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| The Light in the Piazza (2005 Original Broadway Cast) | 
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| Creators: Adam Guettel, Victoria Clark, Kelli O'hara, Matthew Morrison, Sarah Uriarte Berry, Mark Harelik
Label: Nonesuch
Category: Music
List Price: $19.98
Buy Used: $4.93
You Save: $15.05 (75%)
New (25) Used (18) Collectible (1) from $4.93
Avg. Customer Rating:  112 reviews
Sales Rank: 9090
Format: Cast Recording
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 79829
UPC: 075597982923
EAN: 0075597982923
ASIN: B0009A1AQE
Release Date: May 24, 2005
Availability: Usually ships in 1-2 business days
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| Customer Reviews:
 The Beauty Is... May 26, 2005
17 out of 19 found this review helpful
Whether or not you agree with his opinions, Frank Rich is inarguably an influential voice when it comes to musical theater. So when a show boasts a glowing set of CD liner notes written by Mr. Rich, one can't help but stand up and take notice.
Such are the bragging rights afforded to "The Light in the Piazza," the new chamber musical at Lincoln Center whose cast recording is now available from Nonesuch. This new, Tony-nominated work has a score composed by Adam Guettel, the grandson of the famous Richard Rodgers, which is not to imply that Guettel needs the benefit of nepotism to earn praise--this recording takes care of that.
"The Light in the Piazza" takes place in 1953 Italy and centers on a very simple and seemingly-overused theme: love. However, Guettel is anything but simple, and his treatment of the material is anything but ordinary. Toeing the line between musical theater and light operetta, Guettel's score is rich, lush and full of the exuberant joy and energy one expects when expressing the feeling of new-found love.
If your taste in music extends no further than pastiche tunes that retreat from challenging their listener, then avoid this recording. Adam Guettel asks quite a lot from his audience, but the rewards are well worth the effort. Guettel's work--also exhibited in "Floyd Collins" and "Myths and Hymns"--is theatrical in its storytelling, but daring in harmonic structure and pensive in its lyrics. However, gorgeous and hummable melodies are not at all missing either--"Say It Somehow" is inarguably one of the most gorgeous love duets ever written for the stage.
The score ranges from soaring ballads (the aforementioned "Say It Somehow," "Love to Me" and the title song) to more traditional scene songs (the opening number "Statues and Stories") and even flirts with opera ("Il Mondo Era Vuoto," which is sung entirely in Italian). The brilliance lies in Guettel's talent and gift for creating music that seemingly heads in one direction, then takes an unexpected turn--not in a negatively distracting way, but rather in such a way that challenges the ear and ultimately engages the listener.
The orchestrations are top-notch, utilizing to full effect a bevy of strings (including 12 violins). The lightness and etherealness of the score evoke the feelings of new love--anyone who has experienced love will understand.
The cast is phenomenal, including the much-touted Victoria Clark, who seems a shoo-in for all major acting awards this season; Kelli O'hara, whose light soprano seems effortless and as innocent as her character; and Matthew Morrison, who handles his Italian characterization masterfully.
I am fortunate enough to have tickets to this show in August (2nd row center Orchestra) and have heard that this cast recording cannot adequately capture the magic of seeing the show live. If this is true, then I am certainly in for a magical experience. On disc, this show (and ultimately its score) handsomely rewards those listeners who are not afraid to be challenged, and repeated listenings only serve to increase those rewards.
Superb, just wish it had more structure June 6, 2005
17 out of 20 found this review helpful
This is a recording you have to grow into enjoying.
Adam Guettel's score is fresh, evocative and unique, but there is one problem and I believe it can be traced to the lyrics. The lyrics are not formal at all, and I think that leads to the lack of melody often heard in the score. Guettel writes well for instruments and creates a mood but often it is hard to hear a melody, and often after hearing great sounds, I'm just not satisfied. Also, I wish Mr. Guettel included less "Ah"s and lyrics in Italian.
The two female leads, Victoria Clark and Kelli O'Hara are superb and have a wide range they showcase beautifully. Their singing is perfectly placed with just the right emphasis. Matthew Morrison was a little off--he seems like a very good actor and singer, just a little off on both.
Best tracks are: "The Beauty is" (3), "Dividing Day" (8), "Say it Somehow" (10), "The Light in the Piazza" (12), "Let's Walk" (15).
And it's true, the more you listen, the more you'll find it rewarding.
 Beautifully Boring September 10, 2005
14 out of 40 found this review helpful
The music is beautiful and there are a couple of nice songs, but overall pretty much a snoozer.
Unusually good for modern Broadway December 14, 2005
14 out of 18 found this review helpful
Ya know, I hate getting caught up in the review debates here on Amazon, but really... Most of the critisisms of this musical complain that the show is either too boring or the music too complex. I hate to sound elitist but these critics must just want another spoon-fed easily-excitable musical such as Mamma Mia. There's really no reason to complain now. Walk down Broadway. It's yours, you've won. For years we've put up with your Moving Out's, your Beauty and the Beast's. Now remarkably, a show comes around with a more nuanced story and some complex harmony and the result is people complaining about boredom and making claims that it's atonal (for the record, the tonality used is about as complex as many late 19th cen. composers such as Mahler or, in the other direction, Faure). At a time when Broadway is mostly movie adaptations, revivals, or Disney, this musical is very refreshing.
The best Score on Broadway since 'Nine'. June 8, 2006
12 out of 16 found this review helpful
I am a singer/musician who worked in NY in the musical theatre before working as a Casting Director at a NY Soap thus, not only is this my background but I also know of these performers either by audition or as far back as fellow actors. This score has the power to create a positive cathartic effect to anyone who can even remotely relate to the ossicilating emotions swirling about on the stage or, on listening to the CD. The first time one listens... it is true, I was grabbed by one song, "The Beauty is"...and moderately interested by the others. After I sat down at the piano and figured this one song out..I realized that my musical admiration for Mr. Guettal had risen even more. Before I give my opinions about the music and the show, I'd like to say that I wish all Americans had the
interest and knowledge to experience the true inheritance of the one original art-form created by America, being carried into the 21C under the able hands of Richard Rodger's Grandson, Adam Guettel. It is not par chance, that Grandfather passed on to his Grandson the Rodger's musical gene in the sense of his greatest capacity as the 'Father of Musical Theatre'. Emotion felt through music that can evoke a wonderful experience for the listener. After all, whether you find Rodger's music dated or the Lyrics by Hammerstein corny, when you listen to these scores, and I had performed in 'South Pacific' alone over a year and a half, the musical component of their best songs goes exactly where Rodgers wanted your feelings to ascend when experiencing that moment thus, I feel Guettel does the same. I almost feel as if my favorite song from 'South Pacific', "Cockeyed Optimist", the second song performed in the show, written with simple lyrics, is actually a monologue with an insight into the complex character
who sings this song and readies us for her transformation throughout the show. It is almost eerie that 'The Beauty is ', perhaps the single most beautiful song ever written to convey a feeling of wonder, joy, yearning and discovery while also explaining where the character's internal feelings are at this moment, also a very complex character, is Guettel's 'Cockeyed Optimist' in his
very new, unique musical sound. The song, musicially speaking, takes us in a new exciting direction. I had been lucky to see all the Clara's (I've seen the show 3 times and luckily with my contacts, I've always had house seats that allow me to truly study the actors and of course..once a Casting director...always a Casting Director), even the understudy who performed between Kelli and Katie (?) and there is no comparison when it comes to a combo of voice, acting ability and look, Kelli
O'Hara owns this role and now without her voice doing justice to Guettel's score, Clara's songs do not have quite the emotional power. I liked Katie, but her instrument is not strong enough to meet the requirements of this complicated score to be able to rise above and be free to express her emotions vocally. That being said, she is a wonderful replacement.
'The Beauty is' is now in my top short-list of Songs.
I feel Mr. Guettel gives a nod to his grandfather and again, still with his very own distinctive sound, by writing the wonderful "Passeggiata' in waltz-time. Everyone knows that Rodgers had a gift with this time meter that can be a trap for many others. Rodger's songs in 3/4 time soared and I feel that Guettel, in this wonderful song that is again easy to listen to and yet so complex, has chosen to show his ingenius use of this time meter as a nod to his Grandfather and also to catch the most charming moment of the show and score. Adam Lazar, by the way, soars with this score in ways that Morrison was not able, lacking the vocal strenght and quality.
Statues and Stories is pure genius in all ways. To see it performed is to be reminded of why truly good theatre can grab you and transfix. Vicky Clark is truly amazing in this number..on CD and on the stage.
Vicky Clark is someone that I had wanted to cast on the TV show I worked on for years, as I knew her through friends and such since 1988. She even once came to see 'Company' where I was doing the 'Musical Direction' in-between Acting gigs and I was the lone pianist sitting in the center of the set with a drummer (yikes).We also studied with the same wonderful Vocal Coach, out of SF. I had watched her performances over the years wondering when her time would come to be the lead, not waiting in the wings, because the talent and the voice was exemplary. Well...this is the best Legit voice on Broadway that is only equaled by her own unique choices in portraying Margaret, a very difficult role that requires so much variety to be shown and yet, within the restrains of a Character of the 1950s from NC! Bravo! Her rendering of the reprise of 'The Beauty is', is for me, the highlight of her performance.
'Light in the Piazza', the song, is what it is..the ballad that will be song by every lyric soprano at auditions for years to come. It seems quite simple with its scale-like melody (another nod to his grandfather) until it soars at the end. Musicially I had never been so overwhelmed and satisfied in where Guttel surprisingly lead me as the song reached its crescendo. Boy...it sounds deceivingly simple..but this is no 'On my Own' , from Les Miz. Only Kelli O'Hara had the Vocal Power to sing this difficult ending that is really where the song is going from the first note. It is truly a difficult passage to sing while not letting the intense emotion cause the voice to close... and Kelli O'Hara soars on the CD as she did in performance.
How satisfying to feel like this again so many disappointing nights at the theatre. As a Casting Director, it was my job to see as shows possible (B'way and Off-B'way) during my 11 years at ABC in NY. Nothing
had ever matched the overall talent of the creators of this new move forward for the Muscial Theater nor the two original leading ladies who created these two memorable roles. Listen to the CD twice...you'll be hooked. ( Actually..I must give a nod to the brilliant Audra McDonald who was discovered in 'Carousel' in the same theatre as "Piazza"! Her rendition of "Mr. Snow' was a highlight of my 11 years of going to the theatre during my tenure as a Casting Director.
Elias Tray
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