duke, got it. Of course, this is both a spoof and tribute to every high-flying coloratura aria, starting with The Queen of the Night. It is Bernstein writing opera in the middle of a musical, and many operatic sopranos (who can handle it) choose it as a show piece. Your typical Broadway belter won't go NEAR it.I don't think it's Bernstein quoting the Overture, I think it's the Overture quoting "Glitter and Be Gay," but same difference.
Wow I would just love to travel to new york and spend a few treasured days with seth discussing theatre singing through favourite scores and bitching about shows!!!! I would die happy xxx
I had come to realize that both Barbara Cook and the Bernstein aria were exceptional. But this breakdown explained a lot to me. My favorite comment was "eight times a week"! I'm awed.
Seth, I totally agree and so does my mom! I won't send you hate mail. I'm a huge fan, and no matter how much I dislike someone, I refuse to send someone hate mail only constructive criticism.
WHY WHY WHY aren't you "Obsessed" with Sopranos? A coloratura can do everything...belt, mix, break glass. There isn't enough genius repertoire for them...that's all.
Thank you, Seth. Posting as a tribute to Sondheim. I love this tune above all others that Sondheim & Bernstein wrote together... and believe me, there were many. But Barbara Cook blows my mind.
Sondheim did the lyrics and Bernstein the music for West Side Story. For Candide, Bernstein wrote the music and Richard Wilbur did most of the lyrics -- including those for "The Best of All Possible Worlds," "Glitter and Be Gay," and the finale "Make Our Gardens Grow." There was a team of contributors to a later revival in 1973 (the "Chelsea version") who wrote new songs and revisions of some lyrics, and Sondheim was part of that team. To say, though, that Candide is a Bernstein/Sondheim collaboration is well over the line, and diminishes the role of a poet, Wilbur, who unfortunately did not keep his hand in lyric writing much after Candide.
tipofmytongue1024 I’m a coloratura soprano. Sopranos are the most common female voice in the operatic world, while mezzos are more common in the pop and broadway world.
That was so funny and entertaining Seth Rudetsky. Wow, the video is 10 years old, but new to me. I love "Glitter and be gay" but only heard 3 perfect versions in my entire life. What a difficult piece to sing.
I don't understand much about the musical analysis, but I love Barbara Cook's version of this song, and I love the things you point out about her voice even if I know nothing about chords. :( Good job.
OMG! YES!!!! I just heard the song yesterday on SirusXM On Broadway - and reiterated my commitment to be able to sing this - not perform for anyone in particular - but just the challenge of the song. The Range I can do - though those high E Flats lack control right now and those Ha-Ha- HA-HA-HA-HAs are CRAZY!!!!!
I would like to give a shout out to the brilliant lyrics of American poet Richard Wilbur (1921-2017), who wrote the words for (most of) the songs in Candide. Because there were a few lyrics in the original version of the show by others -- Bernstein himself, book writer Lillian Hellman, Dorothy Parker and John Latouche -- and because the later versions (which replaced Hellman's book entirely) had some new lyrics by Stephen Sondheim, Wilbur's contribution often goes unrecognized. I assume it was the huge sucess of his witty and utterly brilliant English translations of Moliere's plays -- he ultimately translated 10 of them -- that led to his being chosen as lyricist for this very American retelling of Voltaire's satire.
I have this recording of Candide & Barbara Cook is brilliant. I also have this with Kristen Chenowerh who is adorable and of course has the notes. I tend to lean towards Barbara Cook who seems a bit cleaner and a has a bit more of a ring to her voice.
Have you done a video on Barbara Harris in “On A Clear Day You Can See Forever?” She has an amazing voice going through different vocal styles in that show.
I say what's this chap on about? I love both Cook and Chenoweth's versions.So where does that place me? 6 months ago I only knew one song from this show and this wasn't it.Nor had I heard of Chenoweth.I heard Cook's version which sounds marvellous but sans wit but I am saying this only after having seen the youtube Chenoweth version which is just brilliant.Anyway,a very interesting and funny little dissertation from Mr.Rudetsky ,when I could understand it.
KC plays it very broooooaaaaadly for comic effect, and it is fun in isolation from the show's context, but the character and the entire story itself is not boffo musical comedy. Candide is satire, and written along the lines of light opera. Cook's version is witty, not comedic. The 'purity' of the soprano's aria, if you will, gives the role sincerity and weight that serves the finale well. She really is confused and in pain. P.S. 'Sans wit' are the grand opera versions with Kiri te Kanawa and the like, oy!
@@jgregveneklasen2657 Well put: "witty, not comedic." If you read the original Broadway libretto (book) by Lillian Hellman - VERY different in tone and style from both Voltaire and the later ones by Hugh Wheeler et al - Barbara Cook's performance is absolutely in synch with the character of the script. Whatever the problems with Hellman's contribution, her tough-minded take on the USA of the 1950s - smuggled in under the guise of a European-style operetta - imho provided a far more convincing framework for Bernstein's brilliant score and the witty lyrics (mainly) by the late Richard Wilbur than subsequent attempts to bring the show "closer to Voltaire." And I'm not much of a Hellman fan! But anyone who has Cunegonde recite Pangloss's precepts that include "The poor must be respected, and so must the rich, since they are always with us" knew what she was up to. :)
Natalie Dessay!!! She is so clear, so operatic, so classical and so filled with performance skill in this song !!!! All the others sound to me like they are screaming, like they are old or sluggish ... but Natalie Dessay's voice is always fresh and young!
This version is great-what do you think of the Madeleine Kahn recording? I feel like that version makes the whole meta joke about soprano divas and their over the top solos very clear, to the point where the reversing orchestra canon feels like the soprano is alternately rushing and dragging. It’s almost like an Anna Russell gag.
The confusing part to me of the "Observe how bravely" part is not the rhythm and accompaniment themselves, but the fact that they're actually notated in four. Kind of forces you to listen in two different ways.
Every time she sings those incredible, trajillion-speed down-scales Iose control of my eyeballs and my face turns wrinkles up like a newborn's and weird ghecko squeaks come out of my body at uncontrolled intervals. By the end I'm openly sobbing.
The orchestrations (not by Bernstein, but by Hershey Kay) are superb. Note the use of the low flute corresponding to Cook's low register, and yes, the wonderful resonance of the English Horn here. So many other touches. (Bernstein probably 'supervised' or 'approved' or 'suggested' orchestrational details to Kay... but that's not to downplay Kay's contribution, which is so wonderfully detailed.)
Christine diaa the phantom of the opera!!!!!!! that very true I have seen it on broadway 6 times and there is 2 christines who play the part one who plays it 6 times a week and the other(alternate) 2 times aweek
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I once heard an interview with Barbara Cook where she spoke about Bernstein's insistence on precise diction of the Ha-Ha HA-HA-HA-HA. She said it nearly killed her - but WOW! INCREDIBLE!!
The greatest thing about Seth is his deep love of the work he talks about. He can take it apart while never losing the appreciation for the work as a whole. Thank you!!!
I wish these would come back! Did anyone else realize that the building behind him looks like a piano?? How fitting.
"I've got 36 expressions - I'm blonde." Priceless.
KokoPuffs52 I’m a fully trained high soprano I can sing hight e6 hight d a g top c
When she sings "grand duke", she is simply separating the consonants. Sondheim was big on this; when he teaches "Send in the Clowns", he is a stickler for separating the Ts in "there ought to be clowns".
southendmd probs more likely that a vocal coach told her to do that to get the note out better.
Seriously...it's just proper enunciation. I'm kind of surprised that he pointed it out. There are 2 Ds, ending and starting separate words. They both need to be there.
Same with "don't you love-uh farce" instead of "don't you luvfarce."
I bought the original cast album at a used record sale in Massachusetts for $1 about 20 years ago. When I got it home I noticed it was autographed by Ms. Cooke. Amazingly when i played the album my African Grey parrot memorized and repeated the laughing part almost perfectly.
So honored to have played in an orchestra accompanying Barbara Cook one time.
i would love to see what he thinks about kristen chenos version of this song
+Cori Schimko The best of the versions, even better than the professional opera singers, imho.
KC is "the worst of the worst" doing this number, IMO. Everything that makes Cook sublime, she throws into the trash for cheap laughs.
Im sorry but Cheno version is inferior to Cook s one
Benedict Joseph Miller you realize she has a Masters degree in opera performance. Right? 😂
Chenoweth is without taste. Or body fat.
Seth Rudetsky, you are just AMAZING. I've been listening to Barbara Cook singing "Glitter and be Gay" for half my life and thanks to you it's become a whole new experience. I'm hearing things I didn't hear before and my appreciation of Bernstein's genius and the divine Barbara's brilliance has deepened immeasurably and Ithank you for that. Don't ever stop doing what you're doing.
Yes. Seth, you are a BADASS.
This video literally inspired my obsession with all Broadway music. I couldn't be more grateful to you Seth! Although I've never met you, you have been so influential in my life. I can't thank you enough!
Brayton Hunt vncnvnvncufjstistiististitsititititistifsiuzhczjzchchzjzcjzchchchfzirchuzjzfzu
ALSO one of my most favourite performances, and so getting this "deconstruct" (?) just helps me appreciate the Barbara Cook performance EVEN MORE!
RIP Great lady and singer (1927-2017)
Barbara Cook's performance of this aria is flawless! Seth Rudetsky is brilliant!!!
Again, amazing insights into an "iconic" performance. Another feature of Cook's version that sets it above all others is its sincerity. Most singers, and this is especially true of operatic sopranos, inevitably ham it up. They don't need to! Cook always sings from the heart and this is one of the best examples. She lets the music be humorous because, after all, the joke is obvious. Her few little word twists (jewels, for example) are just enough. Please, more deconstructs!
"Instead of Bernstein just going like bam bam, ba-ba it goes sassy sassa-frass Chita Rivera". I died.
No kidding! I 💛 Seth!
"Give me some snails..." LOLOLOLOLOL
RIP, Miss Cook. You were one of a kind!
Seth is phenomenal!
Barbara Cook-my all time favorite broadway soprano-such perfect pitch, clear tones, fabulous diction and range
Among the very many who've appropriated this aria, NOT ONE has ever equalled the creator of this role, Barbara Cook. Not only totally on top of the technique required, but completely understanding the character and her complex attitude. So many others ruin it by trying to play it for laughs.
I agree.
That is true of most productions. The first one I saw, the Minnesota Opera, was by far the best, the New York City Opera production was much worse, the last the worst of all. The Guthrie theater thought they could do it as a comic strip with a 9-piece band. Trashy. The Hellman book is essential.
If I had the money Seth I would be on the cruise.. JUST TO HEAR YOU DECONSTRUCT!! And just be Seth.
I notice Seth has the cover for the Julie Andrews' "Cinderella" by Rogers and Hammerstein - I'd love to her him deconstruct this!
This man is so glitter and so gay~ I love the way he talks~ Fabulous!
I suspect the "Grand-uh Duke" was to differentiate the two different D's. "She just lands an Eb for an hour and a half" - hahaha!! And yeah, Eb's 8x a week. Insanity.
When the school chorus assigned me to the soprano part in middle school, my dad threw down this gauntlet for me. "So, you think you're a soprano, eh? Do this." I worked for years. No (minimal) internet back then, so it took some time to find the sheet music, but I performed this at the final concert of my senior year of high school. When I sang this for my dad in our kitchen, about a year prior to that concert, it was the only time I ever saw my dad cry. Now I sing Tenor and Baritone more than anything else, but I can still manage to crank out an Eb on a good day. Thanks, Dad. And thank you, Bernstein, for writing such an incredible piece. I love his music so very much - though I tend to prefer "Candide" and "Mass" to "West Side Story."
Learning this aria now...and this is so helpful!
This guy is AMAZING!!!! I teach young and aspiring opera singers and I would LOVE for this guy to teach my classes for just ONE day, the students would LOVE him!!!!
Seth I love you so much! Thank You Thank You Thank You!
This video of yours got me out of bed today - AND Singing! I’ve been a fan of yours for years and years - “I’m obsessed” 😂 These days of being isolated, social distancing, sheltering in place, while watching death and poor decisions, have wreaked havoc with my spirt.
Seth your enthusiasm is virile and vivacious at once. It is your thorough and often personal knowledge of the music and desire to share it with us that that make you so beloved.
Seth, It was so nice to escape to the theater with you today - Along with Barbara Cook, Leonard Bernstein and others. It lead to vocal a exercise experience like I’ve never had before. I feel buoyant and purpose filled.
I hope I get to meet you some day. Enough gushing, for now -
Love,
Richard from Boston
Love this guy: wit and wisdom in abundance.
I have to admit..this is pretty damn good stuff
Don’t you mean damn-nuh. 😝
Okay so I could spend my whole afternoon listening to you. So wonderful!!
Amazing Miss Barbara Cook! Great voice!
Just posted the version by Natalie Dessay... what a voice and what an actress! Love this deconstruction, very funny and very instructive. Kudos to you! I'll check to see if there are more deconstructions....
I could literally watch these videos all day!!! i'm not even a singer but listening to seth explaining everything absolutely fascinates me!
Honest to God, Seth.. this is your VERY BEST reconstruction of them all!! EXCELLENT!!!!!!
I've only just discovered the marvellous Seth, I was looking for tips to improve my singing ability and confidence and I haven't had time to see if it could work or not as I'm hooked on all his Obsession video's, I have saved as many as I can get on my phone and now I'm never going to get to finish his lessons, wonderful tips and a true aficionado of musicals.
Like you... I am CRAZY about that song. I love your passion and love for this wonderful work of art. I want to thank you so much for posting this video. I have watched it like 4 times in a row... i told you I was crazy. Barbra Cook... Oh How I Love You. I would love to know what you think of her work in She Loves Me? I loved her in it.
I love everything about this.
I think I'm going through a Bernstein phase - in January they were actually doing a production of Candide with Kelsey Grammer across the street from where I was doing Bernstein's Mass, but between balancing rehearsals and schoolwork I never got a chance to see it :(
Bravo!!! You must be a vocal Coach! Very informative! I'm obsessed!
This is fantastic. I mostly had Kristin Chenoweth's version in my head, I feel she performed it a lot like Cook, but wow, it's just so much fun to see you yak and play and have no idea how to analyze these freaking crazy Bernstein rhythms.
9:04 we tend to call it fioratura, but some people use coloratura for everything (But is is just for the higher passages actually).
I think no one would understand what she was saying if she said "Gran..Duke" (softening the d and attaching it to the hard d). What's a granduke? But Grand Duke, got it. Of course, this is both a spoof and tribute to every high-flying coloratura aria, starting with The Queen of the Night. It is Bernstein writing opera in the middle of a musical, and many operatic sopranos (who can handle it) choose it as a show piece. Your typical Broadway belter won't go NEAR it.I don't think it's Bernstein quoting the Overture, I think it's the Overture quoting "Glitter and Be Gay," but same difference.
Great and fun analysis Seth! Barbara Cook was incredible. Can’t even imagine doing that once let alone 8 performances a week!
Wow I would just love to travel to new york and spend a few treasured days with seth discussing theatre singing through favourite scores and bitching about shows!!!! I would die happy xxx
I had come to realize that both Barbara Cook and the Bernstein aria were exceptional. But this breakdown explained a lot to me. My favorite comment was "eight times a week"! I'm awed.
Seth,
I totally agree and so does my mom! I won't send you hate mail. I'm a huge fan, and no matter how much I dislike someone, I refuse to send someone hate mail only constructive criticism.
WHY WHY WHY aren't you "Obsessed" with Sopranos? A coloratura can do everything...belt, mix, break glass. There isn't enough genius repertoire for them...that's all.
It has a limited emotionality....it will never get gutsy enough for deep drama.
I’m a coloratura soprano I can sing all the notes really well
Thank you, Seth. Posting as a tribute to Sondheim. I love this tune above all others that Sondheim & Bernstein wrote together... and believe me, there were many. But Barbara Cook blows my mind.
Sondheim did the lyrics and Bernstein the music for West Side Story. For Candide, Bernstein wrote the music and Richard Wilbur did most of the lyrics -- including those for "The Best of All Possible Worlds," "Glitter and Be Gay," and the finale "Make Our Gardens Grow." There was a team of contributors to a later revival in 1973 (the "Chelsea version") who wrote new songs and revisions of some lyrics, and Sondheim was part of that team. To say, though, that Candide is a Bernstein/Sondheim collaboration is well over the line, and diminishes the role of a poet, Wilbur, who unfortunately did not keep his hand in lyric writing much after Candide.
@@richardcanedo1614 Thank you! 🙂
"Not a big fan of Sopranos." Why no love for us Sopranos?
That's really the general consensus even in the Classical world. The Soprano aria isn't the first choice when you set dinner up, you hear the Tenor.
tipofmytongue1024 I’m a coloratura soprano. Sopranos are the most common female voice in the operatic world, while mezzos are more common in the pop and broadway world.
I LOVE sopranos!!!
O
Because y'all always get most of the love
That was so funny and entertaining Seth Rudetsky. Wow, the video is 10 years old, but new to me. I love "Glitter and be gay" but only heard 3 perfect versions in my entire life. What a difficult piece to sing.
I don't understand much about the musical analysis, but I love Barbara Cook's version of this song, and I love the things you point out about her voice even if I know nothing about chords. :( Good job.
ha ha Seth, you kill me, "gimme some snails".
Seth, thanks for doing these deconstructions. You are incredible!
Thanks for that awesomeness!!!
OMG! YES!!!!
I just heard the song yesterday on SirusXM On Broadway - and reiterated my commitment to be able to sing this - not perform for anyone in particular - but just the challenge of the song. The Range I can do - though those high E Flats lack control right now and those Ha-Ha- HA-HA-HA-HAs are CRAZY!!!!!
Brilliant...everything...thank you
Brilliant! Absolutely brilliant!
This man is the personification of brilliance.
I WOULD DIE FOR THAT VINYL!!
For Candide? You can find it at like places like goodwill. Like junk stores.
I would like to give a shout out to the brilliant lyrics of American poet Richard Wilbur (1921-2017), who wrote the words for (most of) the songs in Candide. Because there were a few lyrics in the original version of the show by others -- Bernstein himself, book writer Lillian Hellman, Dorothy Parker and John Latouche -- and because the later versions (which replaced Hellman's book entirely) had some new lyrics by Stephen Sondheim, Wilbur's contribution often goes unrecognized. I assume it was the huge sucess of his witty and utterly brilliant English translations of Moliere's plays -- he ultimately translated 10 of them -- that led to his being chosen as lyricist for this very American retelling of Voltaire's satire.
You're sassy frass man! Thanks so much for so much inspiration! My favorite part: "Dam - na!"
So gran - da adieu to you.
Absolutely creasing watching this! Love the Deconstructions!
The opening solo is an english horn.
The greatest coloratura aria of the 20th century.
Love your comments! Interesting that she has cut the 2nd verse - that's my favourite part :)
I love these deconstructions!!!
I knew how amazing her singing is in this but I never fully appreciated how weird and amazing the instrumentals are in this!!
I have this recording of Candide & Barbara Cook is brilliant. I also have this with Kristen Chenowerh who is adorable and of course has the notes. I tend to lean towards Barbara Cook who seems a bit cleaner and a has a bit more of a ring to her voice.
Have you done a video on Barbara Harris in “On A Clear Day You Can See Forever?” She has an amazing voice going through different vocal styles in that show.
A masterclass!
Thank you!
xx
I say what's this chap on about? I love both Cook and Chenoweth's versions.So where does that place me? 6 months ago I only knew one song from this show and this wasn't it.Nor had I heard of Chenoweth.I heard Cook's version which sounds marvellous but sans wit but I am saying this only after having seen the youtube Chenoweth version which is just brilliant.Anyway,a very interesting and funny little dissertation from Mr.Rudetsky ,when I could understand it.
KC plays it very broooooaaaaadly for comic effect, and it is fun in isolation from the show's context, but the character and the entire story itself is not boffo musical comedy. Candide is satire, and written along the lines of light opera. Cook's version is witty, not comedic. The 'purity' of the soprano's aria, if you will, gives the role sincerity and weight that serves the finale well. She really is confused and in pain. P.S. 'Sans wit' are the grand opera versions with Kiri te Kanawa and the like, oy!
@@jgregveneklasen2657 Well put: "witty, not comedic." If you read the original Broadway libretto (book) by Lillian Hellman - VERY different in tone and style from both Voltaire and the later ones by Hugh Wheeler et al - Barbara Cook's performance is absolutely in synch with the character of the script. Whatever the problems with Hellman's contribution, her tough-minded take on the USA of the 1950s - smuggled in under the guise of a European-style operetta - imho provided a far more convincing framework for Bernstein's brilliant score and the witty lyrics (mainly) by the late Richard Wilbur than subsequent attempts to bring the show "closer to Voltaire." And I'm not much of a Hellman fan! But anyone who has Cunegonde recite Pangloss's precepts that include "The poor must be respected, and so must the rich, since they are always with us" knew what she was up to. :)
RIP Barbara Cook (queen 👸🏻)
Natalie Dessay!!! She is so clear, so operatic, so classical and so filled with performance skill in this song !!!! All the others sound to me like they are screaming, like they are old or sluggish ... but Natalie Dessay's voice is always fresh and young!
Seth Iloved your commentary and I would like you to Desconstruct Barbara s songs in She Loves me.
My goal in life is to be able to sing glitter and be gay.
Rudetsky is great.
I dream of a live voice drag act called, “Dueling Cunegondas”!
Delightful!
This version is great-what do you think of the Madeleine Kahn recording? I feel like that version makes the whole meta joke about soprano divas and their over the top solos very clear, to the point where the reversing orchestra canon feels like the soprano is alternately rushing and dragging. It’s almost like an Anna Russell gag.
Great deconstruction, Seth
All this plus the song is so funny.
Wow 🤩
Can you deconstruct Almost Real from the Bridges of Madison County sang by Kelly O'Harra ?
It's quite amazing considering Barbara Cook didn't read music...
I know so much about her and I never knew that she doesn't read music! Crazy considering so many difficult things she's sung.
She said that she had not oficial musical training but she knew what she was doing and knew how to read the music
This is great !
George Cooke Amazing!
I just want to be Seth Rudetsky's best friend.
Hard to believe that " Candide " was first performed on December 1st 1956 .
👏🏻👏🏻👏🏻 wow
The confusing part to me of the "Observe how bravely" part is not the rhythm and accompaniment themselves, but the fact that they're actually notated in four. Kind of forces you to listen in two different ways.
Christine actually sings 6 high C's & 1 high E...
Every time she sings those incredible, trajillion-speed down-scales Iose control of my eyeballs and my face turns wrinkles up like a newborn's and weird ghecko squeaks come out of my body at uncontrolled intervals. By the end I'm openly sobbing.
The title of that song! It's sooo...what's that word?
PLEASE WATCH GLITTER AND BE GAY AT THE BBC PROMS 2015 ITS INCREDIBLE
that's an english horn not an oboe
The orchestrations (not by Bernstein, but by Hershey Kay) are superb. Note the use of the low flute corresponding to Cook's low register, and yes, the wonderful resonance of the English Horn here. So many other touches. (Bernstein probably 'supervised' or 'approved' or 'suggested' orchestrational details to Kay... but that's not to downplay Kay's contribution, which is so wonderfully detailed.)
"so ahead of his time" like, Scott Joplin.
I love how he's so impressed that he looks downright disgusted.
Cool
Our lady of the Hagen Dazs
Christine diaa the phantom of the opera!!!!!!! that very true I have seen it on broadway 6 times and there is 2 christines who play the part one who plays it 6 times a week and the other(alternate) 2 times aweek