The recording quality is superb, as is the orchestraís playing under Simon Lee. For its intended audience, this should find much success. And in all fairness, the whole thing could have been much worse. Fans of the show will treasure the medley, and many will find the virtuosic fancies a highbrow treatment of melodies they could, and perhaps do, sing in their sleep. After all, there is no denying the musicís popularity, and soloists will find it rewarding. The Phantasia will delight fans of the show and will probably have a long shelf life as a pops concert staple. This is definitely what would once have been called ìB-side material.î Even gussied up in the once more overblown arrangements (Andrew Stewartís booklet notes calls them ìfull-bloodedî), the score never catches fire. While we occasionally hear snippets that recall earlier scores ñ a little Evita here, a little Phantom there ñ for the most part this is, at least based on the tunes used in this suite, probably Lloyd Webberís least interesting score. In arranging a suite from the recent musical The Woman in White, Laurence Roman was faced with the old sowís ear-silk purse conundrum: how can a largely tuneless score be turned into an orchestral suite of any interest? The answer: donít expect a silk purse.
Julian lloyd webber phantasia for violin and cello professional#
And Alexanderís orchestration is reminiscent of his film scoring, which means the whole thing is a bit overblown, but it is professional and colorful. The cheese factor is not as prevalent or pronounced as it could have been, given the material, although there are some modulations that would cause a first-year music theory student to blush. But in a work this long ñ the selection clocks in somewhere between thirty minutes and eternity ñ repetition is inevitable, and, by the end, only devotees will fail to grow antsy for the final cadence. Passages of lyricism contrast with virtuosic passages, as is customary in such concert pieces, and the bravura sections are well written for the instruments. Indeed, Changís violin is a far more expressive Christine than Sarah Brightman ever was. The violin solo represents Christine, the soprano heroine, and the cello represents the Phantom, and both Sarah Chang and Lloyd Webber play beautifully. Geoffrey Alexander, building on an idea of Sir Lloyd Webber and his brother, renowned cellist Julian Lloyd Webber, and drawing from the original score as well as from new material written for the only moderately successful film version, has arranged the work for orchestra and two soloists.
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