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City of Angels (Anglais) Broché – 30 septembre 1997

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Broché, 30 septembre 1997
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Descriptions du produit

Book by Gelbart Larry Coleman Cy Zippel David

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Commentaires client les plus utiles sur (beta) 10 commentaires
12 internautes sur 13 ont trouvé ce commentaire utile 
A must for any Musical Theatre fan 4 janvier 1999
Par - Publié sur
Format: Relié
Not to be confused with the recent Cage/Ryan flick, this book is the libretto of a little-known musical with music by Cy Coleman ("Sweet Charity", "The Life"), book by Larry Gelbart ("A Funny Thing...", "Tootsie"), and lyrics by David Zippel (Disney's "Hercules" and "Mulan"). "City of Angels" won the 1989 Tony Award for Best Musical and is the story of a detective novelist named Stine and the perils he encounters while trying to adapt his novels for the silver screen. In the play, scenes about Stine (in color) are juxtaposed with scenes about his private-eye creation, Stone (in black and white). Besides building some genuine film noir detective-mystery suspense, the musical offers an insightful commentary on how art imitates life, and vice versa. Unfortunately, one misses out on the marvelous jazz-infected music that accompanies the adventures of Stine and Stone if one merely reads the libretto, so grab a copy of one of the cast recordings (Broadway or London) as well!
7 internautes sur 7 ont trouvé ce commentaire utile 
Terrific score, unplayable reduction 15 juillet 2004
Par Peter Hilliard - Publié sur
Format: Partition
This is one of the great scores of late 20th century musical theatre, with one of the all time great orchestrations, worthy of Nelson Riddle at his best. It is also indisputably one of the smartest sets of lyrics in recent musical theatre memory, with a consistently high standard of humor and poetry. Unfortunately, the vocal score is reduced in a very unpianistic way, which makes it almost totally useless as a performing edition. In a score which is so oriented to the big-band and jazz tradition, there are almost no chord symbols to help the pianist along, which leaves the pianist to the exact voicings indicated in the score. That might be fine, if it weren't for the fact that many of the voicings are really impractical. In several places, it would be physically impossible to play all the notes, and the reduction doesn't make some of the notes smaller to indicate what is essential to the playing. Other times, when the reduction does indicate with smaller notes which parts are unessential, the performance of the notes left over are really unreasonable. For example, on page 71, in the song 'The Buddy System', in measures 54 through 56, the right hand plays the trombone part, a single e held all three bars, while the left hand plays quarter notes that hop up and down four octaves at 152 beats per minute. For the benefit of holding what is essentially a left hand 'thumb-line' for a full 8 beats with the same finger, we lose the sense of where the phrase goes on the piano with two clef changes and the passage, which is really rather simple musically, becomes so confusing and hard to read as to warrant significant practice or rewriting to accomplish it in performance. The accidentals are all musically accurate throughout the piece, but chord symbols would help any working pianist play the fast swing sections much more accurately and idiomatically. This is admittedly an extremely complicated score, with a lot of nuances, but the reduction makes it unnecessarily one of the most difficult scores in the world to play, I would say even more difficult than Candide, West Side Story or Night Music, which aren't walks in the park. And for a pianist who is actually going to play and help a singer along, the brainpower required to muddle through the score will make it impossible to really listen to the singer properly. Get it for the songs in the right key, but if you plan on playing it, give yourself a LOT of prep time.

(Incidentally, the piano reduction is by Dale S. Kugel, who did a much better job on the Beaumont version of 'Anything Goes. I don't know why this one is so much less readable/playable)
8 internautes sur 10 ont trouvé ce commentaire utile 
The Complete City of Angels 1 octobre 2000
Par Robin Griffeath-Loeb - Publié sur
Format: Partition
The full score to the popular darkly synical but comic musical, "City of Angels", is a very useful score for any true fan of great musicals. All the songs are in there original keys compared to the vocal selections book where some of the songs (example: Funny) are in lower keys. This was extremely irritating to me so I had to get the full score. It also contains all the diologue which helps one understand the backround to each song. Overall, it is an extremely worth while buy for anyone who wants an accurate version of the musical. Good Stuff!
4 internautes sur 5 ont trouvé ce commentaire utile 
One of the funniest musicals on Broadway in years! 26 juillet 2000
Par Matthew Murray - Publié sur
Format: Relié
When City of Angels premiered on Broadway in 1989, it ran for fewer than 1000 performances. When you read this libretto, which you absolutely must do if you like musical theatre at all, you'll wonder why it isn't running today. The book is full of wit, and is incredibly funny and biting as it satirizes Hollywood movie-making. The stage directions keep you fully abreast of what's going on (even if you've never seen a show), and they allow you to easily keep track of where the action is happening. The only thing missing from this wonderful volume is, of course, the great music that goes with the song. All the more reason to buy the OCR of the show and listen to it at the same time! City of Angels is a great musical, and one you'll enjoy reading (and listening to!) time and time again.
1 internautes sur 1 ont trouvé ce commentaire utile 
Read it and fall in love with the musical! 25 avril 2004
Par K. Mandalovic - Publié sur
Format: Broché
I first heard of City of Angels after hearing Anthony Warlow's recoridng of 'You're Nothing Without Me'. I bought the CD to hear more from the musical. I instantly fell in love with the soundtrack, then sought the libretto to find out what happens in between.
As soon as I started reading this, i couldn't put it down. I had no idea what to really expect, and it's the first book that i've laughed out loud while reading.
In this book, you get Larry Gelbart's words and David Zippel's lyrics. The best way to compliment this book is to also get the OB Cast Recording to really get a feel for Cy Coleman's wonderful music.
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