So, nachdem ich vor einer Woche einen Beitrag über gleich drei deutschsprachige Musicalalben geschrieben habe, hat mich Ende der vergangenen Woche eine Neuerscheinung vom amerikanischen Markt erwartungsgemäß total umgehauen – und das sogar obwohl ich die Musik dank verschiedener bereits existierender Aufnahmen relativ gut kenne und ich das Stück sogar im Sommer 2017 glücklicherweise in New York sehen konnte. Die Rede ist von HADESTOWN von Anais Mitchell, das ich im New York Theatre Workshop in einer Inszenierung von Rachel Chavvkin erleben durfte und das mir irgendwie beigebracht hat, dass man offenbar so Themen hat, auf die man immer anspringt (#Leitmotiv). Bei einem Freund von mir ist es die Undine-Rusalka-Meerjungfrau-Geschichte in allen Facetten, bei mir scheinbar Orpheus und Eurydike. Well…who knew…and I really don’t know why.
Die Musik war erst eine Theatermusik, dann gab es dazu ein Concept-Album, dann ist es wieder auf die Bühne gekommen und diese Version hat uns Ghostlight jetzt live konserviert (haha, Oxymoron!) und zwar so sehr, dass ich am Freitag nach einem langen und irgendwie so mittelcharmanten Arbeitstag nach Hause kam und das doch sehr viel sehr viel besser gemacht hat.
Für den Music Monday habe ich heute zwei Songs rausgesucht, die in keiner Veröffentlichung vorher enthalten waren und auf ihre Arbeit jeweils sehr schön den Vibe des Stücks festhalten: zwischen eskapistischem Südstaaten-Sound (New Orleans, my friends…) und Kapitalismus-Fugen lotet Hadestown nämlich irgendwie allegorisch die Geschichte von Orpheus und Eurydike aus, wo es um viel mehr geht als um Leben und Tod und irgendwie auch um weniger, nämlich um Arbeiten, um Arbeitsmoral und Lebensziele, ums Übers-Ohr-Gehauen-Werden und um die Kompromisse, die wir eingehen müssen.
Long time no #MusicMonday, right?
Well, I settled into my new life in Wiesbaden and since I’ve been listening to one album obsessively since it came out last Friday this was destined to happen.
It’s not a secret that I am a fan of Steven Pasquale ever since he worked his magic in “The Bridges of Madison County”, right? Now the recording of his latest show, the Off-Broadway production of “The Robber Bridegroom”, was released and HELL YEAH! The most voice-magic probably happens during “Steal with Style”. So before you go off and listen to the whole thing (because the ladiest and other gentlemen on this CD are just as amazing) here are two short clips of of “Style with Style”.
Have a good new week!
I remember wanting to share this song with you a while ago but I didn’t seem to find a version of that particular song I liked enough on youtube.
Well…anyways. Over the last couple of days I listened to it SO MANY TIMES, it somehow made me kind of happy on my way back home after my bike was stolen in front of an opera house. In its drama and its force (not only music-wise, but also lyrics-wise…) it has this very reassuring vibe which has been matching my current state of mind perfectly for the last couple of weeks (on and off).
And this song has been in my head in a rudimentary German version for a while as well. I love how German words are flowing with the music – as I’ve been telling people on multiple ocassions I think that there is music that fits German words and the way German works as a language and I’m pretty sure that many for the Andrew Lippa songs this is the case…My obession with a German version of it has gone so far I already have two (unrealistic that I ever could get them) choices of singing actresses I would LOVE to hear that song from.
Anyways….stop that rambling about my translating issues (that plus I’ll probably never ever gonna get Mr Lippa’s permission to work on a German version of the show or even only this particular song), everyone stop reading here and enjoy Carolee Carmello’s way to sing that song from the original Off Broadway recording.
I’d also recommend that if you can get your hands on the most recent Off Broadway recording with Kate Baldwin singing that song put your ears to work and listen closely. This whole recording is AMAZING.
Have a great start to your week!
Last Monday I went to a small concert in which class mates of a close friend of mine presented translation works of another fellow class mate (that sounds confusing?!) – anyway, there I realized that there are certain songtitles repeating themselves. In this concert we had two “Quiet”s, the Jonathan Reid Gealt one and the Tim Minchin one from Matilda. And this #MusicMonday one is another one of these more common songtitles. I mean this all could be just in my head, but one of my FAVOURITE songs from Next to Normal is “You don’t know”, so….. Anyway, this one is one of the songs added in when they kind of re-vamped Bare: A Rock Opera to be Bare: The Musical Off-Broadway in 2012. I recently discovered this song and this rendition in particular when I was on a “YAY! Let’s listen to ALL the songs written by female composers on Youtube!”-trip. The one thing I’ll say before I send you off to listen (and watch!) this video is: Does anyone else gets this really intense feeling that the music is pressing down on you when (female) voices are arranged rather closely together?
(btw. that’s the composer Lynne Shankel playing the piano)
What are you listening to today on this hot summer Monday?
Sometimes oldies are goldies.
Yesterday I went to Leipzig to see the last ever class of (contemporary) musical theatre students doing their last performance of Songs for a New World. Ages ago, when I was still in high school, I used to be obessed with it and there are so many memories tied to the score! I haven’t listened to the score in its entiery in a while, though. Of course there are songs like Steam Train and King of the World that are amazing to listen to when riding your bike or doing anything higher energetic…but I also almost forgot about how heartbreaking I’d give it all for you is! (I seem to have a thing for these JRB-love-songs) A song I almost completey forgot about and I’m slightly embarrassed to say so, is On the Deck of a Spanish Sailing Ship! I just remeber how obessed I used to be with this acapella parts, I’d listen to them over and over and over and over again for hours.
So let’s take time this Monday to revisit my teenage obession! If you own the recording, play it, it’s an amazing version on there.If you don’t…
a) buy it! It’s worth it!
b) Spotify sure has it.
c) I found this one and it sounds rather nice.
Last week a CD I eagerly waited for arrived with the mail. It’s the recording of Fun Home, the latest work of Jeanine Tesori which also is a collaboration with Lisa Kron based on the ‘graphic memoir’ by Alison Bechdel. Basically most of the message boards are full of people raving about the show which closed off Broadway on Jan 12th after three extentions (if I remeber correctly). There are quite a few great songs that are very nice to listen to – especially these kind of naive, playfull but at the same time very serious (lyric-wise) songs that Small Alison (Sydney Lucas) sings.
But the one that stole my heart and found its way into my ear (permanently….right, it’s stuck there) is Ring of Keys. First: That girl’s performance is great in my honest opinion. Second: That description of that lady, butch, delievery worker is so amazing – childlike and yet rather grown-up.
I’m a big fan! Let me know what you think.
Ring of Keys on Soundcloud
And lastly: What are you listening to today?