This Deluxe Complete Edition of the Sweeney Todd film soundtrack contains the complete music from the film. It is specially-packaged with an 80-page bound booklet, with lyrics and photographs.
This Deluxe Complete Edition of the Sweeney Todd film soundtrack contains the complete music from the film. It is specially-packaged with an 80-page bound booklet, with lyrics and photographs.
James Morris | Jackson Heights, NY United States | 12/19/2007
(5 out of 5 stars)
"I received the soundtrack for Sweeney Todd today, and although I have not seen the film yet (it will open in three days), I am more looking forward to seeing the movie than ever. The soundtrack was a pleasant - I shouldn't say "surprise"; I expected to like it - let's say a wholly satisfying experience, for more than one reason.
Firstly, as stated by Mr. Sondheim, be forewarned that the film is not exactly the same as the stage version. That said, the score appears to be as close to the original as one could hope. I only noticed a few cuts and some minor changes here and there in the various numbers, and although (as had been announced) whole portions of the score have been excised for the purpose of trimming the running time, many of the small, subtle changes Mr. Sondheim has made in the lyrics are decided improvements. There is, if I heard correctly on my first listen, a whole verse missing from "Priest". While I lament (as many will) the deletion of some grand moments of wit, especially in the chorus and opening, enough of the original score has been preserved, and preserved well, for me to feel an enormous satisfaction upon my first listen. Although I haven't seen the film yet, I have a feeling (and certainly hope) that the single-disc CD omits some portions of the music that are in the film.
Many have complained already that the singing is a bit weak, but for me, the voices were no problem at all. Many theatre fans and critics consider Stephen Sondheim to be the most accomplished theatre composer of the 20th century. Although lauded as his masterwork, Sweeney Todd is not my favorite Sondheim score, but I never argue with those who praise it as his best work, and they certainly have good reason for their assessment. The problem with a Sondheim score - any Sondheim score - is that his glorious wit and amazing rhymes require very delicate handling, without extensive dramatization or gesticulation; in fact, I have seen certain performers ruin his songs through excessive theatrics. His witty, urbane words and ultra-clever rhymes need only be performed, thank you, and easily stand on their own without overt grandstanding. Any playing for broad comedy tends to detract from his marvelous command of the language, not to mention his amazingly deft rhymes and delicious wit. Thus, in these performances, I found myself thrilled to note that they are put across simply and quietly, with careful enunciation but no unnecessary scenery-chewing, the way I believe Sondheim should be performed. Even so, many could argue that it is difficult to ruin material of this caliber, but I always feel that with Sondheim, the words are all that are really required to put any of his songs over.
It is also a delight to hear virtually all of the cast proffering the appropriate British (and in some cases, Cockney) accents, and for once, the score sounds like it might be actually enacted by inhabitants of 19th century London. Not that I object, mind you, to earlier interpretations of this particular work - all of the previous casts have been outstanding in their way, but what a nice change to hear actors playing Londoners who sound English. But what comes across best in the soundtrack for me is the acting, and Johnny Depp, who I have never been especially fond of, must be singled out. His performance, which is more acting than singing, may not be vocally impressive, but his invocation of the character and spirit of the narrative is perfectly realized, and the early doubts I confess I may have harbored have been completely swept away.
Most joyous to me is that it appears (from the soundtrack, anyway) that someone has finally made a film version of a Sondheim show that actually works, something that hasn't happened, in my opinion, since West Side Story. Too many attempts at filming Sondheim have butchered his score, or changed it for the worse, or been horribly presented, or all of the above. It is my fervent hope that this film will inspire moviegoers who were previously unfamiliar with the talents of Mr. Sondheim to investigate his glorious, literate and oh so satisfying way with words and music. Although I must deliver kudos to the principals involved, Tim Burton, Johnny Depp and Helena Bonham Carter, Mr. Sondheim's brilliant score is, to me, the real star here.
Judging by the soundtrack alone, I believe that we may now have a film that has finally done Mr. Sondheim justice. I may die happy yet!
"
Well, I loved it!
Nnie the Hideous New Girl | Brookfield, Connecticut United States | 12/25/2007
(5 out of 5 stars)
"I can completely understand why fans of Hearn and Lansbury's Sweeney and Lovett (and same for fans of LuPone and the like) were inconsolable after hearing these tracks. I think, however, the crucial difference isn't the quality of the music, but the medium it was made for. Burton stripped the Broadway out of this show, and it shows. Does this make the performances and tracks bad? Heck no! Quite the opposite, I argue!
Please, however, see the film first. You will appreciate the soundtrack so much more with the visuals accompanying it. And those completely sold on the stage shows should hopefully at least see why Depp and Carter were best suited for the big screen and not the stage... and there's a reason this movie's been getting stellar reviews and appreciation from Depp, Burton, and Sweeney fans alike! Depp, unlike Hearn, plays an emotionally drained and hollow Sweeney, and his voice, unlike Hearn's, is growling and full of contempt and dispassion. Makes you wonder why Depp was never in a rock band.
Carter replaces the jolly, enthusiastic Lovett with a bitter-sweet cynical Lovett, and her voice is arguably the weakest, but her performance is an interesting if not very different take on the character. Alan Rickman's deep, sensuous voice seems almost too perfect for the lecherous judge Turpin, and I found his duet with Depp, "Pretty Women" to be a particular highlight on this album. The real gems, however, are Sacha Baron Cohen and Sanders as Pirelli and Toby.
To conclude, this isn't the Sweeney Todd you've heard before. It isn't better. It isn't worse. It is what it is, which is a solid and moving soundtrack for a well-cast movie. More proof that Tim Burton is a director who understands how to translate a musical to film without losing its core or its appeal to moviegoers. Also, I would recommend this version over the movie highlights CD if just for the finale alone. It is 10 minutes of an emotionally charged performance that you'll want to remember and hear again if you enjoyed the film!"
Wonderful Sweeney Todd
David A. Smith | RTP | 12/31/2007
(5 out of 5 stars)
"I have been listening to Sweeney Todd for almost twenty years - from Angela Lansbury and George Hearn to the present, but there is something magical about this new version. True, the singers are not quite as powerful or polished, but they are so much more in the moment, so much more real. Johnny Depp's first words in "No Place Like London" made it immediately clear that this was something new - a musical that was not just about the tunes. It contained the rage, emotion and pain that allowed us to follow Sweeney from Heaven to Hell. I can't get this out of my head. (The movie is the best thing that Tim Burton has ever created as well.)
This full version includes all of the songs and is the one to get. Well worth the extra money.
Finally, my thanks to Warner for finally getting a clue. People will buy your music if you make it easy for them and stop treating them like criminals."
I Love THIS "Sweeney" most of all-here's why!
KerrLines | Baltimore,MD | 01/13/2008
(5 out of 5 stars)
"I have every version,even the Catalan version, ever recorded of this Sondheim musical.Every one of them offers something new and unique about the performance.I LOVE THIS ONE MOST OF ALL.Here's why?
Because this was recorded for film and not with stage actors, the performances are subtle and not overblown.Depp's "Sweeney" is dark,compelling,concerned with character.His version of "My Friends" is the the most intimate yet,as he "whispers" to his razors that "they will drip rubies" it chills just with the sheer intimacy of it all.He also sings with the proper accent for Todd which others such as Hearn and Cariou never did. Depp's Todd (more akin to Michael Cerveris') is a "Fleet Street" Todd,with the proper "f" sound that replaces the "th".When Depp grimly declares..."at last,my right arm is complete again"...WOW!
Alan Rickman's wonderfully deep bass is perfection for Judge Turpin."Pretty Women" IS a "wonder" with Rickman and Depp together.The English accent of Rickman is totally befitting for his class and stature.Timothy Spall's Beadle is as clear as a bell and again as he advises Turpin of "a sprinkling of French cologne to enhance the chase", the accent and tone is perfection.All of the actor/singers,Jamie Campbell Bower is crystal clear tenor as he warmly sings "Johanna";Edward Saunders as young Tobey is revelatory with his pure young "Oliveresque" performance of a young child and not as a 20+ stage star!; Jane Wisener as Johanna's time is limited, but her "Green Finch and Linnet Bird" is totally adequate;
Helena Bonham-Carter will be the most disputed interpretation of Nellie Lovett, no doubt.Again,upon many listenings,there is the temptation to compare her with the stage versions.Ahh, but Carter is not the star of the film as her character has become in all of the stage versions! Carter plays a far more understated Lovett in order to let Depp's Todd be the true center of attention.This is SWEENEY TODD and not MRS.LOVETT.Not to discredit Lansbury and LuPone who have been so often recorded in this role,but Carter "backseats" here and does not arrive "overdone" as her predecessors have!When Carter and Saunders combine for "Not While I'm Around" it is sheer vocal and character bliss.
Sasha Baron Cohen is a baritone Pirelli,instead of the usual high tenor.Each word is totally clear.His song is streamlined even as it is also customarily done on stage.
Many songs are streamlined and reworked (even some couplets are totally new)."Kiss Me" is totally omitted, but frankly, not missed by me.The song is not germane or necessary to the film adaptation.
The new orchestrations by Jonathan Tunick are wonderfully refreshing after nearly 30 years of hearing the old ones.( The 2005 Revial Version is also wonderfully refreshing in it's parred down state)."The Ballad of Sweeney Todd" and the "choruses" are now orchestrated and modified as Burton's film is able to change the scenery for us and show us what these songs told us on stage.
Paul Gemignani's tempi are perfection (he has been Sondheim's conductor for 25+ years), and the altering of keys to accommodate the actors is completely refreshing for me, after hearing them the same for so long.The orchestra blows through the speakers and every actor's word is heard clearly.Sondheim approved all of the streamlining as he did it himself.
I love the CD and the 80 page booklet with production notes,glossy film pix and film libretto is well worth the purchase.I wholeheartedly put the film soundtrack along side, and in places over, the others.PURISTS may never embrace it. New converts to SWEENEY will be won.That is the strength of THIS recording! No apologies for 5+******'s here!
For "Sondheads" such as I...if Sondheim, himself, is always able to adapt and re-adapt his own work over the years to keep it fresh and alive,why can't we afford him his right?
For Burton fans such as I...SWEENEY TODD is his all-time favorite musical.Would such a fan disrespect or misinterpret a masterpiece that he worked on along with the composer? Not likely...and not here!"
Great "musical" soundtrack!
Catherine H. Scanlon | Tallahassee, FL | 06/10/2008
(5 out of 5 stars)
"After reading the reviews I refused to write anything untill I had heard all the other versions of "Sweeney Todd: Demon Barber of Fleet Street." I did see the movie before witnessing and musical of Sweeney Todd so I may be biased but my interpretation is that of a musician. I have studied music for over seven years. After seeing the movie Sweeney Todd the Demon Barber of Fleet street the first thing I remarked upon was the orchesta. I thought for sure I would see the London Philharmonic orchestra listed at the end of the movie. I was very impressed by the music in the movie and when after researching over 5 different sites to find that the orchestra was local to the set. Now after hearing several stage productions of Sweeney Todd and and the movie I can see why musical originals are upset. Sweeney Todd originally is really an opera instead of a musical where the singing takes over the plot. The vibrato of the singers is overwhelming for the plot and was hard for me to enjoy after being overtaxed by Burton's adaptation. I felt Tim Burton turned the plot into more of a musical/acting piece instead of an opera. He focused more on the portrayl of characters rather than the songs which made it far more enjoyable for more people. I have to give credit to Sondheim for his genius to be interpretted in many different ways.
Those people who had seen the musical were expecting the character of Mrs. Lovett to take the show. This is because of the way it was originally interpretted. According to the original interpretation of Sweeney Todd, it should have been named Mrs. Lovett's pie shop. Her songs are the most difficult and important to the plot. So musical goers were expecting phenmoenal when Helena Bonham Carter delivered a really good show it did not seem enough. Imagine that, Burton made the musical about Todd intead of Mrs. Lovett... Another aspect I was impressed with was the fact the actors matched the setting with being almost all british actors something that hasn't been seen in movies since Harry Potter. Speaking of which, the movie had three actors from. I had no idea that anyone of these actors could alone carry a tune or sing a song well! Since this story is based in London, british accents were highly appropriate and I thought Helena Bonham Carter, Alan Rickman, Timothy Spall, and Edward Sanders as Toby did a fantastic job. Quite honestly the best actor/singer by far was the part of Toby, who was for once the correct age. As for the part of Johanna it was stil too opera for me and not musical by definition. I was even impressed by the singing skill of Sacha Baron Cohen/Borat, very nice!
Overall, I was thoughly impressed by this movie and soundtrack. I have heard the soundtrack over thirty times since I saw the movie last week. I thouroughly endorse it. I was completely surprised by each and every actor/actress and their singing promise. Definetly worth listening to more than twice! Those musical goers who missed this artistic greatness were too wrapped up in the fantastic opera singing of previous renditions which missed the characters and the intended plot of Stephen Sondheim.