Musical Theatre for Classical Singers

47 songs. Contents: Bring Me My Bride (A Funny Thing Happened on the Way to the Forum) * C'est Moi (Camelot) * Colorado, My Home (The Unsinkable Molly Brown) * Do I Love You Because You're Beautiful? (Cinderella) * Dulcinea (Man of La Mancha) * Epiphany (Sweeney Todd) * Everybody Says Don't (Anyone Can Whistle) * Fear No More (The Frogs) *  Gonna Be Another Hot Day (110 in the Shade) * The Highest Judge of All (Carousel) * I Rise Again (On the Twentieth Century) * I'll Never Say No (The Unsinkable Molly Brown) * I've Come to Wive It Wealthily in Padua (Kiss Me, Kate) * I've Heard It All Before (Shenandoah) * If Ever I Would Leave You (Camelot) * If I Loved You (Carousel) * The Impossible Dream (Man of La Mancha) * In Praise of Women (A Little Night Music) * Is This What You Call Love (Passion) * Joey, Joey, Joey (The Most Happy Fella) * Lonely Room (Oklahoma!) * Lost in the Stars (Lost in the Stars) * The Man of La Mancha (I, Don Quixote) (Man of La Mancha) * Me (Beauty and the Beast) * Meditation I (Shenandoah) * Meditation II (Shenandoah) * The Music of The Night (The Phantom of the Opera) * No One Has Ever Loved Me (Passion) * Oh, What a Beautiful Mornin' (Oklahoma!) * Ol' Man River (Show Boat) * Pretty Women (Sweeney Todd) * A Quiet Girl (Wonderful Town) * The Road You Didn't Take (Follies) * September Song (Knickerbocker Holiday) * Soliloquy (Carousel) * Some Enchanted Evening (South Pacific) * Sorry-Grateful (Company) * The Surrey with the Fringe on Top (Oklahoma!) * They Call the Wind Maria (Paint Your Wagon) * This is the Life (Love Life) * This Nearly Was Mine (South Pacific) * Thousands of Miles (Lost in the Stars) * Try to Remember (The Fantasticks) * Were Thine That Special Face (Kiss Me, Kate) * Where Is the Life That Late I Led (Kiss Me, Kate) * With So Little to Be Sure Of (Anyone Can Whistle) * You Must Meet My Wife (A Little Night Music). "At last we have four good volumes of real singing songs from mostly pre-1970 music theater productions suitable for classically trained singers...The editor's excellent Preface addresses the need for classical singers to be at home with music theater, gives notes on the compilation itself, on common pitfalls for classical singers choosing a song, on the necessity for nonoperatic, standard American diction, and on the benefits that singing music that demands direct emotional and character expression might have on the singer's operatic expression. His advice is clear and well founded...These four volumes should be standard items in all voice studios and private song collections."--Journal of Singing