Inexpert Brit reviews Anastasia: Original Broadway Recording
What better way to show how much you adore a musical than by writing an inexpert review of the soundtrack, without seeing the show because you don't live in New York (sob). Having said that, if Anastasia does come to the West End (please please please) then you can guess who's already going to know every single lyric in the show. Here's a run down of most of the tracks in no particular order (because let's be honest, they're all amazing).
My Petersburg is a surprise favourite. Something about it is reminiscent of the Wicked soundtrack, which doesn't detract from either musical and serves only to make My Petersburg extremely catchy. Speaking of the city, A Rumor in St. Petersburg is a staple part of the soundtrack (which also makes a great running track for those interested)
The start of Stay, I Pray You has echoes of Close Every To Me from Joseph (or at least in these ears it does.) The way it builds from an acapella solo to the accompanying choir is truly tingling and that's just a recording, so to hear it live must be magical. It's also the song that most embodies the sort of supernatural atmosphere that is so present in the animated film.
Close the Door sounds like it carries a lot of emotion and while that does play well over the recording, it may be that this song is more effectual as part of the production. It's poignant, for sure, and purposeful. Still
As a dancer of ballet, there is something ever so fond and familiar about Quartet at the Ballet. This song, with it's instrumental flourishes, makes it exciting even just to thin about the orchestra warming up at the start of the show (arguably the most goosebump-inducing moment of any performance). The climatic end to the song is without a doubt the most heart stopping and thinking about what happens on stage during this song is already so intriguing.
Given that parts of The Countess and The Common Man has such a similar melody to Meant to Be, it's clear that this refrain is either A, a undeniable symbol of true love or B, Popov's own theme tune (or C, both). It feels like the song is part of a strong comic interlude, that is tinged with romance too.
If we're looking for songs that are tinged with romance then it doesn't get more heart melting than In a Crowd of Thousands, while both Everything to Win and the reprise are simple and sweet and so lovely to listen.
Learn to Do It is perhaps the song that is the most fun to sing along to because the lyrics in it are just so enjoyable. ('I never cared for Stroganoff' is one excellent example but you can easy find a dozen more). What is most impressive is the range not only of Christy Altomare's vocal ability but her characterisation and expression as Anya, too. This song gets better with every listen (as does hearing the lyrics and realising that 'how she frolicked on the Volga' are the actual words and not, as one may initially have heard 'how she frolicked on the vulgar'. Similar sounding words with very different meanings!)
While The Neva Flows wasn't an immediate favourite, the instrumental introduction again sounds just like the orchestra in the pit starting to warm up, which definitely plays in its favour. The rhythms and melody in this song sometimes feel tricky to follow but it showcases Ramin Karimloo pretty perfectly.
Though quite a short song in comparison to others in the soundtrack, Crossing a Bridge is soft and sweet and simply splendid. We'll Go From There also has some great lyrical phrasing and is a fantastic multi-character musical moment. Excited to see how it's staged (coughcough please come to the West End coughcough)
Listening to The Press Conference is overwhelmingly exciting and despite sounding nothing like We Both Reached for the Gun, it's become impossible not to picture Christine Baranski somehow chairing the whole affair. Perhaps it's the sounds of the typewriters in both songs, perhaps it's nothing less than an obsessive admiration for Christine Baranski (or, most likely, very much both).
Much like in the film, Paris Hold the Key to Your Heart is fast, fun and French (if a song can be described as such), while Land of Yesterday is a zesty new addition that paints a picture of Russia that you almost wish still existed.
Listening to The Press Conference is overwhelmingly exciting and despite sounding nothing like We Both Reached for the Gun, it's become impossible not to picture Christine Baranski somehow chairing the whole affair. Perhaps it's the sounds of the typewriters in both songs, perhaps it's nothing less than an obsessive admiration for Christine Baranski (or, most likely, very much both).
Much like in the film, Paris Hold the Key to Your Heart is fast, fun and French (if a song can be described as such), while Land of Yesterday is a zesty new addition that paints a picture of Russia that you almost wish still existed.
Those first waltz-like notes that lead in to Once Upon a December have such nostalgic power, that whether this is your first or your fifty first time hearing the song, the experience is transformative. Perhaps those first bars of music are (along with tattoo chokers and ) what it means to really be from the 90s.
The absolute crowing (sorry) glory of Anastasia has to be Journey to the Past. Despite some belting notes in the song, so much of it is soft and understated and just absolutely beautiful to listen. Christy Altomare is a dream to hear on the cast recording and the song carries such significance that you wonder if it was ever daunting to perform. It is the inclusion of this song and others that demonstrates how masterfully the creators of the Broadway musical were in their development. Taking the songs that stand at the heart of the story and adding to them a symphony of new songs that are lyrically, emotionally and vocally superb is something to be highly celebrated. (And tell me Carrie Hope Fletcher wouldn't absolute crush this role. Imagine her singing In My Dreams and tell me it wouldn't be absolutely phenomenal. Casting gods, give us something to live for, pretty please.)
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musicals
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