number that would become astandard if there whole, and are supported by numerous lesser- were any justice in the world (I'm not holding known (even virtually unknown) but musically my breath). "Lullaby" and "Hungarian Folk Song" worthwhile songs ("Mis'ry's Comin' Around" have Hungarian lyrics (badly mispronounced, is particularly effective). As an appendix, the if this matters to you) that are actually quite recording contains songs written for the orig- good; presumably, they were written by that inal London production and for the 1936 movie well-known Hungarian lyricist, Timoti Rizs. (including the charming "I Have the Room Bjorn Ulvaeus and Benny Anderson, the Above Her"). composers, are better known as members of The recording is a triumph for its stars. ABBA, the group with the Swedish music this Frederica von Stade showed promise in the side of heaven (sorry!). Through their work on Telarc Sound of Music; here, with better direc- Chess, they join Les Miserables' Claude-Michel tion, the promise is fulfilled. She not only sings Schoenberg as the musical theater's "great beautifully but really acts the character. Jerry European hopes." Chess also catapults Judy Hadley confirms my impression of him as Kuhn to the forefront of musical-theater per- being perhaps the most gifted of the new gen- formers. Ms. Kuhn has already been acclaimed eration of tenors. (Earlier this year, he sang an for her more limited contributions to Rags and outstanding Hoffmann in Toronto.) As for Les Mis (a Tony nomination); Chess gives her Teresa Stratas, this superb interpreter of Puc- acrack at areal starring role, and she rises to the cini and Kurt Weill has now added Julie to her occasion superbly. David Carroll and Philip definitive characterizations. Bruce Hubbard Casnoff are effective as the rivals for her affec- (Joe) sings "01' Man River" well, but my mem- tions, as well as for the world chess champion- ory of Willard White's Porgy makes me won- ship. Sound quality, while more than accept- der whether White, the original choice for the able, is not as good as on RCA's Into the Woods role, would have been even better. The many or Anything Goes, in that solo voices have too smaller roles have been cast with first-rate much sibilant emphasis. The LP omits five of performers—Karla Bums's no-nonsense Queenie the numbers (including the full version of "You and Paige O'Hara's delightful Ellie are standouts. and I"), and generally sounds less clean than The issue of casting Joe brings up the one the CD. —Robert Deutsch controversial aspect of this Show Boat: racist language. John McGlinn has kept the original SHOW BOAT words to "01' Man River," arguing that sub- Jerome Kern, music; Oscar Hammerstein II, lyrics stituting "Colored folks work .. ." or "Here we Frederica von Stade, Magnolia; Jerry Hadley, Ravenal; all work .. ." for "Niggers all work .. ." is not Téresa Straus, Julie; Bruce Hubbard, Joe; others. Ambro- only inauthentic, but glosses over the racism sian Chorus, London Sinfonietta, John McGlinn, cond. that is depicted in the libretto. Willard White Eb11 AI -49108 (3 LPs), CDS 749108 2(3 CDs). John Fraser, and the original black chorus found the words prod.; Michael Sheady. John Kurlander, engs. DDA/ ODD. TT: 3:41:31 offensive, refused to sing them, and withdrew from the recording. Bruce Hubbard (who had This is an important recording. Clearly alabor sung Joe in the Houston Grand Opera produc- of love for conductor John McGlinn, it is at tion) was brought in, and the Ambrosians had once the most complete, most authentic, and to double as the black chorus. It would be generally best-performed recorded version of presumptuous of me to question whether this landmark in the evolution of American White and the others made the right decision; musical theater. The completeness (every musi- what Ican say is that the sub-theme of racial cal number, even ones dropped prior to Broad- intolerance seems to me to give the show much way, is included, as well as most of the dialogue of its strength. Particularly powerful is the "mis- and the music that underscores it), and authen- cegenation scene," in which Julie's husband ticity (this is the 1927 Broadway version, using Steve, about to be charged with miscegenation the original Robert Russell Bennett orchestra- for having married awoman who is part black, tions) are laudable, but what impresses me cuts her finger and sucks her wound, then most is the theatrical and musical vitality of the claims that he, too, is black, because "one drop enterprise. This is no overly respectful recre- of nigger blood makes you anigger in these ation of amuseum piece; you just know this is parts." The scene plays with chilling impact. the way Show Boat is supposed to sound, and Sound quality is something of adisappoint- the recording reveals the movie and the updated ment. Unlike most of the CDs I've been listen- "performing" versions to be cartoon-like fac- ing to lately, this recording evinces faults that similes of the original. Yes, the great songs Iassociate with early examples of digital tech- ("01' Man River," "You Are Love," "Can't Help nology: some hardness at high levels (partic- Lovin' Dat Man," "Make Believe," "Bill") are ularly brass, massed strings, and chorus) and there, but they are integrated into the theatrical atendency for the soundstage to collapse in the Stereophile, April 1989 217 .