Caine Conquers Brightman
Grant Alexander | 01/14/2009
(4 out of 5 stars)
"Rebecca Caine is the main reason to be drawn to this highlights album of the Canadian Cast Recording of the Webber musical. If you are like me and consider Sarah Brightman's pop operatic voice to be annoying and have recognized that she is indeed a TERRIBLE actress, you will enjoy Rebecca Caine's performance on this recording beyond belief. Caine doesn't force her songs or her character, so, her portrayal of Christine is very seamless and natural, and, a plus for any audience, believable. If you are a Michael Crawford fan, or, consider Colm Wilkinson's voice to be an acquired taste, then you should steer clear of his songs as The Phantom here. I, however, love his portrayl of The Phantom. His Phantom isn't the creepy old man that Michael Crawford's was; Colm's Phantom is a sexually-starved wounded animal whose voice aches with love for Christine in all of his songs, especially in the finale. True, he's not an amazing singer and he doesn't hold out some of his high notes as long as we're used to, but he is an EXCELLENT Phantom. His and Rebecca Caine's rendering of the title song is also very good, Colm's rocker-edge voice working very well in that particular song. Caine's "Think Of Me," "The Phantom of the Opera," "All I Ask of You,"and "Wishing You Were Somehow Here Again" are ecstasy for the ears, and her performance as Christine (which she portrays very well considering we can't actually SEE her) is ravishing, and she comes off as much younger than Brightman for her sheer exuberance and joy in her songs. Her performance in the finale is also wonderful: you can tell how torn she is, allowing her voice to break when appropriate to show how much she loves The Phantom, yet despises what he's done for her (killed for her). If you are able to watch videos of her performing any of the songs, check them out. Her facials are very much natural and not forced, and she plays the character as more subtle rather than constantly fearful the way other Christines do. The only downside to her track of "All I Ask of You" is that Byron Nease is NOT Steve Barton, who originated the role of Raoul. Barton's voice positively soared and shook the rafters, but what made it so good was that it was so effortless - he wasn't trying to have that smooth of a sound, it just happened, and that's what makes him remarkable. Byron has a very good voice, but you can't feel the adoration for Christine in his voice, which is a definite bummer, but he still has a very controlled classically trained voice. Buy this, or at least the songs you want the most, for Caine's Christine and the complete recording of the dress rehearsal for "Hannibal" at the show's beginning. Also, the orchestrations are much clearer here, whereas on the London recording it all sounded a bit to blended - like listening to the show through cotton balls stuffed in your ears. Here you can hear every violin, every cymbal crash, every instrument. The only tracks that are definitely better on the London recording are "Masquerade" (the London ensemble had better singers), "Notes/Prima Donna" (Rosemary Ashe is an excellent Carlotta and the original managers are much better singers than those heard here), and of course the songs not featured on this album can be found on the London recording. Other than that, though, the Canadian cast is much better, esp. Caine and Wilkinson in the lead roles."
Track Listings (17) - Disc #1
