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| what_the_heck013 |
RecordingsFor some random reason "Wilkommen" popped in to my head today, and I started thinking about Cabaret, and then I realized that I don't have a single recording of Cabaret. I know there have been several recordings (the OBC, the revival, the movie). I'm trying to decide which one to get. Which one do y'all think has the best performances on it? |
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| cabaretfreak |
Get the revial. The song list is the most up-to-date one. And well you can hear the differences in performances from the OBC to the RBC. RBC is sooo much dittier than the OBC. Just don't get the movie one because it cuts several songs!! But that is the only recording I don't have! Don't worry about Wilkommen popping in your head randomly throughout the day because it does it all the time in my head regardless if i listened to it the night or not. | ||
| Salome |
WOW tougho ne.
the OBC and the Sam Mendes revival are both nessesary. very different but equally good. the OBC is yet to be beat by way of sheer talent..only original Sally Jill Haworth is weak. but for joelcGrey,Bert Convey,Jack Gilford Ed Winters and the legendary Lotte Lenya the OBC is a must. the revival has the best Sally,Natasha Richardson..and ALan Cummings brilliant Emee. along with the great performance of Ron Rifkin as Schultz. of courset here are a rich assoetment of recordings of cabaret..some othersi nclude. OLC starring judi Dench,Barry Dennen ,Kevin Colson and Peter Sallis. London revival with Wayne Sleep as Emcee Film SOundtrack with Joel Grey and Liza Minelli Studio Recording with Johnathan Pryce,Judi Dench (as Schnieder this time), and Lyricicst Fred Ebb as Schultz. |
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| Ulla Dance Again! |
I'm pretty familar with the film soundtrack. I love it, and I think it's pretty good... but go for the OBC too. I find it's sometimes good to have multiple copies of the same musical - like I have the OBC Chicago soundtrack as well as the movie soundtrack. | ||
| cabaretfreak |
You just wrote my graduating gift list for me! |
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| TheNextTenMinutes |
I would definitely go for the OCR and the revival recording. Get the movie out if you really want to hear the soundtrack of the movie...it's good but as someone before mentioned they cut heaps of songs. | ||
| JemiBoe1981 |
BTW, does Dress Circle have either of these? Amazon doesn't that I could find, and I am really looking for both of them. And Maria Friedman is Sally in the studio recording, right? Please correct me if I am wrong. |
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| HeroTheBishop |
http://www.amazon.com/gp/product/B00000I132/ref=ord_cart_shr/002-4970987-4011265?%5Fencoding=UTF8&m=ATVPDKIKX0DER&v=glance&n=5174 | ||
| JemiBoe1981 |
Merci, merci! | ||
| what_the_heck013 |
I now own the OBC, film, and 1998 RBC. What do you guys think of the 1999 Studio Cast. I might get it because it's the only "complete" recording out there. How are the performances on it? | ||
| HeroTheBishop |
I would like to repeat the request for the OLC. I have all of the others and would love to hear Berry Dennen. | ||
| rock_musicals |
The OBC or the revival cd | ||
| salpmx |
The Madrid recording is just great! The orchestra is just amazing and the Emcee one of the bests Ive ever heard. 
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| HeroTheBishop |
Where would one find this recording? |
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| ramsey |
I'd have to go with the London 1968 recording with Barry Dennen as Emcee and Judy Dench as Sally, it is certainly my favourite, though the OBC with Joel Grey comes second, then the Alan Cumming revival.
But Ive always preferred Dennens interpretation, he was certainly my inspiration to the part. |
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| Ulla Dance Again! |
I asked to get the 1999 studio recording for Christmas... I haven't listened to it before, but I know it has nearly every piece of music ever written for the show. And also that Jonathan Pryce is the Emcee, Judi Dench is Fraulein Schneider and I believe Fred Ebb is Herr Schultz.
There's a whole slew of recordings on Amazon.com... but I don't remember seeing the '68 London recording. |
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| alex591 |
The OLC with Dame Judi Dench pops up on eBay every now and then, but they are redicuously expensive! I bought a cd copy last year for nearly $70! But it is a spectacular one! | ||
| misschung |
I second that. The movie version of the Money Song is priceless - the instrumentation and their two voices are just incredible |
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| Orestes Fasting |
What's out there in the way of non-English recordings? CastalbumDB has a bunch listed, but I have no idea how rare any of them are or where they can be found.
The only foreign Cabaret cast recording I have is the 1998 Vienna cast, and it is so seriously not worth your money. Even apart from Uwe Kröger's painful American accent, what pisses me off most about it is that it's absolutely 100% sanitized. Happy fun cabaret music, whee! What could possibly be sinister about that? I suspected what they were doing with it from the song selection and from the way Kröger and Roussi sang the songs--no characterization, upbeat, normal, like they were old cabaret standards with no plot attached--but I was totally not prepared for them to change the last line of If You Could See Her. The sheer f**king nerve. |
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| Don't Tell Mama |
^ Did they change it to "Meeskite" or something else that is completely atrocious?
As for the French cast recording, you can more than likely purchase it from the official site - http://www.cabaret-lemusical.fr or http://www.amazon.fr If you go to the official site, you can play little snippets from the recording as well as videos from the show. |
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| Orestes Fasting |
Ooooh, I think I love you now.  Been wondering about the Paris production for aaages.
No, worse--they changed it to a lyric that translates pretty literally to "but if you could see her with my eyes, you would see that my girlfriend is beautiful." What the hell. I recently managed to track down the Düsseldorf cast recording and it's much better. Lots of overacting and a rather annoying Emcee, but anything would be better than that awful Vienna recording--not to mention it has a gorgeous arrangement of I Don't Care Much. (The Düsseldorf production seems to be based off the '98 revival.) |
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| Don't Tell Mama |
Wow... just wow. That's totally missing the mark of the song. I mean, that whole number is supposed to be the changing point of the show. I don't even know why someone would want to alter it, unless they substituted "Jewish" with "Meeskite". Hell, I'd take an annoying Emcee (isn't he supposed to be a little bit annoying, anyways?) over a butchered song. "I Don't Care Much" is one of my favorite numbers of the show, and I will try to go out of my way to get a recording simply due to the fact it has a lovely rendition of it. The only person, thus far, whom I have not liked has been Jonathan Pryce (on the studio recording). Then again, it's a studio recording and well, I can just leave it at that. And here's some YouTube clips of the French cast on various shows (or it may just be the same show, I have no idea); "Willkommen": http://www.youtube.com/watch?v=EpDLxjVy3XQ "I Don't Care Much": http://www.youtube.com/watch?v=703cmtS3d3k Fabian Richard pretty much owns this song. 
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| Orestes Fasting |
Like I said, on the Vienna recording all the songs are presented completely out of context, as if it were a frigging 'Greatest Cabaret Hits of 1930s Berlin' album. Ew ew ew ew.
The Dusseldorf 'I Don't Care Much' is quite lovely; I got it off a friend, so I can't say where the recording is available, but it's got a different piano arrangement, much more restraint than the Broadway revival, and a sort of heartbreaking melancholy resignation. (And great lyrics; whoever translated Cabaret into German is totally my hero.) |
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| alex591 |
The Dusseldorf Recording, thats with Anna Montanaro as Sally, Correct? |
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| Don't Tell Mama |
That hurts my soul, it truly does. 
I'm going to use a comment Simon once made on American Idol, because I feel it can truly sum up my sentiments on the Vienna cast recording: "It's like eating a hamburger for breakfast. It doesn't make sense." |
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| Orestes Fasting |
My copy of the French recording just arrived today. Good recording overall--their Emcee seemed to be going for "sexy" more than "lewd and creepy," but as I have little objection to sexy Frenchmen, it's not a problem for me. Except in the loose and theoretical sense of "Hang on, shouldn't he be creepy instead of--oh god my panties just exploded."
Definitely one to get for the entertainment value instead of the artistic conception of the show. I mean, the singing and acting are all quite good, and it sounds like a fine production, but not quite as gritty and disturbing as the show was meant to be. (Note that I don't mean sanitized like that awful Vienna recording, thank god.) |