Search - Richard Rodgers, Lorenz Hart, James Anest :: Present Arms (2006 Studio Recording)

RODGERS & HART SCORE AND JAMES ANEST THE TWO BEST REASONS TO

Wolfgang | Austria | 06/08/2007

(4 out of 5 stars)

"There are two reasons that make this CD a must-have for serious musical theatre collections. One is the wonderful score by Richard Rodgers and Lorenz Hart on this World Premiere Recording. "Present Arms" premiered on Broadway in 1928 and has had to wait over three quarters of a century to finally get a recording and while the presentation on this CD is not ideal it is great to finally be able to hear such a rare score by this legendary song-writing team. The second reason is that this recording marks the cast album debut of the exciting young American baritone, James Anest, who has been creating a sensation as Gaston in touring productions of the stage version of Disney's "Beauty and the Beast" and has been hailed as the long awaited "heir apparent" to John Raitt, Alfred Drake and Ezio Pinza. Anest's performance of "Blue Ocean Blues" is delightful, although the sparse unimaginative cabaret style arrangement doesn't allow him the flexibility to show off his trademark creamy legato and strong sustained high notes that are wondrous to hear on his recent classical CD, "My November Guest". Unfortunately, Anest does not sing the most famous song from "Present Arms", "You Took Advantage of Me", which receives one of the weakest performances on this album. The female singers are especially lacking in the energetic vocal delivery this music requires, although I suspect that all of the singers are at the same disadvantage as Anest in that the arrangements (or lack of) often prevent them from sounding their best. Nevertheless producer James Stiepan is owed a great debt in offering the only recording ever of this fabulous Rodgers and Hart score. One only wishes that he had allowed James Anest, clearly the best singer on this recording, more time and utilized this incredible singer more effectively. But despite these reservations and restrictions, one comes away from listening to this CD with the distinct impression that Anest was born to sing this kind of music and some major label or producer (are you listening, David Foster) needs to record him in an album of Broadway and Tin Pan Alley standards as he is arguably the best male singer we have today for this genre of music. For the time being, this CD should be enjoyed for what it is, the only recording presently available of this early Rodgers and Hart score and for those who love classic musical theatre it is a cause to rejoice.Present Arms (2006 Studio Recording)"

James Anest's big, bold & beautiful voice highlights "Presen

Denise A. Kiselyak | Southern California | 01/04/2008

(5 out of 5 stars)

"This recording of songs from the 1928 Richard Rodgers and Lorenz Hart musical, "Present Arms" is a mixed bag. On one hand, Rodgers' score is wonderful with typically sophisticated and witty lyrics by Hart. Unfortunately, the minimal, lackluster instrumentation and vocal performances, with one exception, are less than ideal. But even so, this CD would be worth twice the price for the one solo vocal by the fabulous and seldom recorded James Anest. Anyone who has seen and heard Anest as Gaston in Disney's "Beauty and the Beast" can attest to the fact that he is the best male singer that the American Musical Stage has produced in many years. Unlike most of today's Broadway singers, Anest's voice is big, bold and beautiful, a "Real Legitimate Instrument". In fact, one would have to go back over 50 years to Robert Merrill, Howard Keel & Gordon MacRae to find a comparable voice to describe the thrill of hearing James Anest. He elevates this recording of "Present Arms" to a must-have status! I just wish there was more of James Anest on this CD. That would be heaven!"

Penny pinching production lets down fine Rodgers score

Paul A. Gerard | Australia | 07/18/2008

(2 out of 5 stars)

"There are several ways we can get to listen to a musical from the period before modern recording techniques. Firstly we may have a genuine old recording - in which case, even if the remastering is up to scratch, we have to put up with poor quality sound. Secondly we may have a modern revival - these are usually aimed at a good enough run to cover costs, so the original score is often altered and adapted to please modern audiences - sometimes beyond all recognition. The third route is via a "concert" performance - these are often excellent, and at their best preserve the spirit of the original.



This effort is allegedly of the fourth type - the "studio recording" Alas, while most studio recordings endeavour to reproduce the original production values, and combine first rate instrumental and vocal performers, this one, by the admission of its own sleeve notes, aims above all at saving cost. Nothing wrong with economy in itself, of course - but in this case the overture sounds like a midi file - to be fair it may have been performed on a synthesiser, but it is well short of what even a thinly orchestrated rendition would have conveyed. The songs are accompanied by piano (or synthesiser in "piano" mode) - while the singing is at least not done by a speech synthesiser, and is reasonably competent, the balance between voice and instrument is poorly engineered - the piano at times drowning the voice!



Frankly, nothing but the Rodgers tunes and Hart lyrics redeem this effort for a moment. Sad."