CAROUSEL Rodgers & Hammerstein Soliloquy Julian Ovenden John Wilson Orchestra John Wilson conductor Proms 49: A Celebration of Rodgers and Hammerstein Royal Albert Hall de Londres 28 d'agost de 2010
I was raised on the Edmund Hockridge version of Soliloquy, so my standard was high. Julian Ovenden does a superb job.....he will surely become a major star of the musical theatre, providing he is coupled with the right vehicle.
Every single time I find a different version of Soliloquy on here, for example by Julian Ovenden or Hugh Jackman, its always the same sob story: "John Rait was better" or "this is nothing compared to Gordon Macrae's version". Why can't people accept this performance in its own, instead of comparing it to other interpretations? I'm a huge fan of Julian's version, and all versions, and believe they all have something special to them. Why does everyone have to make it so negative >.
Its not about primadonna singers. I saw a Billy Bigelow in a local college production without a first rate voice but he put more heart into this song than an of the rest.
I agree. I did love John Rait. But Ovenden’s rendition is amazing. I’m learning this performance and thus is my go-to reference. I guess some people like a more “theatrical” version than a concert version. But Ovenden got it all.
Every time I watch this perfomance I spot something new - he's such a wonderful, subtle actor, and don't even get me started on that incredible voice ...
The comments about this being note for note like other singers is probably because the whole point of John Wilson's orchestration is that it is an extact rendition of the original.These orchestrations were worked out by the conductor from the music, as it hadn't been written down. Quite a task! Julian Ovenden is great. I love his voice and his acting.
Frank Sinatra did this a number of times over the years, and, here’s was the first version I never heard, and the only version I’ve heard for many years. And I love Franks version! He doesn’t have the operatic voice. But he put just as much feeling and interpretation into it as anyone. But I think this Julian Overden this guy also does a great job! When I watch Gordon MacRae in the movie I get bored.
a magnificent tenor, it's a pity why didn't he even thought of coming up a full album of broadway musicals songs. looking forward in the coming days or even years for him to do just that. here's looking forward to that.
I really enjoyed Julian's redention of this classic. For those criticising the originality of the interpretation the whole point of what John Wilson is trying to do is recreate the cinematic orchestrations for a live orchestra. The only thing I miss is the slight raise by McCrae on the first 'like a try he'll grow' - that gets me every time in the film. Nevertheless, I rank Ovenden's vocal skills higher than Jackman's and equal with both Warlow and Raitt.
I think it's funny that this pretty much has a tenor and a baritone version. How many songs can be sung in such a wide range without altering the songs key much? I think it just kinda sits a bit high for baritone and a bit low for Tenor but still easily reachable by both types, the tenor just has the added high ending.
This is the best acted and sung performance of this song. Period. John Raitt can saaaaang but lawd he can’t act. Also let’s get over that. This is ridiculous. How dare you act the shit out of this song in an arena. Rude Julian.
@TheHistoryGirl He may be trying to recreate the BROADWAY orchestrations. It was a stage musical first and foremost, and remains one (as seen by the successful revival a few years back).
I wonder what he'll think of me I guess he'll call me the "old man" I guess he'll think i can lick Ev'ry other feller's father Well, i can! I bet that he'll turn out to be The spittin' image of his dad But he'll have more common sense Than his puddin-headed father ever had I'll teach him to wrestle And dive through a wave When we go in the mornin's for our swim His mother can teach him The way to behave But she won't make a sissy out o' him Not him! Not my boy! Not bill! Bill... My boy bill I will see that he is named after me, i will. My boy, bill! He'll be tall And tough as a tree, will bill! Like a tree he'll grow With his head held high And his feet planted firm on the ground And you won't see nobody dare to try To boss or toss him around! No pot-bellied, baggy-eyed bully Will boss him around. I don't give a hang what he does As long as he does what he likes! He can sit on his tail Or work on a rail With a hammer, hammering spikes! He can ferry a boat on a river Or peddle a pack on his back Or work up and down The streets of a town With a whip and a horse and a hack. He can haul a scow along a can*l Run a cow around a corral Or maybe bark for a carousel Of course it takes talent to do that well. Aha-ha-ha-ha! He might be a champ of the heavyweights, Or a feller that sells you glue, Or president of the united states, That'd be all right, too His mother would like that But he wouldn't be president if he didn't wanna be! Not bill! My boy, bill! He'll be tall And as tough as a tree, will bill Like a tree he'll grow With his head held high And his feet planted firm on the ground And you won't see nobody dare to try To boss him or toss him around! No fat-bottomed, flabby-faced, Pot-bellied, baggy-eyed bully Will boss him around. And i'm hanged if he'll marry his boss' daughter A skinny-lipped virgin with blood like water Who'll give him a peck And call it a kiss And look in his eyes through a lorgnette... Hey, why am i talkin' on like this? My kid ain't even been born, yet! I can see him when he's seventeen or so, And startin' to go with a girl I can give him lots of pointers, very sound On the way to get 'round any girl I can tell him ... Wait a minute! Could it be? What the hell! What if he is a girl? What would i do with her? What could i do for her? A bum with no money! You can have fun with a son But you gotta be a father to a girl She mightn't be so bad at that A kid with ribbons in her hair! A kind o' sweett and petite Little tin-type of her mother! What a pair! My little girl Pink and white As peaches and cream is she My little girl Is half again as bright As girls are meant to be! Dozens of boys pursue her Many a likely lad does what he can to woo her From her faithful dad She has a few Pink and white young fellers of two or three But my little girl Gets hungry ev'ry night and she comes home to me! I-i got to get ready before she comes! I got to make certain that she Won't be dragged up in slums With a lot o' bums like me She's got to be sheltered And fed and dressed In the best that money can buyi never knew how to get money, But, i'll try, i'll try! I'll try! I'll go out and make it or steal it Or take it or die!
It's a very finely detailed, sensitive, aware performance full of meaning, but it seems a bit too "light" to me for this role. John Rait, the original Billy, was more robust, more roguish and somehow Larger Than Life. Gordon MacRae did a superb job in the movie, but he too never seemed "big enough" or rough enough for the part. Now, Sir THOMAS ALLEN, and the American Sensation NATHAN GUNN get it just right. It's an indefinable tough-tender quality rare in men. Julian: tender not tough enough.
Nonsense! He's extraordinarily fine in every way, but not quite right for the part of Billy Bigelow. His voice doesn't have sufficient "weight," and his stature is a bit too small. That aside he's a very fine, polished performer, an excellent singer, and full of obvious sincerity.
@vicpickles No, he isn't. But, can't we have someone who can equal him in his own way, instead of this rather lame ass excuse for a classic musical theatre leading man?
Not enough power in the lower tessatura of this song to project over the orchestra even with the microphone the performance is ok, but it's just lacking something that John Raitt had.
Yew, he's a good actor, in a facile kind of way, but his singing isn't very good, sad to say. Not when there are so many who sing this amazing piece so well, even the guy who sang it at Goodspead in Connecticut in their production of "Carousel" this past summer (2012).
