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Sweeney Todd: The Demon Barber of Fleet Street (Original Broadway Cast Recording)
 
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Sweeney Todd: The Demon Barber of Fleet Street (Original Broadway Cast Recording)

2 Jan. 2010 | Format: MP3

£4.49 (VAT included if applicable)
Also available in CD Format
Song Title Artist
Time
Popularity  
30
1
3:34
30
2
3:39
30
3
2:40
30
4
2:25
30
5
3:27
30
6
2:43
30
7
0:54
30
8
2:29
30
9
2:23
30
10
1:57
30
11
3:50
30
12
5:11
30
13
0:31
30
14
2:17
30
15
0:40
30
16
3:39
30
17
1:31
30
18
3:57
30
19
4:38
30
20
3:18
30
21
7:17
Disc 2
30
1
6:27
30
2
5:29
30
3
3:32
30
4
3:39
30
5
3:56
30
6
3:35
30
7
13:22
30
8
2:56
30
9
7:30
30
10
3:01
30
11
3:01

Product details

  • Original Release Date: 30 May 2005
  • Release Date: 30 May 2005
  • Number of Discs: 2
  • Label: Masterworks Broadway
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:59:28
  • Genres:
  • ASIN: B001GTLJBI
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Bestsellers Rank: 9,337 in Albums (See Top 100 in Albums)

Customer Reviews

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21 of 21 people found the following review helpful By Cowboy Buddha on 10 Aug. 2001
Format: Audio CD Verified Purchase
Not your typical Broadway musical, Sweeney Todd marked Stephen Sondheim's transition from more traditional shows to larger, almost operatic enterprises. To my mind, it is Sondheim's most satisfying achievement. I saw Sweeney shortly after it opened on Broadway and it remains one of my most vivid theatrical memories. This double CD set goes a long way towards recreating that magic. The story of a wrongly-accused barber who returns to London in search of his beloved wife and daughter and, not finding them, turns to slitting his customers' throats and turning them into pies might not sound like the basis of an enjoyable experience. But Sweeney Todd has just the right combination of Victorian melodrama, high camp, low characters and very dark humour to draw anyone into its spell. And then there is the music. While not the sort of Rodgers & Hammerstein score in which every other song becomes a standard, there are still plenty of musical highlights - such as the comic "Worst Pies in London", the macabre "A Little Priest", the beguiling "Johanna", and the surprisingly tender "Not While I'm Around". The songs are all integral to the plot and this double CD set is a virtual recreation of the show. The performances are all excellent - a reminder that Angela Lansbury did some quite good things before she became a television sleuth. But towering above everyone is Len Cariou as Sweeney in a performance so magnificent that you wonder why he was never so good again. Maybe because he never did another Sondheim musical. And Sondheim is the real star here. Listen to Sweeney Todd by all means. But not alone - and certainly not in the dark!
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19 of 20 people found the following review helpful By Amazon Customer HALL OF FAMEVINE VOICE on 20 Sept. 2004
Format: Audio CD
"Sweeney Todd, The Demon Barber of Fleet Street" is closer to the operatic world of Verdi and Donezetti than it is to Rogers & Hammerstein or Lerner & Lowe, and there have been times when it has been performed in opera houses as well it should. This show is replete with arias and quintets, duets and chorus numbers. More than any other American "musical" I can think of, there are different characters singing different things at the same time, just what you would expect to find in an opera. Besides, like an opera, most of the main characters are dead by the time the curtain rings down.
This is Sondheim at his best, coming up with some of his most beautiful melodies in a show where the "hero" and "heroine" cut people's throats and bake them into pies. Consequently while you have "Not While I'm Around" sung by a poor boy to his surrogate mother and "Johanna" sung by young Anthony to his intended, you also have "My Friends" sung by Todd to his set of sharp razors. Sondheim has always delighted in such ironies. The highlight of the show/CD is the trio of numbers that ends Act I. From the sweet duet between Todd and the Judge ("Pretty Women"), to the savage intensity of Todd's "Epiphany", concluding with the ghastly humor of the Todd and Mrs. Lovett in "A Little Priest."
Angela Lansbury is a wicked delight as Mrs. Lovett, and a revelation to those who do not remember that she was always a strong performer in musical theater ("Mama," "Gypsy"). The appropriateness of her voice was driven home to me when I saw a road production of "Sweeney Todd" with June Havok (yes, the original Baby June, older sister of Gypsy Rose Lee) who had the great timing of the vaudeville stage but who sang everything about an octave lower than originally written. However, it is Len Cariou who steals the show.
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6 of 6 people found the following review helpful By T. Swinton on 27 Jun. 2003
Format: Audio CD
With this show, Sondheim nails the myth of a cosy Dickensian London flocking with endearing cockneys and benevolent toffs. In a grim and grimly funny comment on 19th century society he shows us a corrupt and poisonous judiciary at the top and a naive or downright stupid working-class at the bottom, separated by the rapacious, sentimental bourgeoisie - Mr Todd and Mrs Lovett - happily selling everyone to everybody, literally. Exquisite production values further point up the ironic beauty of these superb tunes and lyrics - but it's a lot to pay for 2 CDs; and the highlights have all the fun without the plot points that give the game away if you haven't seen the show - so spend the extra money to go and see it somewhere!
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16 of 17 people found the following review helpful By Klingsor Tristan VINE VOICE on 16 Aug. 2006
Format: Audio CD
I have seen many Sweeneys over the years from Alun Armstrong (wonderful actor, perhaps not the greatest singer) to Sir Tom Allen (excellent on both fronts but in an overblown production), from George Hearn and Dennis Quilley (both a bit too musical-comedy) to Paul Hegarty in the slimmed down Watermill production - and not forgetting Leon Greene in a memorable production at the theatre where Sondheim first saw the play that sparked off his interest in the story. But the most complete Sweeney of all is still the creator of the role, Len Cariou. His Epiphany remains one of the scariest things I have ever seen in a theatre, with a wonderfully in-tune out-of-tune climax. No-one made the humour of A Little Priest blacker, the dreamy amorality of Are You Beautiful As Her more heartbreakingly poignant or rose to such truly tragic heights at his cathartic moment of discovery in the finale. All of this is admirably captured on this original cast recording.

Is Sweeney Todd an opera or a musical? And ultimately, does it matter which pigeon-hole you put it in? True, it is through-composed - but then so are Evita and Les Mis. True, it is thematically very tightly organised with recurring leitmotifs (especially the plainsong Dies Irae references) - but so are most of Sondheim's mature theatre pieces. True it handles darker, more tragic material than we're used to in Broadway musicals, but again that's Sondheim for you. None of that makes it an opera. And the productions that opera houses have put on amply demonstrate that it is a work that demands singing ACTORS, not acting singers. And that, most assuredly, is what Cariou is here.
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