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LIST PRICE
$16.98
Save 41%
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Format: CD
Sep 2002
Record Label: EMI Classics
Recording Type: Studio
UPC: 724355737427 |
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In general items shipped via Media Mail should arrive in 2-9 days (excluding Alaska and Hawaii) from the time of shipping
* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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Details
Track Listing
1. I Travel Alone
2. London Calling: Parisian Pierrot
3. On with the Dance: Poor Little Rich Girl
4. This Year of Grace: World Weary
5. This Year of Grace: Mary Make-believe
6. This Year of Grace: A room with a view
7. This Year of Grace: Dance, Little Lady
8. Bitter Sweet: If you could only come with me
9. Bitter Sweet: I'll see you again
10. Bitter Sweet: Zigeuner
11. The dream is over
12. Cochran's 1931 Revue: Any Little Fish
13. Cavalcade: Twentieth Century Blues
14. Words and Music: Mad Dogs and Englishmen
15. Words and Music: Let's say good-bye
16. Words and Music: Something to do with Spring
17. Words and Music: The party's over now
18. Private Lives: Some day I'll find you
19. Words and Music: Never Again
| Details | | Contributing artists: | Sophie Daneman | | Distributor: | EMI Music Distribution | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | DDD |
Album Notes
This album was nominated for the 2002 Grammy Award for Best Classical Crossover Album.
Tenor Ian Bostridge bids to claim Noël Coward as a classical composer on this album, assisted by pianist Jeffrey Tate and, on five songs, soprano Sophie Daneman. The songs all date from the 1920s and `30s, and most of them were associated with Coward's musical revues as well as one of his book musicals, BITTER SWEET. There are also independent songs and songs used incidentally in the Coward straight plays CAVALCADE and PRIVATE LIVES. Although Bostridge includes "Mad Dogs and Englishmen," and gives it a lively reading, with Daneman joining in on some background burbling, he isn't much interested in the witty Coward. Rather, the recording has the air of a classical recital, with the singer in tuxedo standing before a grand piano. Coward is not anathema to such an approach, of course. Despite being of common birth and limited education (not to mention being a self-taught musician), he affected an upper class manner consistent with Bostridge's treatment of his music here; in fact, Coward himself recorded these songs in his own tenor and sometimes with similar piano accompaniment.
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