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Something Good (Richard Rodgers song)

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"Something Good"

Song from The Sound of Music

Published
1965
Writer
Richard Rodgers
"Something Good" is a song written by Richard Rodgers for the film version of The Sound of Music. It replaced the original song sung by Maria and Captain Georg von Trapp called "An Ordinary Couple". Since then the song has been used in the various reproduction of the play and most recently the 2013 television special, The Sound of Music Live!.[1]


Contents  [hide]
1 Background
2 Usage 2.1 Within the film
2.2 Within The Sound of Music Live!
3 Critical response
4 References
5 External links

Background[edit]
It was first recorded by Julie Andrews and Christopher Plummer for the film's soundtrack and was covered by Carrie Underwood and Stephen Moyer on for the television special's soundtrack. In The Making of The Sound of Music by Max Wilk, Wilk stated that when Robert Wise and Saul Chaplin confronted Rodgers on replacing "An Ordinary Couple", Rodgers automatically agreed to the idea and admitted he and lyricist Oscar Hammerstein II had been talking of replacing the song but Hammerstein had been too ill to do so.[2] This was not the only song to be written for the film, the second song, "I Have Confidence" was also added. Due to both songs popularity in the film, both have sometimes been integrated in the productions with "Something Good" always replacing "An Ordinary Couple".
Usage[edit]
Within the film[edit]
The song is a confession of love for Maria Rainer and Captain Georg von Trapp and appears in the film shortly after Maria returns and the Captain and Elsa Schrader have their falling out.[3]
Within The Sound of Music Live![edit]
As with the film the song is again used as a confession of love between Maria and the Captain and is used shortly after the fall out between the Captain and Schrader. It comes right after the musical number between the Captain, Shrader and Max Detweiler, "No Way to Stop It", in the broadcast.[4]
Critical response[edit]
Entertainment Weekly considered the song "boring" stating "This snoozefest is the musical representation of why some people say they can’t sit through Sound of Music." and that the song "is actually, well, bad."[5]
References[edit]
1.Jump up ^ http://www.nydailynews.com/entertainment/tv-movies/sound-music-live-review-article-1.1539551
2.Jump up ^ Wilk, Max (2007). The Making of The Sound of Music. Taylor & Francis. p. 78. ISBN 978-0415-97935-1. Retrieved 2014-06-16.
3.Jump up ^ The Sound of Music (1965 film)
4.Jump up ^ The Sound of Music Live! (2013)
5.Jump up ^ http://popwatch.ew.com/2013/12/04/sound-of-music-best-worst-songs/
External links[edit]
Full lyrics of this song at MetroLyrics


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http://en.wikipedia.org/wiki/Something_Good_(Richard_Rodgers_song)







Something Good (Richard Rodgers song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


"Something Good"

Song from The Sound of Music

Published
1965
Writer
Richard Rodgers
"Something Good" is a song written by Richard Rodgers for the film version of The Sound of Music. It replaced the original song sung by Maria and Captain Georg von Trapp called "An Ordinary Couple". Since then the song has been used in the various reproduction of the play and most recently the 2013 television special, The Sound of Music Live!.[1]


Contents  [hide]
1 Background
2 Usage 2.1 Within the film
2.2 Within The Sound of Music Live!
3 Critical response
4 References
5 External links

Background[edit]
It was first recorded by Julie Andrews and Christopher Plummer for the film's soundtrack and was covered by Carrie Underwood and Stephen Moyer on for the television special's soundtrack. In The Making of The Sound of Music by Max Wilk, Wilk stated that when Robert Wise and Saul Chaplin confronted Rodgers on replacing "An Ordinary Couple", Rodgers automatically agreed to the idea and admitted he and lyricist Oscar Hammerstein II had been talking of replacing the song but Hammerstein had been too ill to do so.[2] This was not the only song to be written for the film, the second song, "I Have Confidence" was also added. Due to both songs popularity in the film, both have sometimes been integrated in the productions with "Something Good" always replacing "An Ordinary Couple".
Usage[edit]
Within the film[edit]
The song is a confession of love for Maria Rainer and Captain Georg von Trapp and appears in the film shortly after Maria returns and the Captain and Elsa Schrader have their falling out.[3]
Within The Sound of Music Live![edit]
As with the film the song is again used as a confession of love between Maria and the Captain and is used shortly after the fall out between the Captain and Schrader. It comes right after the musical number between the Captain, Shrader and Max Detweiler, "No Way to Stop It", in the broadcast.[4]
Critical response[edit]
Entertainment Weekly considered the song "boring" stating "This snoozefest is the musical representation of why some people say they can’t sit through Sound of Music." and that the song "is actually, well, bad."[5]
References[edit]
1.Jump up ^ http://www.nydailynews.com/entertainment/tv-movies/sound-music-live-review-article-1.1539551
2.Jump up ^ Wilk, Max (2007). The Making of The Sound of Music. Taylor & Francis. p. 78. ISBN 978-0415-97935-1. Retrieved 2014-06-16.
3.Jump up ^ The Sound of Music (1965 film)
4.Jump up ^ The Sound of Music Live! (2013)
5.Jump up ^ http://popwatch.ew.com/2013/12/04/sound-of-music-best-worst-songs/
External links[edit]
Full lyrics of this song at MetroLyrics


[show]
v ·
 t ·
 e
 
Rodgers and Hammerstein








































































































[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers










































Stub icon This show tune-related article is a stub. You can help Wikipedia by expanding it.




  


Categories: 1965 songs
Carrie Underwood songs
Songs with music by Richard Rodgers
Songs from The Sound of Music
The Sound of Music
Vocal duets
Show tune stubs




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This page was last modified on 21 August 2014, at 08:43.
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Edelweiss (song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For other uses, see Edelweiss (disambiguation).

"Edelweiss"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers



 The Edelweiss white flower
Leontopodium alpinum
"Edelweiss" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. It is named after the edelweiss, a white flower found high in the Alps (Leontopodium alpinum). It was created for the 1959 Broadway production of The Sound of Music in the role originated by performer Theodore Bikel as a song for the character of Captain Georg Ludwig von Trapp. In the musical Captain von Trapp and his family sing this song during the concert near the end of Act II as a statement of Austrian patriotism in the face of the pressure put upon him to join the navy of Nazi Germany following the Anschluss. It is also Captain von Trapp's subliminal goodbye to his beloved homeland, using the flower as a symbol of his loyalty to Austria. In the 1965 film adaptation, the song is also sung by the Captain earlier in the film as he rediscovers music with his children.


Contents  [hide]
1 Writing of the song
2 Film adaptation
3 Misconceptions about the song
4 American church use
5 Versions
6 Legal problems
7 References
8 External links

Writing of the song[edit]
While The Sound of Music was in tryouts in Boston, Richard Rodgers felt Captain von Trapp should have a song with which he would bid farewell to the Austria he knew and loved. He and Oscar Hammerstein II decided to write an extra song that Captain von Trapp would sing in the "Kaltzberg Festival" (Salzburg Festival in the film) concert sequence towards the end of the show. As they were writing it, they felt that this song could also utilize the guitar-playing and folk-singing talents of Theodore Bikel, who had been cast as the Captain. The Lindsay and Crouse script provides the metaphor of the simple edelweiss wildflower as a symbol of the Austria that Captain von Trapp, Maria and their children knew would live on in their hearts despite the Nazi annexation of their homeland. The metaphor of this song builds on an earlier scene when Gretl presents a bouquet of edelweiss flowers to Elsa Schraeder during her visit to the von Trapp household. Rodgers provided a simple yet haunting and affecting waltz-time melody to the simple Italian style ritornello lyric that Hammerstein wrote about the appearance of the edelweiss flower. This song turned out to be one of the most beloved songs in the musical, and also one of the best-loved songs of Rodgers and Hammerstein.
This song was the last song that Rodgers and Hammerstein wrote together; Hammerstein was suffering from stomach cancer,[1] which would take his life nine months after The Sound of Music opened on Broadway.
Film adaptation[edit]
Although the stage production uses the song only during the concert sequence, Ernest Lehman's screenplay for the film adaptation uses the song twice. Lehman created a scene that makes extra use of the song. This scene, inspired by a line in the original script by Howard Lindsay and Russel Crouse, calls for Captain von Trapp to sing this song with his children in their family drawing room and rediscover the love he felt for them, with Liesl accompanying him. Lehman also expanded the scope of the song when it was sung in the Salzburg Festival concert scene so that Captain von Trapp and his family would call the crowds to join in the song with him, in defiance of the Nazi soldiers posted around the arena.
Misconceptions about the song[edit]
The great popularity of the song has led many of its audience to believe that it is an Austrian folk song or even the official national anthem.[2] Austria's official anthem is in fact "Land der Berge, Land am Strome" and the anthem used before the Anschluss was "Sei gesegnet ohne Ende." The edelweiss is a popular flower in Austria and was featured on the old 1 Schilling coin. It can also now be seen on the 2 cent Euro coin. The flower is protected in Austria and illegal to pick. An "edelweiss" is also worn as a cap emblem by certain Austrian Army and all German Gebirgsjäger (mountain troopers) units.[3]
There is similar confusion about another song co-authored by Hammerstein, "Ol' Man River" from the musical Show Boat, which is widely (though erroneously) believed to be a Negro spiritual.[4] The similarity in misconception about the two songs has been noted by two writers, both of whom see it as tribute to Hammerstein's talents. Alyson McLamore in her book Musical Theater: An Appreciation writes, "The last song to be written for the show was 'Edelweiss,' a tender little homage to a native flower of Austria that has the effect of authentic Austrian folksong, much as 'Ol' Man River' struck listeners as a genuine African American spiritual."[5] Hugh Fordin in his biography of Oscar Hammerstein speaks of "the ability of the authors to simulate the quality of an authentic folk song... 'Ol' Man River' had the ring of a black laborer's song... Thirty years later, 'Edelweiss' was widely believed to be an old Austrian song, though Oscar... composed it for the Sound of Music."[6]
However, the song Oklahoma from the musical Oklahoma! was later adopted as the official state song of Oklahoma in 1953.[7]
Theodore Bikel, in his autobiography, Theo (2002), wrote that, after performances, he was approached by native Austrians who said they were delighted to hear that old folk tune again.
American church use[edit]
During the 1970s in the United States, the song became a popular tune with which to sing the benediction in some Christian churches. At a United Methodist Women's Conference, revised lyrics for the song were handed out with instructions stating that the benediction was to be sung to the tune of "Edelweiss". The trend spread quickly across different denominations of Christianity, and it is still very common to hear the benedictory lyrics ("May the Lord, Mighty God") sung to an organ or piano accompaniment of the song from the Sound of Music. Error: no page names specified (help).
Versions[edit]


 This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014)
Theodore Bikel, who originated the role of Captain von Trapp on Broadway, performed Edelweiss (as a duet with Mary Martin) on the original cast album, and included it in his album, In My Own Lifetime - 12 Musical Theater Classics.
Playback singer Bill Lee dubbed the singing voice of Christopher Plummer as Captain von Trapp in the 1965 film adaptation, and its soundtrack album, which included this song.
Josephine Siao Fong-Fong (蕭芳芳) performed a Chinese version of the song in the 1967 film, Lightning Killer (閃電煞星).[8][9]
The Belgian performer Michael Junior performed this song in his concerts.
German Americans play the same tune every year during the Oktoberfest in Hard Bargain Farm, Maryland, with the ringing of cowbells.
A slightly altered version of the song has been sung by Shamrock Rovers supporters since the 1960s.
The English singer Vince Hill reached #2 in the UK Singles Chart in 1967 with his cover version of the track.[10]
The Canadian singer Sarah Slean has performed the song as a singalong in her concerts.
Linda Eder recorded a version of the song for her 2003 album, Broadway, My Way.
10-year-old Hollie Steel performed the song on the third series of Britain's Got Talent and infamously broke down half way through due to nerves.[11] It is also due to be her second single, for her album, Hollie, which was released on 29 March 2010.
Elaine Paige recorded the song for her 2006 album, Essential Musicals.
The virtual singer Megurine Luka performed this song.
The song was featured in a comedy skit performed by Seth MacFarlane and Alex Borstein on Seth and Alex's Almost Live Comedy Show, in which Borstein opposes MacFarlane's singing of the song, only to be jokingly reminded that, as a result of the Holocaust, Borstein's only competition as a female Jewish comedian in Hollywood is Sarah Silverman. Borstein then joins MacFarlane in singing the song.
Bryn Terfel has included this song in his 1996 Rodgers & Hammerstein album, Something Wonderful: Bryn Terfel Sings Rodgers and Hammerstein.
Julie Andrews has recorded it for her Richard Rodgers tribute album Broadway: The Music of Richard Rodgers.
Iranian singer Farhad Mehrad performed it in both Persian and English in opposition to Iran's post-revolutionary regime, pointing the similarities between Iran after revolution and Austria under Nazi occupation.
Austrian singers, Sigrid & Marina made a recording of the song in 2009.
André Rieu has recorded his own arrangement and released it on his 2002 album, Dreaming.
Tanya Donelly, best known for her work with Throwing Muses, The Breeders, and Belly (band) recorded a version of the song which was self-released as a free download on her website, circa 2001.
Joe Junior and Sire Ma performed this song in their roles as Louis Kim and Kim Yee-Wah respectively in TVB's 2012 series Bullet Brain.
The Voice Australia contestant Celia Pavey performed and recorded Edelweiss in May 2013.
Andy Conaghan recorded the song for ABC Classics as part of a compilation album, I Dreamed a Dream: The Hit Songs of Broadway in 2013.[12]
Stephen Moyer performed the song as part of his role as Captain Georg von Trapp during the December 2013 television broadcast of The Sound of Music Live! on NBC.
The song is frequently performed by The von Trapps, the real life great-grandchildren of the Captain and Maria. It appears on their A Capella album and on their 2014 album, the latter of which is also a duet with Charmian Carr (who played Liesl in the movie).
The song is used as the opening title sequence music for the Amazon Original Series The Man in the High Castle, sung with a faint German accent
Singer/Songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
Legal problems[edit]
The estates of Rodgers and Hammerstein have not authorized the use of alternative lyrics with the melody of the song, making certain commercial uses of those versions potentially illegal if they do not fall under fair use. Rodgers stated that "he would take legal action against any group" using the "Edelweiss" melody with altered words;[13] the current rightsholders comply with his wishes, refusing to grant permission for these commercial requests, which are "inconsistent with the creators' intentions".[14]
References[edit]
1.Jump up ^ "Oscar Hammerstein II Is Dead". The New York Times. August 23, 1960. p. 1. Retrieved February 10, 2014.
2.Jump up ^ "How Do You Solve a Problem Like Maria". BBC. November 7, 2006. Retrieved February 10, 2014.
3.Jump up ^ Meriam, Ray (1999). Gebirgsjaeger: Germany's Mountain Troops. World War II Arsenal 3. Merriam Press. p. 44. ISBN 1576381633.
4.Jump up ^ Steyn, Mark (December 5, 1997). "Where Have You Gone, Oscar Hammerstein?". Slate. Retrieved February 10, 2014.
5.Jump up ^ McLamore, Alyson (2004). Musical theater: an appreciation. Pearson Prentice Hall. p. 156. ISBN 0-13-048583-7.
6.Jump up ^ Fordin, Hugh (1995). Getting to know him: a biography of Oscar Hammerstein II. Da Capo Press. p. 102. ISBN 0-306-80668-1.
7.Jump up ^ http://www.oscn.net/applications/OCISWeb/DeliverDocument.asp?CiteID=73389
8.Jump up ^ 閃電煞星 (全片) on YouTube
9.Jump up ^ 閃電煞星 (1967) Lightning Killer
10.Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 253. ISBN 1-904994-10-5.
11.Jump up ^ Hollie Steel - 1st + 2nd Attempts, Britain's Got Talent Semi-Final on YouTube
12.Jump up ^ "I Dreamed A Dream – Hit Songs of Broadway". ABC. Retrieved 14 June 2013.
13.Jump up ^ McIntyre, Dean (2001). "The Edelweiss Benediction: It’s Still Against the Law". General Board of Discipleship. The United Methodist Church. Retrieved April 28, 2015.
14.Jump up ^ Dan Benedict, Jr. (1999). ""Edelweiss" - A Song We Love But Must Not Abuse". General Board of Discipleship. The United Methodist Church. Retrieved April 28, 2015.
External links[edit]
"The Sound of Music sheet music notation, lyrics, tabs, guitar chords". EdelweissGuitarTabs.com. Archived from the original on May 8, 2010. Retrieved April 28, 2015. Officially licensed with copyright.


[show]
v ·
 t ·
 e
 
Rodgers and Hammerstein








































































































[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers










































  


Categories: 1959 songs
Harry Connick, Jr. songs
Hollie Steel songs
Songs from The Sound of Music
Songs with music by Richard Rodgers
Songs with lyrics by Oscar Hammerstein II
The Sound of Music






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http://en.wikipedia.org/wiki/Edelweiss_(song)










Edelweiss (song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For other uses, see Edelweiss (disambiguation).

"Edelweiss"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers



 The Edelweiss white flower
Leontopodium alpinum
"Edelweiss" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. It is named after the edelweiss, a white flower found high in the Alps (Leontopodium alpinum). It was created for the 1959 Broadway production of The Sound of Music in the role originated by performer Theodore Bikel as a song for the character of Captain Georg Ludwig von Trapp. In the musical Captain von Trapp and his family sing this song during the concert near the end of Act II as a statement of Austrian patriotism in the face of the pressure put upon him to join the navy of Nazi Germany following the Anschluss. It is also Captain von Trapp's subliminal goodbye to his beloved homeland, using the flower as a symbol of his loyalty to Austria. In the 1965 film adaptation, the song is also sung by the Captain earlier in the film as he rediscovers music with his children.


Contents  [hide]
1 Writing of the song
2 Film adaptation
3 Misconceptions about the song
4 American church use
5 Versions
6 Legal problems
7 References
8 External links

Writing of the song[edit]
While The Sound of Music was in tryouts in Boston, Richard Rodgers felt Captain von Trapp should have a song with which he would bid farewell to the Austria he knew and loved. He and Oscar Hammerstein II decided to write an extra song that Captain von Trapp would sing in the "Kaltzberg Festival" (Salzburg Festival in the film) concert sequence towards the end of the show. As they were writing it, they felt that this song could also utilize the guitar-playing and folk-singing talents of Theodore Bikel, who had been cast as the Captain. The Lindsay and Crouse script provides the metaphor of the simple edelweiss wildflower as a symbol of the Austria that Captain von Trapp, Maria and their children knew would live on in their hearts despite the Nazi annexation of their homeland. The metaphor of this song builds on an earlier scene when Gretl presents a bouquet of edelweiss flowers to Elsa Schraeder during her visit to the von Trapp household. Rodgers provided a simple yet haunting and affecting waltz-time melody to the simple Italian style ritornello lyric that Hammerstein wrote about the appearance of the edelweiss flower. This song turned out to be one of the most beloved songs in the musical, and also one of the best-loved songs of Rodgers and Hammerstein.
This song was the last song that Rodgers and Hammerstein wrote together; Hammerstein was suffering from stomach cancer,[1] which would take his life nine months after The Sound of Music opened on Broadway.
Film adaptation[edit]
Although the stage production uses the song only during the concert sequence, Ernest Lehman's screenplay for the film adaptation uses the song twice. Lehman created a scene that makes extra use of the song. This scene, inspired by a line in the original script by Howard Lindsay and Russel Crouse, calls for Captain von Trapp to sing this song with his children in their family drawing room and rediscover the love he felt for them, with Liesl accompanying him. Lehman also expanded the scope of the song when it was sung in the Salzburg Festival concert scene so that Captain von Trapp and his family would call the crowds to join in the song with him, in defiance of the Nazi soldiers posted around the arena.
Misconceptions about the song[edit]
The great popularity of the song has led many of its audience to believe that it is an Austrian folk song or even the official national anthem.[2] Austria's official anthem is in fact "Land der Berge, Land am Strome" and the anthem used before the Anschluss was "Sei gesegnet ohne Ende." The edelweiss is a popular flower in Austria and was featured on the old 1 Schilling coin. It can also now be seen on the 2 cent Euro coin. The flower is protected in Austria and illegal to pick. An "edelweiss" is also worn as a cap emblem by certain Austrian Army and all German Gebirgsjäger (mountain troopers) units.[3]
There is similar confusion about another song co-authored by Hammerstein, "Ol' Man River" from the musical Show Boat, which is widely (though erroneously) believed to be a Negro spiritual.[4] The similarity in misconception about the two songs has been noted by two writers, both of whom see it as tribute to Hammerstein's talents. Alyson McLamore in her book Musical Theater: An Appreciation writes, "The last song to be written for the show was 'Edelweiss,' a tender little homage to a native flower of Austria that has the effect of authentic Austrian folksong, much as 'Ol' Man River' struck listeners as a genuine African American spiritual."[5] Hugh Fordin in his biography of Oscar Hammerstein speaks of "the ability of the authors to simulate the quality of an authentic folk song... 'Ol' Man River' had the ring of a black laborer's song... Thirty years later, 'Edelweiss' was widely believed to be an old Austrian song, though Oscar... composed it for the Sound of Music."[6]
However, the song Oklahoma from the musical Oklahoma! was later adopted as the official state song of Oklahoma in 1953.[7]
Theodore Bikel, in his autobiography, Theo (2002), wrote that, after performances, he was approached by native Austrians who said they were delighted to hear that old folk tune again.
American church use[edit]
During the 1970s in the United States, the song became a popular tune with which to sing the benediction in some Christian churches. At a United Methodist Women's Conference, revised lyrics for the song were handed out with instructions stating that the benediction was to be sung to the tune of "Edelweiss". The trend spread quickly across different denominations of Christianity, and it is still very common to hear the benedictory lyrics ("May the Lord, Mighty God") sung to an organ or piano accompaniment of the song from the Sound of Music. Error: no page names specified (help).
Versions[edit]


 This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014)
Theodore Bikel, who originated the role of Captain von Trapp on Broadway, performed Edelweiss (as a duet with Mary Martin) on the original cast album, and included it in his album, In My Own Lifetime - 12 Musical Theater Classics.
Playback singer Bill Lee dubbed the singing voice of Christopher Plummer as Captain von Trapp in the 1965 film adaptation, and its soundtrack album, which included this song.
Josephine Siao Fong-Fong (蕭芳芳) performed a Chinese version of the song in the 1967 film, Lightning Killer (閃電煞星).[8][9]
The Belgian performer Michael Junior performed this song in his concerts.
German Americans play the same tune every year during the Oktoberfest in Hard Bargain Farm, Maryland, with the ringing of cowbells.
A slightly altered version of the song has been sung by Shamrock Rovers supporters since the 1960s.
The English singer Vince Hill reached #2 in the UK Singles Chart in 1967 with his cover version of the track.[10]
The Canadian singer Sarah Slean has performed the song as a singalong in her concerts.
Linda Eder recorded a version of the song for her 2003 album, Broadway, My Way.
10-year-old Hollie Steel performed the song on the third series of Britain's Got Talent and infamously broke down half way through due to nerves.[11] It is also due to be her second single, for her album, Hollie, which was released on 29 March 2010.
Elaine Paige recorded the song for her 2006 album, Essential Musicals.
The virtual singer Megurine Luka performed this song.
The song was featured in a comedy skit performed by Seth MacFarlane and Alex Borstein on Seth and Alex's Almost Live Comedy Show, in which Borstein opposes MacFarlane's singing of the song, only to be jokingly reminded that, as a result of the Holocaust, Borstein's only competition as a female Jewish comedian in Hollywood is Sarah Silverman. Borstein then joins MacFarlane in singing the song.
Bryn Terfel has included this song in his 1996 Rodgers & Hammerstein album, Something Wonderful: Bryn Terfel Sings Rodgers and Hammerstein.
Julie Andrews has recorded it for her Richard Rodgers tribute album Broadway: The Music of Richard Rodgers.
Iranian singer Farhad Mehrad performed it in both Persian and English in opposition to Iran's post-revolutionary regime, pointing the similarities between Iran after revolution and Austria under Nazi occupation.
Austrian singers, Sigrid & Marina made a recording of the song in 2009.
André Rieu has recorded his own arrangement and released it on his 2002 album, Dreaming.
Tanya Donelly, best known for her work with Throwing Muses, The Breeders, and Belly (band) recorded a version of the song which was self-released as a free download on her website, circa 2001.
Joe Junior and Sire Ma performed this song in their roles as Louis Kim and Kim Yee-Wah respectively in TVB's 2012 series Bullet Brain.
The Voice Australia contestant Celia Pavey performed and recorded Edelweiss in May 2013.
Andy Conaghan recorded the song for ABC Classics as part of a compilation album, I Dreamed a Dream: The Hit Songs of Broadway in 2013.[12]
Stephen Moyer performed the song as part of his role as Captain Georg von Trapp during the December 2013 television broadcast of The Sound of Music Live! on NBC.
The song is frequently performed by The von Trapps, the real life great-grandchildren of the Captain and Maria. It appears on their A Capella album and on their 2014 album, the latter of which is also a duet with Charmian Carr (who played Liesl in the movie).
The song is used as the opening title sequence music for the Amazon Original Series The Man in the High Castle, sung with a faint German accent
Singer/Songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
Legal problems[edit]
The estates of Rodgers and Hammerstein have not authorized the use of alternative lyrics with the melody of the song, making certain commercial uses of those versions potentially illegal if they do not fall under fair use. Rodgers stated that "he would take legal action against any group" using the "Edelweiss" melody with altered words;[13] the current rightsholders comply with his wishes, refusing to grant permission for these commercial requests, which are "inconsistent with the creators' intentions".[14]
References[edit]
1.Jump up ^ "Oscar Hammerstein II Is Dead". The New York Times. August 23, 1960. p. 1. Retrieved February 10, 2014.
2.Jump up ^ "How Do You Solve a Problem Like Maria". BBC. November 7, 2006. Retrieved February 10, 2014.
3.Jump up ^ Meriam, Ray (1999). Gebirgsjaeger: Germany's Mountain Troops. World War II Arsenal 3. Merriam Press. p. 44. ISBN 1576381633.
4.Jump up ^ Steyn, Mark (December 5, 1997). "Where Have You Gone, Oscar Hammerstein?". Slate. Retrieved February 10, 2014.
5.Jump up ^ McLamore, Alyson (2004). Musical theater: an appreciation. Pearson Prentice Hall. p. 156. ISBN 0-13-048583-7.
6.Jump up ^ Fordin, Hugh (1995). Getting to know him: a biography of Oscar Hammerstein II. Da Capo Press. p. 102. ISBN 0-306-80668-1.
7.Jump up ^ http://www.oscn.net/applications/OCISWeb/DeliverDocument.asp?CiteID=73389
8.Jump up ^ 閃電煞星 (全片) on YouTube
9.Jump up ^ 閃電煞星 (1967) Lightning Killer
10.Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 253. ISBN 1-904994-10-5.
11.Jump up ^ Hollie Steel - 1st + 2nd Attempts, Britain's Got Talent Semi-Final on YouTube
12.Jump up ^ "I Dreamed A Dream – Hit Songs of Broadway". ABC. Retrieved 14 June 2013.
13.Jump up ^ McIntyre, Dean (2001). "The Edelweiss Benediction: It’s Still Against the Law". General Board of Discipleship. The United Methodist Church. Retrieved April 28, 2015.
14.Jump up ^ Dan Benedict, Jr. (1999). ""Edelweiss" - A Song We Love But Must Not Abuse". General Board of Discipleship. The United Methodist Church. Retrieved April 28, 2015.
External links[edit]
"The Sound of Music sheet music notation, lyrics, tabs, guitar chords". EdelweissGuitarTabs.com. Archived from the original on May 8, 2010. Retrieved April 28, 2015. Officially licensed with copyright.


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No Way to Stop It

From Wikipedia, the free encyclopedia

Jump to: navigation, search


"No Way to Stop It"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"No Way to Stop It" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music, but not included in the later film version from 1965.[1] It was introduced in the show by Marion Marlowe, Kurt Kasznar and Theodore Bikel. It is sung by Max Detweiler and Elsa Schrader, with Georg von Trapp joining in later in the song.[2] The song is often compared with, and spoken of in conjunction with, fellow The Sound of Music song, "How Can Love Survive?"; in addition to addressing the relationship between Georg and Elsa, the two songs are the only ones which Max and Elsa sing and both were omitted from the film version of the story. The satiric[3] cynical[4] number, which is about "amoral political compromising" (and in fact an anti-protest song), is theorised by Broadway Musicals: A Hundred Year History to be the first-ever rock song to be introduced to a Broadway musical. The book cites its similarity to songs by the Kingston Trio from around that time.[5] The song, along with "How Can Love Survive" (which was also cut from the film), was cited in The Oxford Companion to the American Musical: Theatre, Film, and Television as an example of Rodgers and Hammerstein's "wry sense of sophistication".[6] The American Musical and the Formation of National Identity compares the song to So What? from Cabaret, in that they both "articulate [the] general sense of indifference among many constituencies that would eventually allow the Third Reich to expand its influence beyond the point of return". Both these songs include the theme of obsessive circular motion in order to create a sense of inevitability. In the case of "No Way to Stop It", the lyrical motif is the orbit of various satellites, and by the end of the song, it is implied that "I" is the centre of the universe.[2] As a result of "No Way to Stop It" and the duet "How Can Love Survive" (in which the Captain and the Baroness "attempt to work out their competition and the complexities of a dually rich marriage") being cut from the film, class and political tensions are eliminated, secondary characters become less complex, and Maria and the children become most of the film's focus.[7]


Contents  [hide]
1 Film vs. Musical
2 Context
3 Critical Reception
4 References
5 External links

Film vs. Musical[edit]
In the film, the engagement is called off because Elsa is too rich and powerful, wanting an extravagant life in Vienna, and the Captain, who has fallen in love with Maria, wants a simple life in the country. However in the Broadway musical, Elsa, who has similar political views to Max (refusing to stand up to the Nazis), continually argues with the Captain (who fervently believes he must take a stand) on this issue. The song clearly shows the three's different motivations, and clashes of egos, and becomes a song about Max and Elsa trying to convince Georg to forget about everything going on around him and just to think about himself. The song's circular melody parallels its circular argument. In the end, Georg decides he simply cannot marry a woman with no political convictions. The "political dispute [was essentially replaced] with a solely personal and individual squabble".[8]
Context[edit]
Captain von Trapp has been hearing word that the Anschluss is approaching, and is formulating a method of evading the grasp of the Nazis, who have begun to overrun the country.[9] During this song, the Baroness and Max Detweiler are explaining to him that there is nothing he can do. They think he should be flexible and make the Nazis think that he is on their side. This song is a turning point in the musical for Captain von Trapp, marking the point where he breaks off his relationship with Elsa (the Baroness), leaving him free to marry Maria.
Critical Reception[edit]
##Broadway Musicals: A Hundred Year History refers to the song as a "gem".[5]
##Cambridge Guide to American Theatre described both No Way to Stop It and How Can Love Survive? as having "ironic wit".[10]
References[edit]
1.Jump up ^ Brantley, Ben (2000). The New York Times Theater Reviews 1997-1998. The New York Times Book Co., Inc. p. 244. ISBN 9780815333418. Retrieved July 14, 2012.
2.^ Jump up to: a b Knapp, Raymond (2005). The American Musical and the Formation of National Identity. Princeton University Press. p. 244. ISBN 9780691118642. Retrieved July 14, 2012.
3.Jump up ^ Hischak, Thomas S. (2007). The Rodgers and Hammerstein Encyclopedia. Greenwood Press. p. 259. ISBN 9780313341403. Retrieved July 14, 2012.
4.Jump up ^ Hischak, Thomas S. (2004). Through the Screen Door: What Happened to the Broadway Musical When It Went to Hollywood. Scarecrow Press, Inc. p. 158. ISBN 9780810850187. Retrieved July 15, 2012.
5.^ Jump up to: a b Lewis, David H. (2002). Broadway Musicals: A Hundred Year History. McFarland & Company, Inc., Publishers. p. 70. ISBN 9780786481149. Retrieved July 14, 2012.
6.Jump up ^ Hischak, Thomas S. (2008). The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press. p. 696. ISBN 9780195335330. Retrieved July 14, 2012.
7.Jump up ^ Wolf, Stacy Ellen (2002). A Problem Like Maria: Gender and Sexuality in the American Musical. The University of Michigan Press. p. 227. ISBN 9780472067725. Retrieved July 14, 2012.
8.Jump up ^ Wolf, Stacy Ellen (2002). A Problem Like Maria: Gender and Sexuality in the American Musical. The University of Michigan Press. p. 219. ISBN 9780472067725. Retrieved July 14, 2012.
9.Jump up ^ Miletich, Leo N. (1993). Broadway's Prize-Winning Musicals: An Annotated Guide for Libraries and Audio Collectors. The Haworth Press, Inc. p. 35. ISBN 9781560242888. Retrieved July 15, 2012.
10.Jump up ^ Don B. Wilmeth, Tice L. Miller (1996). Cambridge Guide to American Theatre. Cambridge University Press. p. 360. ISBN 9780521564441. Retrieved July 14, 2012.
External links[edit]
##Analysis of "No Way to Stop It" in "The American Musical and the Performance of Personal Identity"
##Lyrics to No Way to Stop It


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Categories: 1959 songs
Songs from The Sound of Music
Songs with lyrics by Oscar Hammerstein II
Songs with music by Richard Rodgers
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No Way to Stop It

From Wikipedia, the free encyclopedia

Jump to: navigation, search


"No Way to Stop It"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"No Way to Stop It" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music, but not included in the later film version from 1965.[1] It was introduced in the show by Marion Marlowe, Kurt Kasznar and Theodore Bikel. It is sung by Max Detweiler and Elsa Schrader, with Georg von Trapp joining in later in the song.[2] The song is often compared with, and spoken of in conjunction with, fellow The Sound of Music song, "How Can Love Survive?"; in addition to addressing the relationship between Georg and Elsa, the two songs are the only ones which Max and Elsa sing and both were omitted from the film version of the story. The satiric[3] cynical[4] number, which is about "amoral political compromising" (and in fact an anti-protest song), is theorised by Broadway Musicals: A Hundred Year History to be the first-ever rock song to be introduced to a Broadway musical. The book cites its similarity to songs by the Kingston Trio from around that time.[5] The song, along with "How Can Love Survive" (which was also cut from the film), was cited in The Oxford Companion to the American Musical: Theatre, Film, and Television as an example of Rodgers and Hammerstein's "wry sense of sophistication".[6] The American Musical and the Formation of National Identity compares the song to So What? from Cabaret, in that they both "articulate [the] general sense of indifference among many constituencies that would eventually allow the Third Reich to expand its influence beyond the point of return". Both these songs include the theme of obsessive circular motion in order to create a sense of inevitability. In the case of "No Way to Stop It", the lyrical motif is the orbit of various satellites, and by the end of the song, it is implied that "I" is the centre of the universe.[2] As a result of "No Way to Stop It" and the duet "How Can Love Survive" (in which the Captain and the Baroness "attempt to work out their competition and the complexities of a dually rich marriage") being cut from the film, class and political tensions are eliminated, secondary characters become less complex, and Maria and the children become most of the film's focus.[7]


Contents  [hide]
1 Film vs. Musical
2 Context
3 Critical Reception
4 References
5 External links

Film vs. Musical[edit]
In the film, the engagement is called off because Elsa is too rich and powerful, wanting an extravagant life in Vienna, and the Captain, who has fallen in love with Maria, wants a simple life in the country. However in the Broadway musical, Elsa, who has similar political views to Max (refusing to stand up to the Nazis), continually argues with the Captain (who fervently believes he must take a stand) on this issue. The song clearly shows the three's different motivations, and clashes of egos, and becomes a song about Max and Elsa trying to convince Georg to forget about everything going on around him and just to think about himself. The song's circular melody parallels its circular argument. In the end, Georg decides he simply cannot marry a woman with no political convictions. The "political dispute [was essentially replaced] with a solely personal and individual squabble".[8]
Context[edit]
Captain von Trapp has been hearing word that the Anschluss is approaching, and is formulating a method of evading the grasp of the Nazis, who have begun to overrun the country.[9] During this song, the Baroness and Max Detweiler are explaining to him that there is nothing he can do. They think he should be flexible and make the Nazis think that he is on their side. This song is a turning point in the musical for Captain von Trapp, marking the point where he breaks off his relationship with Elsa (the Baroness), leaving him free to marry Maria.
Critical Reception[edit]
##Broadway Musicals: A Hundred Year History refers to the song as a "gem".[5]
##Cambridge Guide to American Theatre described both No Way to Stop It and How Can Love Survive? as having "ironic wit".[10]
References[edit]
1.Jump up ^ Brantley, Ben (2000). The New York Times Theater Reviews 1997-1998. The New York Times Book Co., Inc. p. 244. ISBN 9780815333418. Retrieved July 14, 2012.
2.^ Jump up to: a b Knapp, Raymond (2005). The American Musical and the Formation of National Identity. Princeton University Press. p. 244. ISBN 9780691118642. Retrieved July 14, 2012.
3.Jump up ^ Hischak, Thomas S. (2007). The Rodgers and Hammerstein Encyclopedia. Greenwood Press. p. 259. ISBN 9780313341403. Retrieved July 14, 2012.
4.Jump up ^ Hischak, Thomas S. (2004). Through the Screen Door: What Happened to the Broadway Musical When It Went to Hollywood. Scarecrow Press, Inc. p. 158. ISBN 9780810850187. Retrieved July 15, 2012.
5.^ Jump up to: a b Lewis, David H. (2002). Broadway Musicals: A Hundred Year History. McFarland & Company, Inc., Publishers. p. 70. ISBN 9780786481149. Retrieved July 14, 2012.
6.Jump up ^ Hischak, Thomas S. (2008). The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press. p. 696. ISBN 9780195335330. Retrieved July 14, 2012.
7.Jump up ^ Wolf, Stacy Ellen (2002). A Problem Like Maria: Gender and Sexuality in the American Musical. The University of Michigan Press. p. 227. ISBN 9780472067725. Retrieved July 14, 2012.
8.Jump up ^ Wolf, Stacy Ellen (2002). A Problem Like Maria: Gender and Sexuality in the American Musical. The University of Michigan Press. p. 219. ISBN 9780472067725. Retrieved July 14, 2012.
9.Jump up ^ Miletich, Leo N. (1993). Broadway's Prize-Winning Musicals: An Annotated Guide for Libraries and Audio Collectors. The Haworth Press, Inc. p. 35. ISBN 9781560242888. Retrieved July 15, 2012.
10.Jump up ^ Don B. Wilmeth, Tice L. Miller (1996). Cambridge Guide to American Theatre. Cambridge University Press. p. 360. ISBN 9780521564441. Retrieved July 14, 2012.
External links[edit]
##Analysis of "No Way to Stop It" in "The American Musical and the Performance of Personal Identity"
##Lyrics to No Way to Stop It


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Categories: 1959 songs
Songs from The Sound of Music
Songs with lyrics by Oscar Hammerstein II
Songs with music by Richard Rodgers
The Sound of Music


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Climb Ev'ry Mountain

From Wikipedia, the free encyclopedia

Jump to: navigation, search


"Climb Ev'ry Mountain"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers

"Climb Ev'ry Mountain"

Single by Shirley Bassey

from the album Shirley Bassey

B-side
"Reach for the Stars"
Released
July 1960
Format
7" single
Recorded
1959
Length
3:10
Label
Columbia
Writer(s)
Rodgers and Hammerstein
Shirley Bassey singles chronology

"You'll Never Know"
 (1961) "Climb Ev'ry Mountain"
 (1960) "I'll Get By"
 (1961)

"Climb Ev'ry Mountain" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. Here it is sung at the close of the first act by the Mother Abbess. It is themed as an inspirational piece, to encourage people to take every step towards attaining their dreams.
Background[edit]
This song shares inspirational overtones with the song "You'll Never Walk Alone" from Carousel. They are both sung by the female mentor characters in the shows, and are used to give strength to the protagonists in the story, and both are given powerful reprises at the end of their respective shows. However, as Oscar Hammerstein II was writing the lyrics, it developed its own inspirational overtones along the lines of an earlier Hammerstein song, "There's a Hill Beyond a Hill". He felt that the metaphors of climbing mountains and fording streams better fitted Maria's quest for her spiritual compass.[1] However, the muse behind the song was Sister Gregory, the head of Drama at Rosary College in Illinois. The letters that she sent to Hammerstein and to Mary Martin, the first Maria von Trapp on Broadway, described the parallels between a nun's choice for a religious life and the choices that humans must make to find their purpose and direction in life.[2] When she read the manuscript of the lyrics, she confessed that it "drove [her] to the Chapel" because the lyrics conveyed a "yearning that … ordinary souls feel but cannot communicate."[2]
Although this song has parallels with "You'll Never Walk Alone," the song shares musical similarities with the song "Something Wonderful" from The King and I. Both songs are played at a similar broad tempo, and both songs have accompaniments punctuated by heavy chords in the orchestral score.
The song has often been sung by operatically trained voices in professional stage productions. In the original Broadway production it was sung by Patricia Neway, in the original London production it was sung by Constance Shacklock, and in the original Australian production it was sung by Rosina Raisbeck.
In the original stage play, the Mother Abbess sings the song at the end of the first act. When Ernest Lehman wrote the screenplay for the film adaptation, he shifted the scene so that this song would be the first major song of the second act. When Robert Wise and his film crew were filming this scene, Peggy Wood had some reservations about the words, which she felt were too "pretentious."[3] So they filmed Peggy Wood in silhouette, against the wall of the set for the Mother Abbess' office. However, Peggy Wood's singing voice is ghosted by Margery MacKay, the wife of the rehearsal pianist Harper MacKay, as Wood was not able to sing the high notes of the song.
Cover versions[edit]
Tony Bennett had a very minor hit in 1960 with his recording of the song.
Andy Williams released a version on his 1960 album, The Village of St. Bernadette.
The Fleetwoods released a cover version of the song that can be found on their 1990 album, The Best of The Fleetwoods.
In 1961, Welsh singer Shirley Bassey recorded the song and released it as part of a double A-sided single with "Reach for the Stars." It reached #1 in the UK and remained on the charts for 18 weeks.[4]
In 1989, Sissel Kyrkjebø sang a Norwegian version, "Se Over Fjellet".
Alex Burrall's version can be heard in the 1992 movie The Jacksons: An American Dream. Burrall (portraying Michael Jackson 6–8 years of age) sings the song at a school pageant show.
Christina Aguilera covered the song in 2000 and it's included in her concert DVD My Reflection.
In 2003, Guy Sebastian's interpretation of "Climb Ev'ry Mountain" was seen by TV viewers of Australian Idol season 1 when he performed it on the 1960s theme night. Sebastian went on to win and become the first Australian Idol. In 2004, he recorded "Climb Every Mountain" for the B-side of his #1 single "All I Need Is You".
In 2007, the song was adapted for the "Confidence" television campaign for the National Australia Bank
Australian operatic mezzo-soprano Jacqui Dark sang the song for ABC Classics as part of a compilation album, I Dreamed a Dream: The Hit Songs of Broadway in 2013[5]
American Dad Stan Smith sings this song when he got injured.
Singer/Songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
References[edit]
1.Jump up ^ Maslon, Laurence (2006). The Sound of Music Companion. London: Pavilion Books.
2.^ Jump up to: a b Fordin, Hugh (1995). Getting to Know Him: A Biography of Oscar Hammerstein II. New York: Da Capo Press.
3.Jump up ^ Hirsch, Julia Antopol Hirsch (1993). The Sound of Music: The Making of America's Favourite Movie. Chicago: Contemporary Books.
4.Jump up ^ Chartstats - "Climb Ev'ry Mountain", UK chart run
5.Jump up ^ "I Dreamed A Dream – Songs of Broadway". ABC. Retrieved 14 June 2013.
Preceded by
"Johnny Remember Me" by John Leyton UK number one single
 "Reach for the Stars"/"Climb Ev'ry Mountain"
 by Shirley Bassey
 21 September 1961 (one week) Succeeded by
"Johnny Remember Me" by John Leyton


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Categories: 1959 songs
Andy Williams songs
Columbia Records singles
The Fleetwoods songs
Guy Sebastian songs
Mormon Tabernacle Choir songs
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Songs with lyrics by Oscar Hammerstein II
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Climb Ev'ry Mountain

From Wikipedia, the free encyclopedia

Jump to: navigation, search


"Climb Ev'ry Mountain"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers

"Climb Ev'ry Mountain"

Single by Shirley Bassey

from the album Shirley Bassey

B-side
"Reach for the Stars"
Released
July 1960
Format
7" single
Recorded
1959
Length
3:10
Label
Columbia
Writer(s)
Rodgers and Hammerstein
Shirley Bassey singles chronology

"You'll Never Know"
 (1961) "Climb Ev'ry Mountain"
 (1960) "I'll Get By"
 (1961)

"Climb Ev'ry Mountain" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. Here it is sung at the close of the first act by the Mother Abbess. It is themed as an inspirational piece, to encourage people to take every step towards attaining their dreams.
Background[edit]
This song shares inspirational overtones with the song "You'll Never Walk Alone" from Carousel. They are both sung by the female mentor characters in the shows, and are used to give strength to the protagonists in the story, and both are given powerful reprises at the end of their respective shows. However, as Oscar Hammerstein II was writing the lyrics, it developed its own inspirational overtones along the lines of an earlier Hammerstein song, "There's a Hill Beyond a Hill". He felt that the metaphors of climbing mountains and fording streams better fitted Maria's quest for her spiritual compass.[1] However, the muse behind the song was Sister Gregory, the head of Drama at Rosary College in Illinois. The letters that she sent to Hammerstein and to Mary Martin, the first Maria von Trapp on Broadway, described the parallels between a nun's choice for a religious life and the choices that humans must make to find their purpose and direction in life.[2] When she read the manuscript of the lyrics, she confessed that it "drove [her] to the Chapel" because the lyrics conveyed a "yearning that … ordinary souls feel but cannot communicate."[2]
Although this song has parallels with "You'll Never Walk Alone," the song shares musical similarities with the song "Something Wonderful" from The King and I. Both songs are played at a similar broad tempo, and both songs have accompaniments punctuated by heavy chords in the orchestral score.
The song has often been sung by operatically trained voices in professional stage productions. In the original Broadway production it was sung by Patricia Neway, in the original London production it was sung by Constance Shacklock, and in the original Australian production it was sung by Rosina Raisbeck.
In the original stage play, the Mother Abbess sings the song at the end of the first act. When Ernest Lehman wrote the screenplay for the film adaptation, he shifted the scene so that this song would be the first major song of the second act. When Robert Wise and his film crew were filming this scene, Peggy Wood had some reservations about the words, which she felt were too "pretentious."[3] So they filmed Peggy Wood in silhouette, against the wall of the set for the Mother Abbess' office. However, Peggy Wood's singing voice is ghosted by Margery MacKay, the wife of the rehearsal pianist Harper MacKay, as Wood was not able to sing the high notes of the song.
Cover versions[edit]
Tony Bennett had a very minor hit in 1960 with his recording of the song.
Andy Williams released a version on his 1960 album, The Village of St. Bernadette.
The Fleetwoods released a cover version of the song that can be found on their 1990 album, The Best of The Fleetwoods.
In 1961, Welsh singer Shirley Bassey recorded the song and released it as part of a double A-sided single with "Reach for the Stars." It reached #1 in the UK and remained on the charts for 18 weeks.[4]
In 1989, Sissel Kyrkjebø sang a Norwegian version, "Se Over Fjellet".
Alex Burrall's version can be heard in the 1992 movie The Jacksons: An American Dream. Burrall (portraying Michael Jackson 6–8 years of age) sings the song at a school pageant show.
Christina Aguilera covered the song in 2000 and it's included in her concert DVD My Reflection.
In 2003, Guy Sebastian's interpretation of "Climb Ev'ry Mountain" was seen by TV viewers of Australian Idol season 1 when he performed it on the 1960s theme night. Sebastian went on to win and become the first Australian Idol. In 2004, he recorded "Climb Every Mountain" for the B-side of his #1 single "All I Need Is You".
In 2007, the song was adapted for the "Confidence" television campaign for the National Australia Bank
Australian operatic mezzo-soprano Jacqui Dark sang the song for ABC Classics as part of a compilation album, I Dreamed a Dream: The Hit Songs of Broadway in 2013[5]
American Dad Stan Smith sings this song when he got injured.
Singer/Songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
References[edit]
1.Jump up ^ Maslon, Laurence (2006). The Sound of Music Companion. London: Pavilion Books.
2.^ Jump up to: a b Fordin, Hugh (1995). Getting to Know Him: A Biography of Oscar Hammerstein II. New York: Da Capo Press.
3.Jump up ^ Hirsch, Julia Antopol Hirsch (1993). The Sound of Music: The Making of America's Favourite Movie. Chicago: Contemporary Books.
4.Jump up ^ Chartstats - "Climb Ev'ry Mountain", UK chart run
5.Jump up ^ "I Dreamed A Dream – Songs of Broadway". ABC. Retrieved 14 June 2013.
Preceded by
"Johnny Remember Me" by John Leyton UK number one single
 "Reach for the Stars"/"Climb Ev'ry Mountain"
 by Shirley Bassey
 21 September 1961 (one week) Succeeded by
"Johnny Remember Me" by John Leyton


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The Lonely Goatherd

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2008)

"The Lonely Goatherd"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"The Lonely Goatherd" is a popular show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music that makes use of yodeling.
The song is well known for its examples of yodeling, a part of the traditional music of the Austrian Alps, where the musical is set.
Background[edit]
This song tells the whimsical story of a goatherd whose yodelling is heard from far off and by passers-by, until he falls in love with a girl who wears a pale-pink coat, with her mother joining in the yodelling. The original 1959 musical has this as the song Maria (played by Mary Martin) sings to comfort the Von Trapp children during a storm.
For the 1965 film adaptation, screenwriter Ernest Lehman repositioned this song to a later part of the film wherein Maria (played by Julie Andrews) and the children sing it as part of a marionette show they perform for their father. The song in place of "The Lonely Goatherd" was "My Favorite Things", which was originally sung earlier in the original musical at the office of the Mother Abbess as a duet between her and Maria, just before she gets sent to serve Captain von Trapp's family as governess to his seven children.
While many stage productions retain the original order as used in the 1959 musical, many other productions have also adapted the changes made in the film, shifting "The Lonely Goatherd" to another scene and adding "My Favorite Things" in its place. In the 1981 West End revival with Petula Clark, Maria and the children sing it at a fair, and in the 1998 Broadway revival with Rebecca Luker it is sung at the Salzburg Festival concert, replacing what would have been an intricate Bach-sounding reprise of "Do Re Mi", showing how exemplary the Von Trapp children were at singing difficult choral compositions. Here, the vocal arrangements were by Jeanine Tesori, giving the audience an idea of how versatile they were.
In the 2013 NBC broadcast of The Sound of Music Live!, it was once again used as it was in the original 1959 production.
The lively number reappears later in both the original stage version, the film version and the 2013 NBC special broadcast as a deliberately paced and very Austrian-sounding instrumental, the Ländler, a dance performed by the Captain and Maria. It then serves as the catalyst to a dramatic juncture in the film, as the young apprentice nun Maria realizes that she is in love with the Captain.
The famous marionette puppetry sequence in the film was produced and performed by the leading puppeteers of the day, Bil Baird and Cora Eisenberg.
According to The Sound of Music Companion, Hammerstein had come up with several phrases to rhyme with the word goatherd, such as "remote heard", "throat heard", "moat heard", etc. to add enjoyment to the song.
In popular culture[edit]
Julie Andrews performed this song with The Muppets as the opening number to her guest appearance on The Muppet Show in 1977.
In 1984 "Weird Al" Yankovic included a reference to the song in Polkas on 45 on his album In 3-D (1984).
In The Story of Tracy Beaker episode "Miss You" from Series 1, Mike is reminiscing about good times with his guitar. We later see him fantasising about taking the Dumping Ground kids camping and in this fantasy we see him singing/playing The Lonely Goatherd.
In 2006 Gwen Stefani sampled the song in "Wind It Up" on her album The Sweet Escape.
The song was also used briefly in a special Shrek short/Thriller music video featured on the Nintendo 3DS, and was remixed for the credits.
The song is frequently performed by The von Trapps, the real life great-grandchildren of the Captain and Maria, and appears on their album, Dream a Little Dream, released on March 4, 2014.


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The Lonely Goatherd

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2008)

"The Lonely Goatherd"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"The Lonely Goatherd" is a popular show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music that makes use of yodeling.
The song is well known for its examples of yodeling, a part of the traditional music of the Austrian Alps, where the musical is set.
Background[edit]
This song tells the whimsical story of a goatherd whose yodelling is heard from far off and by passers-by, until he falls in love with a girl who wears a pale-pink coat, with her mother joining in the yodelling. The original 1959 musical has this as the song Maria (played by Mary Martin) sings to comfort the Von Trapp children during a storm.
For the 1965 film adaptation, screenwriter Ernest Lehman repositioned this song to a later part of the film wherein Maria (played by Julie Andrews) and the children sing it as part of a marionette show they perform for their father. The song in place of "The Lonely Goatherd" was "My Favorite Things", which was originally sung earlier in the original musical at the office of the Mother Abbess as a duet between her and Maria, just before she gets sent to serve Captain von Trapp's family as governess to his seven children.
While many stage productions retain the original order as used in the 1959 musical, many other productions have also adapted the changes made in the film, shifting "The Lonely Goatherd" to another scene and adding "My Favorite Things" in its place. In the 1981 West End revival with Petula Clark, Maria and the children sing it at a fair, and in the 1998 Broadway revival with Rebecca Luker it is sung at the Salzburg Festival concert, replacing what would have been an intricate Bach-sounding reprise of "Do Re Mi", showing how exemplary the Von Trapp children were at singing difficult choral compositions. Here, the vocal arrangements were by Jeanine Tesori, giving the audience an idea of how versatile they were.
In the 2013 NBC broadcast of The Sound of Music Live!, it was once again used as it was in the original 1959 production.
The lively number reappears later in both the original stage version, the film version and the 2013 NBC special broadcast as a deliberately paced and very Austrian-sounding instrumental, the Ländler, a dance performed by the Captain and Maria. It then serves as the catalyst to a dramatic juncture in the film, as the young apprentice nun Maria realizes that she is in love with the Captain.
The famous marionette puppetry sequence in the film was produced and performed by the leading puppeteers of the day, Bil Baird and Cora Eisenberg.
According to The Sound of Music Companion, Hammerstein had come up with several phrases to rhyme with the word goatherd, such as "remote heard", "throat heard", "moat heard", etc. to add enjoyment to the song.
In popular culture[edit]
Julie Andrews performed this song with The Muppets as the opening number to her guest appearance on The Muppet Show in 1977.
In 1984 "Weird Al" Yankovic included a reference to the song in Polkas on 45 on his album In 3-D (1984).
In The Story of Tracy Beaker episode "Miss You" from Series 1, Mike is reminiscing about good times with his guitar. We later see him fantasising about taking the Dumping Ground kids camping and in this fantasy we see him singing/playing The Lonely Goatherd.
In 2006 Gwen Stefani sampled the song in "Wind It Up" on her album The Sweet Escape.
The song was also used briefly in a special Shrek short/Thriller music video featured on the Nintendo 3DS, and was remixed for the credits.
The song is frequently performed by The von Trapps, the real life great-grandchildren of the Captain and Maria, and appears on their album, Dream a Little Dream, released on March 4, 2014.


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Songs from The Sound of Music
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Sixteen Going on Seventeen

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Jump to: navigation, search


"Sixteen Going on Seventeen"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"Sixteen Going on Seventeen" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music.


Contents  [hide]
1 Background
2 State Farm Remix
3 In popular culture
4 References

Background[edit]
The lyrics of the song state that Liesl is a young girl at the beginning of her womanhood, and that she can depend on Rolf for guidance, because he is a good year older. Since the comparative maturity of the two characters in the story is the opposite of that expressed in the song, this is an example of lyrical irony.
A reprise of "Sixteen Going on Seventeen" is also sung by Maria and Liesl when the Captain and Maria come back from their honeymoon and Rolf has rejected Liesl. The introduction for the reprise, written to be sung by Maria, was not included in the film version of The Sound of Music,[1] but continues to be used in theatrical versions of the musical.
"A bell is no bell 'til you ring it,
 A song is no song 'til you sing it,
 And love in your heart
 Wasn’t put there to stay -
Love isn’t love
 'Til you give it away."[2][3]

Songwriters Don Roth and Timmy Tappan borrowed heavily from Hammerstein's introduction to the reprise in "Love Isn't Love ('Til You Give It Away)", which was a song covered by Reba McEntire on her Behind the Scene album:
 "A smile's not a smile until it wrinkles your face
 A bell's not a bell without ringing
 A home's not a home when there's nobody there
 A song's not a song without singing.

"Love isn't love till you give it away
 Love isn't love till it's free
 The love in your heart
 Wasn't put there to stay
 Oh love isn't love till you give it away."[4]
In the motion picture version, the song was filmed in and around a gazebo which is still visited by hundreds of tourists each day doing "Sound of Music" tours around Salzburg though the gazebo interiors were filmed in Hollywood.
State Farm Remix[edit]
State Farm Insurance released an ad campaign featuring a remix of the show tune as a rock song. It was produced by the audio production firm Modern Music.
In popular culture[edit]
This song was used twice on Family Guy. The song is heard in the episode "Family Gay"[5] and Lois sings the song to her daughter Meg in the episode "Peter's Two Dads," trying to guess how old she is.
The song was reimagined by Dawn French and Jennifer Saunders in an episode of their sketch show French and Saunders where, as one of several sketches based on the movie, the two sit in the gazebo singing the lyrics "I am French/And you are Saunders".[citation needed]
The song was used as the outro music for "Tea Leaves," a fifth-season episode of the US television series Mad Men.[6]
The song was used in the 1996 British film Beautiful Thing. On the second night they share a bed, Jamie kisses Ste for the first time, and the song is heard playing at the end of the scene. The song continues playing through to the following scenes.
On May 4, 2000, Julia Louis-Dreyfus was a guest on the Late Show with David Letterman, ending her visit on the show by performing a rendition of the song with fellow Seinfeld co-star, Jerry Seinfeld himself.
Seohyun of Korean pop group Girls' Generation did a cover of it for their "Into the New World tour". It was later put on the tour album.
It is a part of the play in The Pacifier (starring Vin Diesel).
References[edit]
1.Jump up ^ "Sixteen Going On Seventeen reprise". Retrieved 30 April 2013.
2.Jump up ^ "Reprise: Sixteen Going on Seventeen". Retrieved 30 April 2013.
3.Jump up ^ "Sixteen Going on Seventeen (Reprise)".
4.Jump up ^ "Cowboy Lyrics". Love Isn't Love ('Til You Give It Away). Retrieved 30 April 2013.
5.Jump up ^ "Family Gay". Family Guy. Season 7. Episode 8. March 8, 2009.
6.Jump up ^ http://www.mtv.com/news/articles/1682246/mad-men-betty.jhtml


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Sixteen Going on Seventeen

From Wikipedia, the free encyclopedia

Jump to: navigation, search


"Sixteen Going on Seventeen"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"Sixteen Going on Seventeen" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music.


Contents  [hide]
1 Background
2 State Farm Remix
3 In popular culture
4 References

Background[edit]
The lyrics of the song state that Liesl is a young girl at the beginning of her womanhood, and that she can depend on Rolf for guidance, because he is a good year older. Since the comparative maturity of the two characters in the story is the opposite of that expressed in the song, this is an example of lyrical irony.
A reprise of "Sixteen Going on Seventeen" is also sung by Maria and Liesl when the Captain and Maria come back from their honeymoon and Rolf has rejected Liesl. The introduction for the reprise, written to be sung by Maria, was not included in the film version of The Sound of Music,[1] but continues to be used in theatrical versions of the musical.
"A bell is no bell 'til you ring it,
 A song is no song 'til you sing it,
 And love in your heart
 Wasn’t put there to stay -
Love isn’t love
 'Til you give it away."[2][3]

Songwriters Don Roth and Timmy Tappan borrowed heavily from Hammerstein's introduction to the reprise in "Love Isn't Love ('Til You Give It Away)", which was a song covered by Reba McEntire on her Behind the Scene album:
 "A smile's not a smile until it wrinkles your face
 A bell's not a bell without ringing
 A home's not a home when there's nobody there
 A song's not a song without singing.

"Love isn't love till you give it away
 Love isn't love till it's free
 The love in your heart
 Wasn't put there to stay
 Oh love isn't love till you give it away."[4]
In the motion picture version, the song was filmed in and around a gazebo which is still visited by hundreds of tourists each day doing "Sound of Music" tours around Salzburg though the gazebo interiors were filmed in Hollywood.
State Farm Remix[edit]
State Farm Insurance released an ad campaign featuring a remix of the show tune as a rock song. It was produced by the audio production firm Modern Music.
In popular culture[edit]
This song was used twice on Family Guy. The song is heard in the episode "Family Gay"[5] and Lois sings the song to her daughter Meg in the episode "Peter's Two Dads," trying to guess how old she is.
The song was reimagined by Dawn French and Jennifer Saunders in an episode of their sketch show French and Saunders where, as one of several sketches based on the movie, the two sit in the gazebo singing the lyrics "I am French/And you are Saunders".[citation needed]
The song was used as the outro music for "Tea Leaves," a fifth-season episode of the US television series Mad Men.[6]
The song was used in the 1996 British film Beautiful Thing. On the second night they share a bed, Jamie kisses Ste for the first time, and the song is heard playing at the end of the scene. The song continues playing through to the following scenes.
On May 4, 2000, Julia Louis-Dreyfus was a guest on the Late Show with David Letterman, ending her visit on the show by performing a rendition of the song with fellow Seinfeld co-star, Jerry Seinfeld himself.
Seohyun of Korean pop group Girls' Generation did a cover of it for their "Into the New World tour". It was later put on the tour album.
It is a part of the play in The Pacifier (starring Vin Diesel).
References[edit]
1.Jump up ^ "Sixteen Going On Seventeen reprise". Retrieved 30 April 2013.
2.Jump up ^ "Reprise: Sixteen Going on Seventeen". Retrieved 30 April 2013.
3.Jump up ^ "Sixteen Going on Seventeen (Reprise)".
4.Jump up ^ "Cowboy Lyrics". Love Isn't Love ('Til You Give It Away). Retrieved 30 April 2013.
5.Jump up ^ "Family Gay". Family Guy. Season 7. Episode 8. March 8, 2009.
6.Jump up ^ http://www.mtv.com/news/articles/1682246/mad-men-betty.jhtml


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Songs from The Sound of Music
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Do-Re-Mi

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This article is about the song from The Sound of Music. For the syllables of the major scale, see Solfège . For other uses, see Do Re Mi (disambiguation).

"Do-Re-Mi"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"Do-Re-Mi" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. Within the story, it is used by Maria to teach the notes of the major musical scale to the Von Trapp children who learn to sing for the first time, even though their father has disallowed frivolity after their mother's death. Each syllable of the musical solfège system appears in the song's lyrics, sung on the pitch it names. Rodgers was helped in its creation by long-time arranger Trude Rittmann who devised the extended vocal sequence in the song. According to assistant conductor Peter Howard, the heart of the number - in which Maria assigns a musical tone to each child, like so many Swiss bell ringers - was devised in rehearsal by Rittmann (who was credited for choral arrangements) and choreographer Joe Layton. The fourteen note and tune lyric - 'when you know the notes to sing . . .' - were provided by Rodgers and Hammerstein; the rest, apparently, came from Rittmann. Howard: 'Rodgers allowed her to do whatever she liked. When we started doing the staging of it, Joe took over. He asked Trude for certain parts to be repeated, certain embellishments.'[1]
In the stage version, Maria sings this song in the living room of Captain von Trapp's house, shortly after she introduces herself to the children. However, when Ernest Lehman adapted the stage script into a screenplay for the 1965 film adaptation, he moved the song to later on in the story. In the film, Maria and the children sing this song over a montage as they wander and frolic over Salzburg. Later on, in both the film and stage versions, a more intricate reprise of the song is sung in the style of a Bach cantata, showing the audience how versatile they were at multi-part choral singing.
The tune finished at #88 in AFI's 100 Years...100 Songs survey of the top tunes in American cinema in 2004.


Contents  [hide]
1 Word meanings
2 In popular culture
3 See also
4 References
5 External links

Word meanings[edit]
(For the actual origins of the solfège, refer to Solfège.)
The lyrics teach the solfege syllables by linking them with English homophones (or near-homophones):
##Do refers to Doe, defined as the female of a deer or related animal, "a deer, a female deer."
##Re refers to Ray, defined as a thin line or narrow beam of light or other radiant energy, "a drop of golden sun."
##Mi refers to Me, the objective pronoun referring to the speaker, "a name I call myself."
##Fa refers to Far, defined as to or at the most distant or remote point, "a long long way to run".
##Sol (pronounced as So in the song and in popular culture) refers to Sew, to work with a needle and thread or with a sewing machine, "a needle pulling thread." ('So' is an often-used spoken alternate for the actual corresponding syllable in the solfege system, Sol.)
##La lacks a satisfactory homophone (see below), and the line needs to rhyme with 'Do' because at the end it is 'That will bring us back to 'Do'. (oh-oh-oh), so it is simply "a note to follow so"
##Ti refers to Tea, a popular hot beverage made by steeping tea leaves in boiling water, "a drink with jam and bread."
As the song concludes, "When you know the notes to sing, you can sing most anything'".
Author Douglas Adams noted in his article "Unfinished Business of the Century" that, while each line of the lyric takes the name of a note from the sol-fa scale, and gives its meaning, "La, a note to follow So..." does not fit that pattern and should be considered a placeholder. Adams humorously imagined that Oscar Hammerstein just wrote "A note to follow So" and thought he would have another look at it later, but could not come up with anything better.[2]
In popular culture[edit]
Anita Bryant released a version as a single in 1959 which reached #94 on the Billboard Hot 100.
Alvin and the Chipmunks covered the song for their 1965 album The Chipmunks Sing with Children.
The song was covered by the band Sparks on their album A Woofer in Tweeter's Clothing, where it is transposed to the key of C-sharp.
The song 'Do Re Mi' was translated in Hindi and used in the 1972 Bollywood movie Parichay.
The song was referenced in Madonna's 1992 hit, "Deeper and Deeper" with the line "When you know the notes to sing, you can sing most anything."[citation needed]
The chorus of the song is also regularly sung by football fans of the Scotland national football team, otherwise known as the Tartan Army.[3]
In a scene on the Simpsons episode "Bart Gets an Elephant", Homer crashes into a deer statue and blurts out his famous D'oh!. An upset Lisa says "A deer!", while Marge says "A female deer!". A sequence in a comic book features Sideshow Bob and his brother Cecil singing songs based on musicals, with the lyrics changed to reflect Bob's fantasies of killing Bart Simpson, including a parody of "Do-Re-Mi".
A Japanese version of the song (Do-Re-Mi no Uta), performed by Eri Itoh and the Children's Choir of the Forest, was used as the first opening for Nippon Animation's 1991 anime TV series version of The Story of the Trapp Family Singers, Trapp Ikka Monogatari; however, it was replaced by another song later in the series' run and on all home video releases of the series.[4]
Parodied in Ghostbusters II by Peter Venkman, Ray Stantz, and Egon Spengler when they powered up their proton packs before facing off against the Scoleri Brothers in the courtroom.
See also[edit]
##The alphabet song, which is used to learn the letters of the alphabet.
##Musical scale
##Solfège
##Solresol
##Trapp Family
References[edit]
1.Jump up ^ Suskin, Steven (2009). The sound of Broadway music: a book of orchestrators.
2.Jump up ^ Unfinished Business of the Century - h2g2, Sep. 1999
3.Jump up ^ Oliver, Brian (3 June 2001). "Why aren't England fans like the Tartan Army?". The Observer (Guardian News and Media). Retrieved 16 September 2013.
4.Jump up ^ Video on YouTube
External links[edit]
##Belgian train station video on YouTube


[show]
v ·
 t ·
 e
 
Rodgers and Hammerstein








































































































[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers










































  


Categories: 1959 songs
Anita Bryant songs
Harry Connick, Jr. songs
Scotland national football team songs
Songs from The Sound of Music
Songs with music by Richard Rodgers
Songs with lyrics by Oscar Hammerstein II
The Sound of Music
NHK Kōhaku Uta Gassen songs





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Do-Re-Mi

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Jump to: navigation, search

This article is about the song from The Sound of Music. For the syllables of the major scale, see Solfège . For other uses, see Do Re Mi (disambiguation).

"Do-Re-Mi"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"Do-Re-Mi" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music. Within the story, it is used by Maria to teach the notes of the major musical scale to the Von Trapp children who learn to sing for the first time, even though their father has disallowed frivolity after their mother's death. Each syllable of the musical solfège system appears in the song's lyrics, sung on the pitch it names. Rodgers was helped in its creation by long-time arranger Trude Rittmann who devised the extended vocal sequence in the song. According to assistant conductor Peter Howard, the heart of the number - in which Maria assigns a musical tone to each child, like so many Swiss bell ringers - was devised in rehearsal by Rittmann (who was credited for choral arrangements) and choreographer Joe Layton. The fourteen note and tune lyric - 'when you know the notes to sing . . .' - were provided by Rodgers and Hammerstein; the rest, apparently, came from Rittmann. Howard: 'Rodgers allowed her to do whatever she liked. When we started doing the staging of it, Joe took over. He asked Trude for certain parts to be repeated, certain embellishments.'[1]
In the stage version, Maria sings this song in the living room of Captain von Trapp's house, shortly after she introduces herself to the children. However, when Ernest Lehman adapted the stage script into a screenplay for the 1965 film adaptation, he moved the song to later on in the story. In the film, Maria and the children sing this song over a montage as they wander and frolic over Salzburg. Later on, in both the film and stage versions, a more intricate reprise of the song is sung in the style of a Bach cantata, showing the audience how versatile they were at multi-part choral singing.
The tune finished at #88 in AFI's 100 Years...100 Songs survey of the top tunes in American cinema in 2004.


Contents  [hide]
1 Word meanings
2 In popular culture
3 See also
4 References
5 External links

Word meanings[edit]
(For the actual origins of the solfège, refer to Solfège.)
The lyrics teach the solfege syllables by linking them with English homophones (or near-homophones):
##Do refers to Doe, defined as the female of a deer or related animal, "a deer, a female deer."
##Re refers to Ray, defined as a thin line or narrow beam of light or other radiant energy, "a drop of golden sun."
##Mi refers to Me, the objective pronoun referring to the speaker, "a name I call myself."
##Fa refers to Far, defined as to or at the most distant or remote point, "a long long way to run".
##Sol (pronounced as So in the song and in popular culture) refers to Sew, to work with a needle and thread or with a sewing machine, "a needle pulling thread." ('So' is an often-used spoken alternate for the actual corresponding syllable in the solfege system, Sol.)
##La lacks a satisfactory homophone (see below), and the line needs to rhyme with 'Do' because at the end it is 'That will bring us back to 'Do'. (oh-oh-oh), so it is simply "a note to follow so"
##Ti refers to Tea, a popular hot beverage made by steeping tea leaves in boiling water, "a drink with jam and bread."
As the song concludes, "When you know the notes to sing, you can sing most anything'".
Author Douglas Adams noted in his article "Unfinished Business of the Century" that, while each line of the lyric takes the name of a note from the sol-fa scale, and gives its meaning, "La, a note to follow So..." does not fit that pattern and should be considered a placeholder. Adams humorously imagined that Oscar Hammerstein just wrote "A note to follow So" and thought he would have another look at it later, but could not come up with anything better.[2]
In popular culture[edit]
Anita Bryant released a version as a single in 1959 which reached #94 on the Billboard Hot 100.
Alvin and the Chipmunks covered the song for their 1965 album The Chipmunks Sing with Children.
The song was covered by the band Sparks on their album A Woofer in Tweeter's Clothing, where it is transposed to the key of C-sharp.
The song 'Do Re Mi' was translated in Hindi and used in the 1972 Bollywood movie Parichay.
The song was referenced in Madonna's 1992 hit, "Deeper and Deeper" with the line "When you know the notes to sing, you can sing most anything."[citation needed]
The chorus of the song is also regularly sung by football fans of the Scotland national football team, otherwise known as the Tartan Army.[3]
In a scene on the Simpsons episode "Bart Gets an Elephant", Homer crashes into a deer statue and blurts out his famous D'oh!. An upset Lisa says "A deer!", while Marge says "A female deer!". A sequence in a comic book features Sideshow Bob and his brother Cecil singing songs based on musicals, with the lyrics changed to reflect Bob's fantasies of killing Bart Simpson, including a parody of "Do-Re-Mi".
A Japanese version of the song (Do-Re-Mi no Uta), performed by Eri Itoh and the Children's Choir of the Forest, was used as the first opening for Nippon Animation's 1991 anime TV series version of The Story of the Trapp Family Singers, Trapp Ikka Monogatari; however, it was replaced by another song later in the series' run and on all home video releases of the series.[4]
Parodied in Ghostbusters II by Peter Venkman, Ray Stantz, and Egon Spengler when they powered up their proton packs before facing off against the Scoleri Brothers in the courtroom.
See also[edit]
##The alphabet song, which is used to learn the letters of the alphabet.
##Musical scale
##Solfège
##Solresol
##Trapp Family
References[edit]
1.Jump up ^ Suskin, Steven (2009). The sound of Broadway music: a book of orchestrators.
2.Jump up ^ Unfinished Business of the Century - h2g2, Sep. 1999
3.Jump up ^ Oliver, Brian (3 June 2001). "Why aren't England fans like the Tartan Army?". The Observer (Guardian News and Media). Retrieved 16 September 2013.
4.Jump up ^ Video on YouTube
External links[edit]
##Belgian train station video on YouTube


[show]
v ·
 t ·
 e
 
Rodgers and Hammerstein








































































































[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers










































  


Categories: 1959 songs
Anita Bryant songs
Harry Connick, Jr. songs
Scotland national football team songs
Songs from The Sound of Music
Songs with music by Richard Rodgers
Songs with lyrics by Oscar Hammerstein II
The Sound of Music
NHK Kōhaku Uta Gassen songs





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My Favorite Things (song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2012)

"My Favorite Things"

Song

Published
1959
Composer
Richard Rodgers
Lyricist
Oscar Hammerstein II
Language
English
Recorded by
Mary Martin & Patricia Neway (1959),
John Coltrane (1961-1967),
Julie Andrews (1965),
The Supremes (1965),
Herb Alpert (1968),
Carrie Underwood (2013),
Kelly Clarkson (2013)
 and various others
"My Favorite Things" is a popular show tune, originally from the 1959 Rodgers and Hammerstein musical The Sound of Music.
The song was first sung as a duet between by Maria (played by Mary Martin) and Mother Abbess (Patricia Neway) in the original 1959 Broadway production and by Julie Andrews in The Garry Moore Show's 1961 Christmas special and the 1965 film.


Contents  [hide]
1 Background
2 In popular culture 2.1 John Coltrane
2.2 A Christmas song
2.3 Other cover versions
3 References
4 External links

Background[edit]
In the musical, the lyrics to the song are a reference to things Maria loves, such as "Raindrops on roses and whiskers on kittens, bright copper kettles and warm woolen mittens". These are the things she selects to fill her mind with when times are bad.
The original Broadway musical places this song in the Mother Abbess's office, just before she sends Maria to serve Captain von Trapp's family as governess to his seven children. However, Ernest Lehman, the screenwriter for the film adaptation, repositioned this song so that Maria would sing it with the children during the thunderstorm scene in her bedroom, replacing "The Lonely Goatherd", which had originally been sung at this point. Many stage productions also make this change, shifting "The Lonely Goatherd" to another scene.
The first section of the melody has the distinctive property of using only the notes 1, 2, and 5 (Do, Re, and So) of the scale. Rodgers then harmonized this same section of the melody differently in different stanzas, using a series of minor triads one time and major triads the next.
The happy, optimistic lyrics---"Cream-colored ponies and crisp apple strudel"---are just a counterpoint and cover up an undercurrent of fear. As noted above, the song was written to be sung by a young woman scared of facing new responsibilities outside the convent. In the film script the song is repositioned, with Maria singing it to the von Trapp children during the thunderstorm; but the terror contained in the melody is still the dominant emotion.
The song ends with a borrowed line of lyric and notes from Rodgers' earlier composition with Lorenz Hart, "Glad to Be Unhappy", a standard about finding peace in the midst of unrequited love. Using the same two notes for the phrasing of "so sad" in the original song, Rodgers brings the gloom of my "Favorite Things" to a similar upbeat ending-–-"and then I don't feel so bad."
In 2004 the movie version of "My Favorite Things" finished at #64 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.
In popular culture[edit]
John Coltrane[edit]
Jazz artist John Coltrane did an extended, close to fourteen-minute version in E minor on his 1961 album taken from the title of the song. It became a jazz classic and a signature for Coltrane in concert, also appearing on Newport '63 in 1963, Live at the Half Note: One Down, One Up and New Thing at Newport in 1965, Live at the Village Vanguard Again! and Offering: Live at Temple University in 1966, and The Olatunji Concert: The Last Live Recording in 1967. Coltrane's version differs significantly from the song as originally conceived, using modal patterns and being much darker and more frenzied in feel.
A Christmas song[edit]
The wintertime imagery of the lyrics has made "My Favorite Things" a popular selection during the Christmas Holiday season. It has appeared on many Christmas albums, including:
1964: Jack Jones on his album The Jack Jones Christmas Album
1965: Eddie Fisher on his album Mary Christmas
1965: Diana Ross and the Supremes on their album Merry Christmas
1965: Andy Williams on his album Merry Christmas. He had also done a duet of the song with his wife, Claudine Longet, and premiered it on The Andy Williams Show.
1966: Kenny Burrell on his album Have Yourself a Soulful Little Christmas
1967: Barbra Streisand on her album A Christmas Album
1968: Herb Alpert and the Tijuana Brass on their album Christmas Album. This version became a #45 Billboard 100 hit single the following year.
1968: Tony Bennett on his album Snowfall: The Tony Bennett Christmas Album
1969: Johnny Mathis on his album Give Me Your Love for Christmas
1970: Rick Wilkins and the Mutual Understanding on their album Christmas with Rick Wilkins and the Mutual Understanding
1981: Kenny Rogers on his album Christmas
1984: The Carpenters on their album An Old-Fashioned Christmas
1993: Lorrie Morgan on her album Merry Christmas from London. This version received Christmas airplay in 1994 and again in 1999, bringing it to #64 and #69, respectively, on the Hot Country Songs charts in those years.[1]
1994: The Whispers on their album Christmas Moments
1995: Luther Vandross on his album This Is Christmas
1995: Russ Freeman on his album Holiday
1997: SWV on their album A Special Christmas
2000: Vanessa Williams, Plácido Domingo, and Tony Bennett on their Live concert Christmas special, Our Favorite Things: Christmas in Vienna
2002: Barry Manilow on his album A Christmas Gift of Love
2002: Anita Baker on her album Christmas Fantasy
2004: Dionne Warwick on her album My Favorite Time of Year
2005: The Brian Setzer Orchestra on their album Dig That Crazy Christmas
2005: Kenny G on his album The Greatest Holiday Classics
2005: Rod Stewart on the album Sounds Of The Season
2007: Yolanda Adams on her album What a Wonderful Time
2007: Connie Talbot on her album Over the Rainbow
2009: Family Force 5 on their album Family Force 5 Christmas Pageant
2010: Borgore on his album Borgore Ruined Dubstep, Pt. 1
2011: Deana Martin on her album White Christmas.
2011: Carole King on her album A Holiday Carole
2011: Chicago included a Latin/Brazilian jazz infused version on their album Chicago XXXIII: O Christmas Three
2011: The cast of Glee on Extraordinary Merry Christmas
2012: Avila on their single Curtains, used on Victoria's Secret Holiday Campaign
2013: Kelly Clarkson on her album Wrapped in Red
2013: Jim Brickman on his album The Magic of Christmas
2013: Mary J. Blige on her album A Mary Christmas
Other cover versions[edit]
We Five covered the song on their 1965 album You Were on My Mind (album).
Al Jarreau recorded the song featuring Katheleen Battle in his album released in 2006 titled "Tenderness"
Lauryn Hill recorded a remix of the song in 2012, titled "Black Rage."
Petula Clark recorded the song for a Pye Records Various Artists EP of songs from The Sound of Music in 1961. She subsequently recorded the song again in 1981 for the cast album of the show's London revival which she was then starring in.
In 2013 Diana Vickers did a cover of the song which features in an advert for One Direction's fragrance Our Moment.
Me First & The Gimme Gimmes did a cover version released on their 1999 album Are a Drag.
Outkast recorded the song for their 2003 album Speakerboxxx/The Love Below.
There is an interpretation of the song in the Japanese anime Kids on the Slope.
A humorous and slightly risqué version in Portuguese by Manuel João Vieira appeared in the TV mini-series Um Mundo Catita.
Central Japan Railway Company has used the song covered by Suguru Matsutani in its TV commercial Sōda Kyōto ikō "Let's go to Kyoto" since 1993.
The bridge of "Build God, Then We'll Talk" by Panic! at the Disco satirizes "My Favorite Things".
Soul Jazz pioneer Grant Green covered the song on his 1979 album Matador.
The Lennon Sisters recorded a version that was subsequently used in the opening credits sequence of the 1998 film Fear and Loathing in Las Vegas.
Singer/Songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
References[edit]
1.Jump up ^ Whitburn, Joel (2008). Hot Country Songs 1944 to 2008. Record Research, Inc. p. 287. ISBN 0-89820-177-2.
External links[edit]
Notes, lyrics, mp3s, different versions compared
"My Favorite Things at 50," public radio documentary on the 50th anniversary of John Coltrane's rendition of "My Favorite Things."


[show]
v ·
 t ·
 e
 
Rodgers and Hammerstein








































































































[show]
v ·
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 e
 
Maria von Trapp's The Story of the Trapp Family Singers










































  


Categories: 1959 songs
List songs
American Christmas songs
Jazz compositions in D minor
Jazz compositions in E minor
Songs from The Sound of Music
The Sound of Music





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My Favorite Things (song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2012)

"My Favorite Things"

Song

Published
1959
Composer
Richard Rodgers
Lyricist
Oscar Hammerstein II
Language
English
Recorded by
Mary Martin & Patricia Neway (1959),
John Coltrane (1961-1967),
Julie Andrews (1965),
The Supremes (1965),
Herb Alpert (1968),
Carrie Underwood (2013),
Kelly Clarkson (2013)
 and various others
"My Favorite Things" is a popular show tune, originally from the 1959 Rodgers and Hammerstein musical The Sound of Music.
The song was first sung as a duet between by Maria (played by Mary Martin) and Mother Abbess (Patricia Neway) in the original 1959 Broadway production and by Julie Andrews in The Garry Moore Show's 1961 Christmas special and the 1965 film.


Contents  [hide]
1 Background
2 In popular culture 2.1 John Coltrane
2.2 A Christmas song
2.3 Other cover versions
3 References
4 External links

Background[edit]
In the musical, the lyrics to the song are a reference to things Maria loves, such as "Raindrops on roses and whiskers on kittens, bright copper kettles and warm woolen mittens". These are the things she selects to fill her mind with when times are bad.
The original Broadway musical places this song in the Mother Abbess's office, just before she sends Maria to serve Captain von Trapp's family as governess to his seven children. However, Ernest Lehman, the screenwriter for the film adaptation, repositioned this song so that Maria would sing it with the children during the thunderstorm scene in her bedroom, replacing "The Lonely Goatherd", which had originally been sung at this point. Many stage productions also make this change, shifting "The Lonely Goatherd" to another scene.
The first section of the melody has the distinctive property of using only the notes 1, 2, and 5 (Do, Re, and So) of the scale. Rodgers then harmonized this same section of the melody differently in different stanzas, using a series of minor triads one time and major triads the next.
The happy, optimistic lyrics---"Cream-colored ponies and crisp apple strudel"---are just a counterpoint and cover up an undercurrent of fear. As noted above, the song was written to be sung by a young woman scared of facing new responsibilities outside the convent. In the film script the song is repositioned, with Maria singing it to the von Trapp children during the thunderstorm; but the terror contained in the melody is still the dominant emotion.
The song ends with a borrowed line of lyric and notes from Rodgers' earlier composition with Lorenz Hart, "Glad to Be Unhappy", a standard about finding peace in the midst of unrequited love. Using the same two notes for the phrasing of "so sad" in the original song, Rodgers brings the gloom of my "Favorite Things" to a similar upbeat ending-–-"and then I don't feel so bad."
In 2004 the movie version of "My Favorite Things" finished at #64 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.
In popular culture[edit]
John Coltrane[edit]
Jazz artist John Coltrane did an extended, close to fourteen-minute version in E minor on his 1961 album taken from the title of the song. It became a jazz classic and a signature for Coltrane in concert, also appearing on Newport '63 in 1963, Live at the Half Note: One Down, One Up and New Thing at Newport in 1965, Live at the Village Vanguard Again! and Offering: Live at Temple University in 1966, and The Olatunji Concert: The Last Live Recording in 1967. Coltrane's version differs significantly from the song as originally conceived, using modal patterns and being much darker and more frenzied in feel.
A Christmas song[edit]
The wintertime imagery of the lyrics has made "My Favorite Things" a popular selection during the Christmas Holiday season. It has appeared on many Christmas albums, including:
1964: Jack Jones on his album The Jack Jones Christmas Album
1965: Eddie Fisher on his album Mary Christmas
1965: Diana Ross and the Supremes on their album Merry Christmas
1965: Andy Williams on his album Merry Christmas. He had also done a duet of the song with his wife, Claudine Longet, and premiered it on The Andy Williams Show.
1966: Kenny Burrell on his album Have Yourself a Soulful Little Christmas
1967: Barbra Streisand on her album A Christmas Album
1968: Herb Alpert and the Tijuana Brass on their album Christmas Album. This version became a #45 Billboard 100 hit single the following year.
1968: Tony Bennett on his album Snowfall: The Tony Bennett Christmas Album
1969: Johnny Mathis on his album Give Me Your Love for Christmas
1970: Rick Wilkins and the Mutual Understanding on their album Christmas with Rick Wilkins and the Mutual Understanding
1981: Kenny Rogers on his album Christmas
1984: The Carpenters on their album An Old-Fashioned Christmas
1993: Lorrie Morgan on her album Merry Christmas from London. This version received Christmas airplay in 1994 and again in 1999, bringing it to #64 and #69, respectively, on the Hot Country Songs charts in those years.[1]
1994: The Whispers on their album Christmas Moments
1995: Luther Vandross on his album This Is Christmas
1995: Russ Freeman on his album Holiday
1997: SWV on their album A Special Christmas
2000: Vanessa Williams, Plácido Domingo, and Tony Bennett on their Live concert Christmas special, Our Favorite Things: Christmas in Vienna
2002: Barry Manilow on his album A Christmas Gift of Love
2002: Anita Baker on her album Christmas Fantasy
2004: Dionne Warwick on her album My Favorite Time of Year
2005: The Brian Setzer Orchestra on their album Dig That Crazy Christmas
2005: Kenny G on his album The Greatest Holiday Classics
2005: Rod Stewart on the album Sounds Of The Season
2007: Yolanda Adams on her album What a Wonderful Time
2007: Connie Talbot on her album Over the Rainbow
2009: Family Force 5 on their album Family Force 5 Christmas Pageant
2010: Borgore on his album Borgore Ruined Dubstep, Pt. 1
2011: Deana Martin on her album White Christmas.
2011: Carole King on her album A Holiday Carole
2011: Chicago included a Latin/Brazilian jazz infused version on their album Chicago XXXIII: O Christmas Three
2011: The cast of Glee on Extraordinary Merry Christmas
2012: Avila on their single Curtains, used on Victoria's Secret Holiday Campaign
2013: Kelly Clarkson on her album Wrapped in Red
2013: Jim Brickman on his album The Magic of Christmas
2013: Mary J. Blige on her album A Mary Christmas
Other cover versions[edit]
We Five covered the song on their 1965 album You Were on My Mind (album).
Al Jarreau recorded the song featuring Katheleen Battle in his album released in 2006 titled "Tenderness"
Lauryn Hill recorded a remix of the song in 2012, titled "Black Rage."
Petula Clark recorded the song for a Pye Records Various Artists EP of songs from The Sound of Music in 1961. She subsequently recorded the song again in 1981 for the cast album of the show's London revival which she was then starring in.
In 2013 Diana Vickers did a cover of the song which features in an advert for One Direction's fragrance Our Moment.
Me First & The Gimme Gimmes did a cover version released on their 1999 album Are a Drag.
Outkast recorded the song for their 2003 album Speakerboxxx/The Love Below.
There is an interpretation of the song in the Japanese anime Kids on the Slope.
A humorous and slightly risqué version in Portuguese by Manuel João Vieira appeared in the TV mini-series Um Mundo Catita.
Central Japan Railway Company has used the song covered by Suguru Matsutani in its TV commercial Sōda Kyōto ikō "Let's go to Kyoto" since 1993.
The bridge of "Build God, Then We'll Talk" by Panic! at the Disco satirizes "My Favorite Things".
Soul Jazz pioneer Grant Green covered the song on his 1979 album Matador.
The Lennon Sisters recorded a version that was subsequently used in the opening credits sequence of the 1998 film Fear and Loathing in Las Vegas.
Singer/Songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
References[edit]
1.Jump up ^ Whitburn, Joel (2008). Hot Country Songs 1944 to 2008. Record Research, Inc. p. 287. ISBN 0-89820-177-2.
External links[edit]
Notes, lyrics, mp3s, different versions compared
"My Favorite Things at 50," public radio documentary on the 50th anniversary of John Coltrane's rendition of "My Favorite Things."


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Jazz compositions in E minor
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Maria (Rodgers and Hammerstein song)

From Wikipedia, the free encyclopedia
  (Redirected from Maria (1959 song))
Jump to: navigation, search


"Maria"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"Maria", sometimes known as "How Do You Solve a Problem Like Maria?" is a show tune from the 1959 Rodgers and Hammerstein musical, The Sound of Music.
This song is sung by the nuns at Nonnberg Abbey, who are exasperated with Maria for being too frivolous and frolicsome for the decorous and austere life at the Abbey.
This song gave its title to Andrew Lloyd Webber's reality TV series How Do You Solve a Problem Like Maria?, in which TV viewers voted for a contestant to play the lead role of Maria von Trapp in his London revival of The Sound of Music. Connie Fisher won the TV series and was cast as Maria in the London revival of the show that opened in November 2006 at the London Palladium.
When Oscar Hammerstein II wrote the lyric for this song, he followed the lead from a line in the dialogue that Howard Lindsay and Russel Crouse wrote in their script, describing Maria's flighty ways in the Abbey. In particular, he was taken by the detail of her wearing curlers in her hair under her wimple.[1] Hammerstein asked if he could incorporate their dialogue into the song, and they allowed him to do so because "if you tell a story in a song, it's so much better."[2] When writing the lyric, Hammerstein knew he needed adjectives for the nuns to describe Maria. He admitted that his vocabulary was never big,[3] but the simple adjectives he used to describe Maria's character proved a success.
References[edit]
1.Jump up ^ Maslon, Laurence (2006). The Sound of Music Companion. London: Pavilion Books.
2.Jump up ^ Wilk, Max (2007). The Making of The Sound of Music. New York: Routledge.
3.Jump up ^ Fordin, Hugh (1995). Getting to Know Him: A Biography of Oscar Hammerstein II. New York: Da Capo Press.


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Songs with lyrics by Oscar Hammerstein II
Andy Williams songs
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Maria (Rodgers and Hammerstein song)

From Wikipedia, the free encyclopedia
  (Redirected from Maria (1959 song))
Jump to: navigation, search


"Maria"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
"Maria", sometimes known as "How Do You Solve a Problem Like Maria?" is a show tune from the 1959 Rodgers and Hammerstein musical, The Sound of Music.
This song is sung by the nuns at Nonnberg Abbey, who are exasperated with Maria for being too frivolous and frolicsome for the decorous and austere life at the Abbey.
This song gave its title to Andrew Lloyd Webber's reality TV series How Do You Solve a Problem Like Maria?, in which TV viewers voted for a contestant to play the lead role of Maria von Trapp in his London revival of The Sound of Music. Connie Fisher won the TV series and was cast as Maria in the London revival of the show that opened in November 2006 at the London Palladium.
When Oscar Hammerstein II wrote the lyric for this song, he followed the lead from a line in the dialogue that Howard Lindsay and Russel Crouse wrote in their script, describing Maria's flighty ways in the Abbey. In particular, he was taken by the detail of her wearing curlers in her hair under her wimple.[1] Hammerstein asked if he could incorporate their dialogue into the song, and they allowed him to do so because "if you tell a story in a song, it's so much better."[2] When writing the lyric, Hammerstein knew he needed adjectives for the nuns to describe Maria. He admitted that his vocabulary was never big,[3] but the simple adjectives he used to describe Maria's character proved a success.
References[edit]
1.Jump up ^ Maslon, Laurence (2006). The Sound of Music Companion. London: Pavilion Books.
2.Jump up ^ Wilk, Max (2007). The Making of The Sound of Music. New York: Routledge.
3.Jump up ^ Fordin, Hugh (1995). Getting to Know Him: A Biography of Oscar Hammerstein II. New York: Da Capo Press.


[show]
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Rodgers and Hammerstein








































































































[show]
v ·
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Maria von Trapp's The Story of the Trapp Family Singers










































Stub icon This show tune-related article is a stub. You can help Wikipedia by expanding it.




  


Categories: 1959 songs
Songs with music by Richard Rodgers
Songs with lyrics by Oscar Hammerstein II
Andy Williams songs
Songs from The Sound of Music
The Sound of Music
Show tune stubs




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The Sound of Music (song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2011)

"The Sound of Music"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
“The Sound of Music” is the title song from the 1959 musical The Sound of Music. Its music was composed by Richard Rodgers to lyrics written by Oscar Hammerstein II.


Contents  [hide]
1 Background
2 Performances 2.1 Stage
2.2 Screen
2.3 Cues
2.4 Honors and lists
3 In popular culture
4 References

Background[edit]
One of Rodgers’s and Hammerstein’s favorite singers was the 1950s best-selling female vocalist, Patti Page. They approached Page and her manager Jack Rael to see if the duo would be interested in recording the title song, The Sound of Music, feeling that a well-known artist might give the Broadway musical a little “national” attention. Rael and Page agreed and recorded the song for Mercury Records at Fine Sound Studios in New York on November 16, 1959, the same day The Sound of Music opened on Broadway. Page’s version was recorded a full week before the original Broadway cast entered Columbia Studios to record the cast album. Page not only was thus the first person ever to record any song from the beloved musical but also even showcased the song in an episode of her self-titled nationally televised variety show sponsored by Oldsmobile, bringing national attention to the Rodgers and Hammerstein masterpiece.
Performances[edit]
Stage[edit]
The song was sung by Mary Martin in the 1959 stage musical of the same name. As of the middle of March of 2015, the original-cast album was out of print and had not been reissued in any form.
Screen[edit]
The version of the song which is perhaps the best known was sung by Julie Andrews in the 1965 film version, with a reprise by the Von Trapp family later in the film. The song introduces the character of Maria, a young novice in an Austrian abbey.
Neely Plumb was the music producer of the film's soundtrack album, which incorporated this version.[1]
Cues[edit]
The stage version of the song has a four-line vocal prelude ("My day in the hills has come to an end I know...") followed by the familiar "The hills are alive with the sound of music..." The film soundtrack and the soundtrack album have two different instrumental preludes to "The hills are alive..." both of which contain portions of the original vocal prelude. The cast album to the 1998 Broadway revival contains the four-line prelude as well as the instrumental prelude present in the film version. This version is also the same key as the film version.
Honors and lists[edit]
The song was ranked tenth in the American Film Institute's list of the 100 Greatest Songs in Movie History.
In popular culture[edit]
Italo-American opera/romantic crossover artist Sergio Franchi recorded the song in his 1963 RCA Victor Red Seal album Broadway, I Love You.[2]
In 2007, Grammy-winning and multi-platinum country recording artist Carrie Underwood sang a rendition at the Movies Rock festival; in 2013 Underwood recorded the song for The Sound of Music: Music from the NBC Television Event, and also performed the song acting out the lead role of Maria in The Sound of Music Live!
The song was covered by Hong Kong female singer Kong Ling (江玲), on her LP album Kong Ling with Diamond Records in 1966.
This song is referenced many times in the film Moulin Rouge! The well-known opening line, "the hills are alive with the sound of music," also appears in the movie Yellow Submarine and the TV show Friends.[episode needed]
Australian pop princess Kylie Minogue performed the opening lines at the beginning of her KylieFever2002 Tour and in the film Moulin Rouge!
The Julie Andrews recording from the film features in the 1993 film Addams Family Values.
Renée Zellweger performs the song in the 2004 film Bridget Jones: The Edge of Reason.
Per Gessle, of Roxette, played this song as an opening for his European solo tour The Party Crasher.
JLS sample the song on their 2010 single "The Club Is Alive."
A Simpsons comic book has a section in which Sideshow Bob and his brother Cecil sing parodies of musicals. Some of their songs are based on The Sound of Music, with the original lyrics replaced by ones about killing Bart Simpson. One example: "The hills are alive and they ate Bart Simpson." (This is sung as hills in the background literally belch.)
Japanese voice actress Ayahi Takagaki sang her rendition of this song during her 2013 Relation of Colors series of concert tours.
American singer/songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
References[edit]
1.Jump up ^ Plumb is credited as music producer on the back cover of the soundtrack album's LP version.
2.Jump up ^ http://www.discogs.com/sergio-franchi


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The Sound of Music (song)

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2011)

"The Sound of Music"

Song from The Sound of Music

Published
1959
Writer
Oscar Hammerstein II
Composer
Richard Rodgers
“The Sound of Music” is the title song from the 1959 musical The Sound of Music. Its music was composed by Richard Rodgers to lyrics written by Oscar Hammerstein II.


Contents  [hide]
1 Background
2 Performances 2.1 Stage
2.2 Screen
2.3 Cues
2.4 Honors and lists
3 In popular culture
4 References

Background[edit]
One of Rodgers’s and Hammerstein’s favorite singers was the 1950s best-selling female vocalist, Patti Page. They approached Page and her manager Jack Rael to see if the duo would be interested in recording the title song, The Sound of Music, feeling that a well-known artist might give the Broadway musical a little “national” attention. Rael and Page agreed and recorded the song for Mercury Records at Fine Sound Studios in New York on November 16, 1959, the same day The Sound of Music opened on Broadway. Page’s version was recorded a full week before the original Broadway cast entered Columbia Studios to record the cast album. Page not only was thus the first person ever to record any song from the beloved musical but also even showcased the song in an episode of her self-titled nationally televised variety show sponsored by Oldsmobile, bringing national attention to the Rodgers and Hammerstein masterpiece.
Performances[edit]
Stage[edit]
The song was sung by Mary Martin in the 1959 stage musical of the same name. As of the middle of March of 2015, the original-cast album was out of print and had not been reissued in any form.
Screen[edit]
The version of the song which is perhaps the best known was sung by Julie Andrews in the 1965 film version, with a reprise by the Von Trapp family later in the film. The song introduces the character of Maria, a young novice in an Austrian abbey.
Neely Plumb was the music producer of the film's soundtrack album, which incorporated this version.[1]
Cues[edit]
The stage version of the song has a four-line vocal prelude ("My day in the hills has come to an end I know...") followed by the familiar "The hills are alive with the sound of music..." The film soundtrack and the soundtrack album have two different instrumental preludes to "The hills are alive..." both of which contain portions of the original vocal prelude. The cast album to the 1998 Broadway revival contains the four-line prelude as well as the instrumental prelude present in the film version. This version is also the same key as the film version.
Honors and lists[edit]
The song was ranked tenth in the American Film Institute's list of the 100 Greatest Songs in Movie History.
In popular culture[edit]
Italo-American opera/romantic crossover artist Sergio Franchi recorded the song in his 1963 RCA Victor Red Seal album Broadway, I Love You.[2]
In 2007, Grammy-winning and multi-platinum country recording artist Carrie Underwood sang a rendition at the Movies Rock festival; in 2013 Underwood recorded the song for The Sound of Music: Music from the NBC Television Event, and also performed the song acting out the lead role of Maria in The Sound of Music Live!
The song was covered by Hong Kong female singer Kong Ling (江玲), on her LP album Kong Ling with Diamond Records in 1966.
This song is referenced many times in the film Moulin Rouge! The well-known opening line, "the hills are alive with the sound of music," also appears in the movie Yellow Submarine and the TV show Friends.[episode needed]
Australian pop princess Kylie Minogue performed the opening lines at the beginning of her KylieFever2002 Tour and in the film Moulin Rouge!
The Julie Andrews recording from the film features in the 1993 film Addams Family Values.
Renée Zellweger performs the song in the 2004 film Bridget Jones: The Edge of Reason.
Per Gessle, of Roxette, played this song as an opening for his European solo tour The Party Crasher.
JLS sample the song on their 2010 single "The Club Is Alive."
A Simpsons comic book has a section in which Sideshow Bob and his brother Cecil sing parodies of musicals. Some of their songs are based on The Sound of Music, with the original lyrics replaced by ones about killing Bart Simpson. One example: "The hills are alive and they ate Bart Simpson." (This is sung as hills in the background literally belch.)
Japanese voice actress Ayahi Takagaki sang her rendition of this song during her 2013 Relation of Colors series of concert tours.
American singer/songwriter Lady Gaga performed the song along with a medley of others from the musical as part of a tribute to commemorate the 50th Anniversary of the film at the 87th Academy Awards.
References[edit]
1.Jump up ^ Plumb is credited as music producer on the back cover of the soundtrack album's LP version.
2.Jump up ^ http://www.discogs.com/sergio-franchi


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Songs with lyrics by Oscar Hammerstein II
Songs from The Sound of Music
The Sound of Music







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The Groovy Sound of Music

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Groovy Sound of Music

Studio album by Gary Burton

Released
1965
Recorded
December 21 & 22, 1964
Genre
Jazz
Length
35:59
Label
RCA
Gary Burton chronology

Something's Coming!
 (1963) The Groovy Sound of Music
 (1964) The Time Machine
 (1965)

The Groovy Sound of Music is an album by vibraphonist Gary Burton recorded in 1964 and released on the RCA label which features jazz interpretations of tunes from the Broadway musical The Sound of Music written by Richard Rodgers and Oscar Hammerstein II.[1]


Contents  [hide]
1 Reception
2 Track listing
3 Personnel
4 References

Reception[edit]
The Allmusic review by Ken Dryden awarded the album 4 stars stating "Aside from "My Favorite Things", jazz musicians haven't been particularly drawn to songs from The Sound of Music, so the Groovy Sound of Music songbook by Gary Burton is quite a treat".[2]

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars[2]
Track listing[edit]
All compositions by Richard Rogers and Oscar Hammerstein II1."Climb Ev'ry Mountain" - 4:50
2."Maria" - 3:34
3."An Ordinary Couple" - 4:50
4."My Favorite Things" - 5:55
5."Sixteen Going on Seventeen" - 4:30
6."Do-Re-Mi" - 3:50
7."Edelweiss" - 3:03
8."The Sound of Music" - 5:27
Recorded at RCA Victor's Studio A in New York City on December 21 & 22, 1964.
Personnel[edit]
Gary Burton — vibraphone, arranger (tracks 2, 4 & 6)
Phil Woods — alto saxophone, clarinet
Joe Puma — guitar
Bob Brookmeyer — valve trombone
Steve Swallow — bass
Ed Shaughnessy, Joe Hunt — drums
Gary McFarland — arranger (tracks 1, 3, 5, 7 & 8)
References[edit]
1.Jump up ^ Gary Burton discography accessed November 24, 2011
2.^ Jump up to: a b Dryden, K. Allmusic Review accessed November 24, 2011


[hide]
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Maria von Trapp's The Story of the Trapp Family Singers


Films
The Trapp Family (1956) ·
 The Trapp Family in America (1958) ·
 The Sound of Music (1965)
 

Other Adaptations
The Sound of Music (1959 musical) ·
 Trapp Family Story (1991 anime) ·
 The Sound of Music Live! (2013)
 

Songs
"The Sound of Music" ·
 "Maria" ·
 "My Favorite Things" ·
 "Do-Re-Mi" ·
 "Sixteen Going on Seventeen" ·
 "The Lonely Goatherd" ·
 "Climb Ev'ry Mountain" ·
 "No Way to Stop It" ·
 "Edelweiss" ·
 "Something Good"
 

Albums
The Groovy Sound of Music (1964) ·
 The Sound of Music (1965 soundtrack) ·
 The Sound of Music: Music from the NBC Television Event (2013)
 

Legacy
The von Trapps (formerly The von Trapp Children), a musical group made up of 4 grandchildren of Werner von Trapp
 

  


Categories: 1965 albums
Gary Burton albums
RCA Records albums
The Sound of Music




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The Groovy Sound of Music

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Groovy Sound of Music

Studio album by Gary Burton

Released
1965
Recorded
December 21 & 22, 1964
Genre
Jazz
Length
35:59
Label
RCA
Gary Burton chronology

Something's Coming!
 (1963) The Groovy Sound of Music
 (1964) The Time Machine
 (1965)

The Groovy Sound of Music is an album by vibraphonist Gary Burton recorded in 1964 and released on the RCA label which features jazz interpretations of tunes from the Broadway musical The Sound of Music written by Richard Rodgers and Oscar Hammerstein II.[1]


Contents  [hide]
1 Reception
2 Track listing
3 Personnel
4 References

Reception[edit]
The Allmusic review by Ken Dryden awarded the album 4 stars stating "Aside from "My Favorite Things", jazz musicians haven't been particularly drawn to songs from The Sound of Music, so the Groovy Sound of Music songbook by Gary Burton is quite a treat".[2]

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars[2]
Track listing[edit]
All compositions by Richard Rogers and Oscar Hammerstein II1."Climb Ev'ry Mountain" - 4:50
2."Maria" - 3:34
3."An Ordinary Couple" - 4:50
4."My Favorite Things" - 5:55
5."Sixteen Going on Seventeen" - 4:30
6."Do-Re-Mi" - 3:50
7."Edelweiss" - 3:03
8."The Sound of Music" - 5:27
Recorded at RCA Victor's Studio A in New York City on December 21 & 22, 1964.
Personnel[edit]
Gary Burton — vibraphone, arranger (tracks 2, 4 & 6)
Phil Woods — alto saxophone, clarinet
Joe Puma — guitar
Bob Brookmeyer — valve trombone
Steve Swallow — bass
Ed Shaughnessy, Joe Hunt — drums
Gary McFarland — arranger (tracks 1, 3, 5, 7 & 8)
References[edit]
1.Jump up ^ Gary Burton discography accessed November 24, 2011
2.^ Jump up to: a b Dryden, K. Allmusic Review accessed November 24, 2011


[hide]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers


Films
The Trapp Family (1956) ·
 The Trapp Family in America (1958) ·
 The Sound of Music (1965)
 

Other Adaptations
The Sound of Music (1959 musical) ·
 Trapp Family Story (1991 anime) ·
 The Sound of Music Live! (2013)
 

Songs
"The Sound of Music" ·
 "Maria" ·
 "My Favorite Things" ·
 "Do-Re-Mi" ·
 "Sixteen Going on Seventeen" ·
 "The Lonely Goatherd" ·
 "Climb Ev'ry Mountain" ·
 "No Way to Stop It" ·
 "Edelweiss" ·
 "Something Good"
 

Albums
The Groovy Sound of Music (1964) ·
 The Sound of Music (1965 soundtrack) ·
 The Sound of Music: Music from the NBC Television Event (2013)
 

Legacy
The von Trapps (formerly The von Trapp Children), a musical group made up of 4 grandchildren of Werner von Trapp
 

  


Categories: 1965 albums
Gary Burton albums
RCA Records albums
The Sound of Music




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 http://en.wikipedia.org/wiki/The_Groovy_Sound_of_Music











The Sound of Music: Music from the NBC Television Event

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Sound of Music: Music from the NBC Television Event

Soundtrack album by Various artists

Released
December 3, 2013
Recorded
2013
Genre
Soundtrack,[1] Musical theatre, Show tune[2]
Length
61:22
91:58 (with bonus disc)
Label
Masterworks
Producer
Doug Besterman, David Chase, Priscilla Taussig, Frank Wolf
Executive Producers:
Craig Zadan, Neil Meron
The Sound of Music: Music from the NBC Television Event, also known as The Sound of Music: 2013 NBC Television Cast,[2][3][4][5] or sometimes simply The Sound of Music,[6] is a soundtrack album for The Sound of Music Live! released by Sony Masterworks on December 3, 2013.[1][2] Released in CD and digital download formats, the album includes studio recordings instead of live tracks; the live performance was broadcast two days after the album release.[7] A bonus compilation of nine instrumental tracks from the score was available exclusively through Walmart outlets.[8][3] The album peaked at number 17 on the Billboard 200 and number 2 on the Billboard Soundtracks.


Contents  [hide]
1 Critical reception
2 Track listing
3 Credits and personnel
4 Sales and chart performance
5 See also
6 References
7 External links

Critical reception[edit]

Professional ratings

Review scores

Source
Rating
Allmusic 3/5 stars[2]
Roughstock 4.5/5 stars[9]
Stephen Thomas Erlewine of AllMusic gave the soundtrack three out of five stars and did not give much of a positive review. He stated that the soundtrack "is absent the one quality that made the televised musical so interesting: it is not recorded live; it was cut in the studio" and stated that by doing so the cast are showing how they "are throwing themselves into their roles." Erlewine did however praise them for staying true to the original Broadway musical and the film by stating "the arrangements are faithful to either the original Broadway production or, most often, the 1965 film -- which is appropriate" and concluded by stating "This 2013 staging is a nostalgic celebration of one of the most beloved 20th century musicals and it does right by its source material."[2] Matt Bjorke of Roughstock praised Underwood's vocals stating "She really suits musical theater (much like she’s a classical country singer at heart). Her pure and pristine voice simply shines on songs like "The Sound of Music" and "My Favroite Things" (with Audra McDonald). Bjorke also predicted that the album would do well due to Underwood's appearance on the soundtrack and stating her duets with Moyer and Rinehart "are equally strong and beautifully crafted with musical director/conductor David Chase." He also stated that Borle's, McDonald's and Benanti's appearances would "help the soundtrack give fans something to enjoy long after the live event concludes." Bjorke concluded by stating "This is an iconic Broadway production and while there has been some ‘worry’ that they’ll mess it up, this soundtrack should easily put those worries to rest and it should give fans excitement that Carrie Underwood could one day headline a Broadway production if she so chooses to do so."[9]
Track listing[edit]
All songs written and composed by Rodgers and Hammerstein except tracks 10, 11, 15, and 22 which are written solely by Richard Rodgers.

Standard[2][10][11]

No.
Title
Recording Artist(s)
Length

1. "Preludium"   Audra McDonald, Christiane Noll, Jessica Molaskey, Elena Shaddow, The Nuns of Nonnberg Abbey 2:56
2. "The Sound of Music"   Carrie Underwood 3:06
3. "Maria"   McDonald, Noll, Molaskey, Shaddow 3:15
4. "My Favorite Things"   McDonald, Underwood 3:02
5. "Do-Re-Mi"   Underwood, Ariane Rinehart, Michael Nigro, Ella Watts-Gorman, Joe West, Sophia Caruso, Grace Rundhaug, Peyton Ella 5:01
6. "Sixteen Going on Seventeen"   Rinehart, Michael Campayno 5:11
7. "The Lonely Goatherd"   Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 3:28
8. "How Can Love Survive?"   Laura Benanti, Christian Borle 3:06
9. "The Sound of Music" (Reprise) Stephen Moyer, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 2:07
10. "The Grand Waltz"   David Chase 1:29
11. "Ländler"   Chase 2:00
12. "So Long, Farewell"   Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 2:54
13. "Climb Ev'ry Mountain"   McDonald 2:46
14. "No Way to Stop It"   Benanti, Borle, Moyer 3:08
15. "Something Good"   Underwood, Moyer 2:54
16. "Processional & Maria" (The Wedding) McDonald, Noll, Molaskey, Shaddow, The Nuns of Nonnberg Abbey 2:48
17. "Sixteen Going on Seventeen" (Reprise) Underwood, Rinehart 2:12
18. "Do, Re, Me" (Reprise) (The Concert) Moyer, Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 1:18
19. "Edelweiss" (The Concert) Moyer, Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 2:09
20. "So Long, Farewell" (Reprise) (The Concert) Moyer, Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 1:59
21. "Climb Ev'ry Mountain" (Finale Ultimo) McDonald, Noll, Molaskey, Shaddow, The Nuns of Nonnberg Abbey 1:37
22. "End Credits"   Chase 2:56
Total length:
 61:22 

[show]Walmart exclusive sing-a-long bonus disc[3][12]







  
  
  
  
  
  
  
  
  

  
Credits and personnel[edit]
Credits and personnel:[13][14]
On instruments
John Allred – trombone
Erin Benim – violin
Keith Bonner – flute, piccolo
Laura Bontrager – cello
David Byrd-Marrow – horn
Sean Carney – voilin
Lynne Cohen – oboe, English horn
Jason Covey – tumpet
David Creswell – viola
Jonathan Dinklage – violin
Dominic Derasse – trumpet
Carla Fabiani – viola
Gareth Flowers – trumpet
Bill Hayes – percussion
JJ Johnson – viola
Susan Jolles – harp
Steve Kenyon – clarinet
Shinwon Kim – violin
Aaron Korn – horn
Adam Krauthamer – horn
Michael Kuennen – bass
Scott Kuney – guitar
Matt Lehmann – violin
Jonathan Levine – clarinet
Elizabeth Lim-Dutton – violin
Lisa Matricardi – violin
Nat Mayland – trombone
Maxim Mostom – violin
Matt Perri – celesta, organ
Marcus Rojas – tuba
John Romeri – flute
Rich Rosenzweig – percussion
Sarah Seiver – cello
Daniel Sullivan – bassoon
Mineko Yajima – violin
Sounding
Laura Benanti – vocals
Christian Borle – vocals
Michael Campayno – vocals
Sophia Caruso – vocals
Peyton Ella – vocals
Audra McDonald – vocals
Jessica Molaskey – vocals
Stephen Moyer – vocals
Michael Nigro – vocals
Christiane Noll – vocals
Ariane Rinehart – vocals
Grace Rundhaug – vocals
Elena Shaddow – vocals
The Sound of Music Television Cast Ensemble – choir/chorus
The Sound of Music Television Orchestra – orchestra
Carrie Underwood – primary artist, vocals
Ella Watts-Gorman – vocals
Joe West – vocals
The Nuns of Nonnberg Abbey (vocals) - Cameron Adams, Margot De La Barre, Wendi Bergamini, Ashley Brown, Stowe Brown, Catherine Brunell, Paula Leggett Chase, Nikki Renee Daniels, Adrienne Danrich, Gina Ferrall, Joy Hermalyn, Leah Horowitz, Autumn Hulbert, Andrea Jones-Sojola, Sydney Morton, Linda Mugleston, Laura Shoop, Georgia Stitt, Rema Webb
Managerial
Anixter Rice Music Service - music preparation
Rob Ashford – stage direction
David Chase - music direction, music supervisor
Randy Cohen – keyboard programming
Reuben Cohen – mastering
Howard Joines – music coordinator
Fred Lassen – associate music supervisor
Jennifer Liebeskind – product development
Gavin Lurssen – mastering
Marty Maidenberg – project consultant
Beth McCarthy-Miller – stage direction
George Stitt - nun caption
Janet Weber – recording production manager
Ian Weinberger – music assistant
Emily Bruskin Yarbrough - concert master
Technical and production
Doug Besterman – orchestration, producer
David Channing – score editor
David Chase – conductor, producer, synopsis
Tyler Hartman – assistant engineer, additional vocal recording
Steven Malone – children's choirmaster
Neil Meron – executive producer
Cathleen Murphy – A&R
Nate Odden – assistant engineer
Priscilla Taussig – producer
Frank Wolf – engineer, mixing, producer, recording
Craig Zadan – executive producer
Visuals and imagery
Ted Chapin – liner notes
Russel Crouse – book
Autumn de Wilde – photography
Russ Elliott – photography
Oscar Hammerstein II – lyricist
Howard Lindsay – book
Scott McDaniel – cover design
Nino Muñoz – cover photo
Patrick Randak – photography
Richard Rodgers – composer
Giovanni Rufino – photography
Federico Ruiz – design
Robert Trachtenberg – photography
Sales and chart performance[edit]
The album debuted on the Billboard 200 chart at number 17 with sales of 38,000.[15][16][17] On December 21, 2013 the soundtrack debuted at number 2 on the Billboard Soundtracks chart.[18] The following week the soundtrack held the number 2 spot on the Billboard Soundtracks chart,[19] as well as its third week on the chart.[20] It has sold 103,000 copies in the US as of January 2, 2014.[21]

Chart (2013)
Peak
 position

US Billboard 200[15][16][17] 17
US Billboard Soundtracks[18] 2

See also[edit]

Portal icon Music portal
Carrie Underwood discography
List of songs recorded by Carrie Underwood

References[edit]
1.^ Jump up to: a b "The Sound of Music (Music from the NBC Television Event) by Various Artists - iTunes album detail page". iTunes Stores. Apple, Inc. Retrieved 17 April 2014.
2.^ Jump up to: a b c d e f Erlewine, Stephen Thomas (December 3, 2013). "Carrie Underwood: The Sound of Music [2013 NBC Television Cast]". AllMusic. Rovi Corporation. Retrieved April 21, 2014.
3.^ Jump up to: a b c "The Sound Of Music (2013 NBC Television Cast) Soundtrack (Walmart Exclusive) (2CD), Carrie Underwood: Country : Walmart.com". Walmart.com. Wal-Mart Stores, Inc. Retrieved December 10, 2013.
4.Jump up ^ "The Sound of Music [2013 NBC Television Cast]". Barnes & Noble. December 3, 2013. Retrieved June 16, 2014.
5.Jump up ^ "The Sound of Music [2013 NBC Television Cast] by Carrie Underwood". CMT. Viacom International Inc. Retrieved September 2, 2014.
6.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc side panel). Masterworks. 2013. 88843 01641 2.
7.Jump up ^ "Sony Masterworks Releases Television Soundtrack To NBC's Live Broadcast of 'The Sound of Music' Starring Six-Time Grammy Winner Carrie Underwood". The State Journal (WorldNow and WVSTATE). October 24, 2013. Archived from the original on December 3, 2013. Retrieved November 14, 2013.
8.Jump up ^ Steinberg, Brian (December 5, 2013). "Walmart Ads for NBC’s "Sound of Music" Will Sound Just Like the Show". Variety. Penske Business Media. Retrieved December 12, 2013.
9.^ Jump up to: a b Bjorke, Matt (December 5, 2013). "Soundtrack Review: Carrie Underwood And Cast Recording For NBC's The Sound Of Music". Roughstock. Cheri Media Group. Retrieved December 24, 2013.
10.Jump up ^ "The Sound of Music (Music From the NBC Television Event): Music". Amazon.com (US), Amazon.com Inc. Retrieved December 24, 2013.
11.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. pp. 3–5. 88843 79814 2.
12.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc). Masterworks. 2013. 88843 01641 2.
13.Jump up ^ "Carrie Underwood: The Sound of Music (2013 NBC Television Cast): Credits". AllMusic. Rovi Corporation. Retrieved November 30, 2013.
14.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 22. 88843 79814 2.
15.^ Jump up to: a b Grein, Paul (December 11, 2013). "A Britney Spears Bummer: New Album Fizzles". Yahoo Music. Retrieved December 11, 2013.
16.^ Jump up to: a b Bjorke, Matt (December 11, 2013). "Country Album Chart News: The Week of December 11, 2013: Garth Brooks, Duck Dynasty, The Sound of Music, Blake, Lady A & Scotty McCreery". Roughstock (Cheri Media Group). Retrieved December 11, 2013.
17.^ Jump up to: a b "Billboard 200: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
18.^ Jump up to: a b "Soundtracks: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
19.Jump up ^ "Soundtracks: Dec 28, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
20.Jump up ^ "Soundtracks: Jan 04, 2014 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 27, 2013.
21.Jump up ^ Bjorke, Matt (January 2, 2014). "Country Album Chart News: The Week of January 2, 2013: Garth Brooks, Duck Dynasty, Cassadee Pope, Danielle Bradbery & Scotty McCreery". Roughstock. Retrieved January 2, 2014.
External links[edit]
Official website


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http://en.wikipedia.org/wiki/The_Sound_of_Music:_Music_from_the_NBC_Television_Event













The Sound of Music: Music from the NBC Television Event

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Sound of Music: Music from the NBC Television Event

Soundtrack album by Various artists

Released
December 3, 2013
Recorded
2013
Genre
Soundtrack,[1] Musical theatre, Show tune[2]
Length
61:22
91:58 (with bonus disc)
Label
Masterworks
Producer
Doug Besterman, David Chase, Priscilla Taussig, Frank Wolf
Executive Producers:
Craig Zadan, Neil Meron
The Sound of Music: Music from the NBC Television Event, also known as The Sound of Music: 2013 NBC Television Cast,[2][3][4][5] or sometimes simply The Sound of Music,[6] is a soundtrack album for The Sound of Music Live! released by Sony Masterworks on December 3, 2013.[1][2] Released in CD and digital download formats, the album includes studio recordings instead of live tracks; the live performance was broadcast two days after the album release.[7] A bonus compilation of nine instrumental tracks from the score was available exclusively through Walmart outlets.[8][3] The album peaked at number 17 on the Billboard 200 and number 2 on the Billboard Soundtracks.


Contents  [hide]
1 Critical reception
2 Track listing
3 Credits and personnel
4 Sales and chart performance
5 See also
6 References
7 External links

Critical reception[edit]

Professional ratings

Review scores

Source
Rating
Allmusic 3/5 stars[2]
Roughstock 4.5/5 stars[9]
Stephen Thomas Erlewine of AllMusic gave the soundtrack three out of five stars and did not give much of a positive review. He stated that the soundtrack "is absent the one quality that made the televised musical so interesting: it is not recorded live; it was cut in the studio" and stated that by doing so the cast are showing how they "are throwing themselves into their roles." Erlewine did however praise them for staying true to the original Broadway musical and the film by stating "the arrangements are faithful to either the original Broadway production or, most often, the 1965 film -- which is appropriate" and concluded by stating "This 2013 staging is a nostalgic celebration of one of the most beloved 20th century musicals and it does right by its source material."[2] Matt Bjorke of Roughstock praised Underwood's vocals stating "She really suits musical theater (much like she’s a classical country singer at heart). Her pure and pristine voice simply shines on songs like "The Sound of Music" and "My Favroite Things" (with Audra McDonald). Bjorke also predicted that the album would do well due to Underwood's appearance on the soundtrack and stating her duets with Moyer and Rinehart "are equally strong and beautifully crafted with musical director/conductor David Chase." He also stated that Borle's, McDonald's and Benanti's appearances would "help the soundtrack give fans something to enjoy long after the live event concludes." Bjorke concluded by stating "This is an iconic Broadway production and while there has been some ‘worry’ that they’ll mess it up, this soundtrack should easily put those worries to rest and it should give fans excitement that Carrie Underwood could one day headline a Broadway production if she so chooses to do so."[9]
Track listing[edit]
All songs written and composed by Rodgers and Hammerstein except tracks 10, 11, 15, and 22 which are written solely by Richard Rodgers.

Standard[2][10][11]

No.
Title
Recording Artist(s)
Length

1. "Preludium"   Audra McDonald, Christiane Noll, Jessica Molaskey, Elena Shaddow, The Nuns of Nonnberg Abbey 2:56
2. "The Sound of Music"   Carrie Underwood 3:06
3. "Maria"   McDonald, Noll, Molaskey, Shaddow 3:15
4. "My Favorite Things"   McDonald, Underwood 3:02
5. "Do-Re-Mi"   Underwood, Ariane Rinehart, Michael Nigro, Ella Watts-Gorman, Joe West, Sophia Caruso, Grace Rundhaug, Peyton Ella 5:01
6. "Sixteen Going on Seventeen"   Rinehart, Michael Campayno 5:11
7. "The Lonely Goatherd"   Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 3:28
8. "How Can Love Survive?"   Laura Benanti, Christian Borle 3:06
9. "The Sound of Music" (Reprise) Stephen Moyer, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 2:07
10. "The Grand Waltz"   David Chase 1:29
11. "Ländler"   Chase 2:00
12. "So Long, Farewell"   Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 2:54
13. "Climb Ev'ry Mountain"   McDonald 2:46
14. "No Way to Stop It"   Benanti, Borle, Moyer 3:08
15. "Something Good"   Underwood, Moyer 2:54
16. "Processional & Maria" (The Wedding) McDonald, Noll, Molaskey, Shaddow, The Nuns of Nonnberg Abbey 2:48
17. "Sixteen Going on Seventeen" (Reprise) Underwood, Rinehart 2:12
18. "Do, Re, Me" (Reprise) (The Concert) Moyer, Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 1:18
19. "Edelweiss" (The Concert) Moyer, Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 2:09
20. "So Long, Farewell" (Reprise) (The Concert) Moyer, Underwood, Rinehart, Nigro, Watts-Gorman, West, Caruso, Rundhaug, Ella 1:59
21. "Climb Ev'ry Mountain" (Finale Ultimo) McDonald, Noll, Molaskey, Shaddow, The Nuns of Nonnberg Abbey 1:37
22. "End Credits"   Chase 2:56
Total length:
 61:22 

[show]Walmart exclusive sing-a-long bonus disc[3][12]







  
  
  
  
  
  
  
  
  

  
Credits and personnel[edit]
Credits and personnel:[13][14]
On instruments
John Allred – trombone
Erin Benim – violin
Keith Bonner – flute, piccolo
Laura Bontrager – cello
David Byrd-Marrow – horn
Sean Carney – voilin
Lynne Cohen – oboe, English horn
Jason Covey – tumpet
David Creswell – viola
Jonathan Dinklage – violin
Dominic Derasse – trumpet
Carla Fabiani – viola
Gareth Flowers – trumpet
Bill Hayes – percussion
JJ Johnson – viola
Susan Jolles – harp
Steve Kenyon – clarinet
Shinwon Kim – violin
Aaron Korn – horn
Adam Krauthamer – horn
Michael Kuennen – bass
Scott Kuney – guitar
Matt Lehmann – violin
Jonathan Levine – clarinet
Elizabeth Lim-Dutton – violin
Lisa Matricardi – violin
Nat Mayland – trombone
Maxim Mostom – violin
Matt Perri – celesta, organ
Marcus Rojas – tuba
John Romeri – flute
Rich Rosenzweig – percussion
Sarah Seiver – cello
Daniel Sullivan – bassoon
Mineko Yajima – violin
Sounding
Laura Benanti – vocals
Christian Borle – vocals
Michael Campayno – vocals
Sophia Caruso – vocals
Peyton Ella – vocals
Audra McDonald – vocals
Jessica Molaskey – vocals
Stephen Moyer – vocals
Michael Nigro – vocals
Christiane Noll – vocals
Ariane Rinehart – vocals
Grace Rundhaug – vocals
Elena Shaddow – vocals
The Sound of Music Television Cast Ensemble – choir/chorus
The Sound of Music Television Orchestra – orchestra
Carrie Underwood – primary artist, vocals
Ella Watts-Gorman – vocals
Joe West – vocals
The Nuns of Nonnberg Abbey (vocals) - Cameron Adams, Margot De La Barre, Wendi Bergamini, Ashley Brown, Stowe Brown, Catherine Brunell, Paula Leggett Chase, Nikki Renee Daniels, Adrienne Danrich, Gina Ferrall, Joy Hermalyn, Leah Horowitz, Autumn Hulbert, Andrea Jones-Sojola, Sydney Morton, Linda Mugleston, Laura Shoop, Georgia Stitt, Rema Webb
Managerial
Anixter Rice Music Service - music preparation
Rob Ashford – stage direction
David Chase - music direction, music supervisor
Randy Cohen – keyboard programming
Reuben Cohen – mastering
Howard Joines – music coordinator
Fred Lassen – associate music supervisor
Jennifer Liebeskind – product development
Gavin Lurssen – mastering
Marty Maidenberg – project consultant
Beth McCarthy-Miller – stage direction
George Stitt - nun caption
Janet Weber – recording production manager
Ian Weinberger – music assistant
Emily Bruskin Yarbrough - concert master
Technical and production
Doug Besterman – orchestration, producer
David Channing – score editor
David Chase – conductor, producer, synopsis
Tyler Hartman – assistant engineer, additional vocal recording
Steven Malone – children's choirmaster
Neil Meron – executive producer
Cathleen Murphy – A&R
Nate Odden – assistant engineer
Priscilla Taussig – producer
Frank Wolf – engineer, mixing, producer, recording
Craig Zadan – executive producer
Visuals and imagery
Ted Chapin – liner notes
Russel Crouse – book
Autumn de Wilde – photography
Russ Elliott – photography
Oscar Hammerstein II – lyricist
Howard Lindsay – book
Scott McDaniel – cover design
Nino Muñoz – cover photo
Patrick Randak – photography
Richard Rodgers – composer
Giovanni Rufino – photography
Federico Ruiz – design
Robert Trachtenberg – photography
Sales and chart performance[edit]
The album debuted on the Billboard 200 chart at number 17 with sales of 38,000.[15][16][17] On December 21, 2013 the soundtrack debuted at number 2 on the Billboard Soundtracks chart.[18] The following week the soundtrack held the number 2 spot on the Billboard Soundtracks chart,[19] as well as its third week on the chart.[20] It has sold 103,000 copies in the US as of January 2, 2014.[21]

Chart (2013)
Peak
 position

US Billboard 200[15][16][17] 17
US Billboard Soundtracks[18] 2

See also[edit]

Portal icon Music portal
Carrie Underwood discography
List of songs recorded by Carrie Underwood

References[edit]
1.^ Jump up to: a b "The Sound of Music (Music from the NBC Television Event) by Various Artists - iTunes album detail page". iTunes Stores. Apple, Inc. Retrieved 17 April 2014.
2.^ Jump up to: a b c d e f Erlewine, Stephen Thomas (December 3, 2013). "Carrie Underwood: The Sound of Music [2013 NBC Television Cast]". AllMusic. Rovi Corporation. Retrieved April 21, 2014.
3.^ Jump up to: a b c "The Sound Of Music (2013 NBC Television Cast) Soundtrack (Walmart Exclusive) (2CD), Carrie Underwood: Country : Walmart.com". Walmart.com. Wal-Mart Stores, Inc. Retrieved December 10, 2013.
4.Jump up ^ "The Sound of Music [2013 NBC Television Cast]". Barnes & Noble. December 3, 2013. Retrieved June 16, 2014.
5.Jump up ^ "The Sound of Music [2013 NBC Television Cast] by Carrie Underwood". CMT. Viacom International Inc. Retrieved September 2, 2014.
6.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc side panel). Masterworks. 2013. 88843 01641 2.
7.Jump up ^ "Sony Masterworks Releases Television Soundtrack To NBC's Live Broadcast of 'The Sound of Music' Starring Six-Time Grammy Winner Carrie Underwood". The State Journal (WorldNow and WVSTATE). October 24, 2013. Archived from the original on December 3, 2013. Retrieved November 14, 2013.
8.Jump up ^ Steinberg, Brian (December 5, 2013). "Walmart Ads for NBC’s "Sound of Music" Will Sound Just Like the Show". Variety. Penske Business Media. Retrieved December 12, 2013.
9.^ Jump up to: a b Bjorke, Matt (December 5, 2013). "Soundtrack Review: Carrie Underwood And Cast Recording For NBC's The Sound Of Music". Roughstock. Cheri Media Group. Retrieved December 24, 2013.
10.Jump up ^ "The Sound of Music (Music From the NBC Television Event): Music". Amazon.com (US), Amazon.com Inc. Retrieved December 24, 2013.
11.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. pp. 3–5. 88843 79814 2.
12.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc). Masterworks. 2013. 88843 01641 2.
13.Jump up ^ "Carrie Underwood: The Sound of Music (2013 NBC Television Cast): Credits". AllMusic. Rovi Corporation. Retrieved November 30, 2013.
14.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 22. 88843 79814 2.
15.^ Jump up to: a b Grein, Paul (December 11, 2013). "A Britney Spears Bummer: New Album Fizzles". Yahoo Music. Retrieved December 11, 2013.
16.^ Jump up to: a b Bjorke, Matt (December 11, 2013). "Country Album Chart News: The Week of December 11, 2013: Garth Brooks, Duck Dynasty, The Sound of Music, Blake, Lady A & Scotty McCreery". Roughstock (Cheri Media Group). Retrieved December 11, 2013.
17.^ Jump up to: a b "Billboard 200: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
18.^ Jump up to: a b "Soundtracks: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
19.Jump up ^ "Soundtracks: Dec 28, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
20.Jump up ^ "Soundtracks: Jan 04, 2014 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 27, 2013.
21.Jump up ^ Bjorke, Matt (January 2, 2014). "Country Album Chart News: The Week of January 2, 2013: Garth Brooks, Duck Dynasty, Cassadee Pope, Danielle Bradbery & Scotty McCreery". Roughstock. Retrieved January 2, 2014.
External links[edit]
Official website


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The Story of the Trapp Family Singers

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2013)



 Cover art for the first and some subsequent editions
The Story of the Trapp Family Singers is a memoir written by Maria Augusta von Trapp, whose life was fictionalized in the musical The Sound of Music. The book was published in 1949 by J. B. Lippincott Company of Philadelphia, Pennsylvania.[citation needed]


Contents  [hide]
1 Background
2 Storyline
3 Adaptations
4 Differences between the book and the musicals
5 Edition
6 References
7 External links

Background[edit]
Maria never intended to write anything of her life. However, a friend persistently pleaded with her not to allow her story to be forgotten by others. Though she denied she had any writing skill whatsoever, her friend was not to be put off and kept on asking her whenever they saw each other. Finally, one day, in desperation, Maria excused herself and went to her room for an hour to scribble a few pages about her life story, hoping to prove once and for all she was no writer. However, this displayed such natural writing talent that she reluctantly agreed to finish what she had started, and her jottings formed the basis of the first chapter of her memoirs.[citation needed] Her book, The Story of the Trapp Family Singers, was a best-seller.[citation needed]
Storyline[edit]
The book describes the life of the von Trapp family, from their beginnings in Salzburg, Austria, to their adventures in America where they escaped from Nazi-invaded Europe. The story reflects on family tragedies, victories, and the kindness of strangers who soon became friends to the young family of refugees.
Adaptations[edit]
##Die Trapp-Familie (The Trapp Family), 1956 film
##Die Trapp-Familie in Amerika (The Trapp Family in America), 1958 film
##The Sound of Music, 1959 stage musical; also see several other stage adaptations in this article
##The Sound of Music, 1965 film starring Julie Andrews
##Trapp Ikka Monogatari (Trapp Family Story), 1991 animated TV series, part of World Masterpiece Theater
##The Sound of Music Live!, 2013 live television production starring Carrie Underwood
Differences between the book and the musicals[edit]
Maria married Georg von Trapp in 1926, not 1938 as portrayed in the musical. She initially fell in love with the children rather than the father and only later came to love him. The father was not the aloof patriarch who disapproved of music but a warm gentle-hearted parent. They also left Austria openly by train.[1]
Edition[edit]
##The Story of the Trapp Family Singers, ISBN 0-385-02896-2 (Doubleday 1990).
References[edit]
1.Jump up ^ Gearin, Joan (2005). "Movie vs. Reality:The Real Story of the von Trapp Family". Prologue Magazine. National Archives. Retrieved 2014-01-01.
External links[edit]
##The Real Story of the von Trapp Family (from the US National Archives)


[hide]
v ·
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 e
 
Maria von Trapp's The Story of the Trapp Family Singers


Films
The Trapp Family (1956) ·
 The Trapp Family in America (1958) ·
 The Sound of Music (1965)
 

Other Adaptations
The Sound of Music (1959 musical) ·
 Trapp Family Story (1991 anime) ·
 The Sound of Music Live! (2013)
 

Songs
"The Sound of Music" ·
 "Maria" ·
 "My Favorite Things" ·
 "Do-Re-Mi" ·
 "Sixteen Going on Seventeen" ·
 "The Lonely Goatherd" ·
 "Climb Ev'ry Mountain" ·
 "No Way to Stop It" ·
 "Edelweiss" ·
 "Something Good"
 

Albums
The Groovy Sound of Music (1964) ·
 The Sound of Music (1965 soundtrack) ·
 The Sound of Music: Music from the NBC Television Event (2013)
 

Legacy
The von Trapps (formerly The von Trapp Children), a musical group made up of 4 grandchildren of Werner von Trapp
 




Stub icon This article about a biographical or autobiographical book on musicians is a stub. You can help Wikipedia by expanding it.




  


Categories: Trapp family
Music autobiographies
1949 books
J. B. Lippincott & Co. books
The Sound of Music
Chronologically arranged lists of works of fiction and semi-fiction, about historical persons
Musician book stubs










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The Story of the Trapp Family Singers

From Wikipedia, the free encyclopedia

Jump to: navigation, search



 This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2013)



 Cover art for the first and some subsequent editions
The Story of the Trapp Family Singers is a memoir written by Maria Augusta von Trapp, whose life was fictionalized in the musical The Sound of Music. The book was published in 1949 by J. B. Lippincott Company of Philadelphia, Pennsylvania.[citation needed]


Contents  [hide]
1 Background
2 Storyline
3 Adaptations
4 Differences between the book and the musicals
5 Edition
6 References
7 External links

Background[edit]
Maria never intended to write anything of her life. However, a friend persistently pleaded with her not to allow her story to be forgotten by others. Though she denied she had any writing skill whatsoever, her friend was not to be put off and kept on asking her whenever they saw each other. Finally, one day, in desperation, Maria excused herself and went to her room for an hour to scribble a few pages about her life story, hoping to prove once and for all she was no writer. However, this displayed such natural writing talent that she reluctantly agreed to finish what she had started, and her jottings formed the basis of the first chapter of her memoirs.[citation needed] Her book, The Story of the Trapp Family Singers, was a best-seller.[citation needed]
Storyline[edit]
The book describes the life of the von Trapp family, from their beginnings in Salzburg, Austria, to their adventures in America where they escaped from Nazi-invaded Europe. The story reflects on family tragedies, victories, and the kindness of strangers who soon became friends to the young family of refugees.
Adaptations[edit]
##Die Trapp-Familie (The Trapp Family), 1956 film
##Die Trapp-Familie in Amerika (The Trapp Family in America), 1958 film
##The Sound of Music, 1959 stage musical; also see several other stage adaptations in this article
##The Sound of Music, 1965 film starring Julie Andrews
##Trapp Ikka Monogatari (Trapp Family Story), 1991 animated TV series, part of World Masterpiece Theater
##The Sound of Music Live!, 2013 live television production starring Carrie Underwood
Differences between the book and the musicals[edit]
Maria married Georg von Trapp in 1926, not 1938 as portrayed in the musical. She initially fell in love with the children rather than the father and only later came to love him. The father was not the aloof patriarch who disapproved of music but a warm gentle-hearted parent. They also left Austria openly by train.[1]
Edition[edit]
##The Story of the Trapp Family Singers, ISBN 0-385-02896-2 (Doubleday 1990).
References[edit]
1.Jump up ^ Gearin, Joan (2005). "Movie vs. Reality:The Real Story of the von Trapp Family". Prologue Magazine. National Archives. Retrieved 2014-01-01.
External links[edit]
##The Real Story of the von Trapp Family (from the US National Archives)


[hide]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers


Films
The Trapp Family (1956) ·
 The Trapp Family in America (1958) ·
 The Sound of Music (1965)
 

Other Adaptations
The Sound of Music (1959 musical) ·
 Trapp Family Story (1991 anime) ·
 The Sound of Music Live! (2013)
 

Songs
"The Sound of Music" ·
 "Maria" ·
 "My Favorite Things" ·
 "Do-Re-Mi" ·
 "Sixteen Going on Seventeen" ·
 "The Lonely Goatherd" ·
 "Climb Ev'ry Mountain" ·
 "No Way to Stop It" ·
 "Edelweiss" ·
 "Something Good"
 

Albums
The Groovy Sound of Music (1964) ·
 The Sound of Music (1965 soundtrack) ·
 The Sound of Music: Music from the NBC Television Event (2013)
 

Legacy
The von Trapps (formerly The von Trapp Children), a musical group made up of 4 grandchildren of Werner von Trapp
 




Stub icon This article about a biographical or autobiographical book on musicians is a stub. You can help Wikipedia by expanding it.




  


Categories: Trapp family
Music autobiographies
1949 books
J. B. Lippincott & Co. books
The Sound of Music
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Musician book stubs










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The Trapp Family in America

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Trapp Family in America
Poster showing Ruth Leuwerik as Maria with New York City in the background
German theatrical release poster

Directed by
Wolfgang Liebeneiner
Produced by
Heinz Abel
Ilse Kubaschewski
Utz Utermann

Screenplay by
Herbert Reinecker
Based on
The Story of the Trapp Family Singers
 by Maria von Trapp
Starring
Ruth Leuwerik
Hans Holt
Josef Meinrad
Adrienne Gessner

Music by
Franz Grothe
Cinematography
Werner Krien
Edited by
Margot von Schlieffen

Production
 company

Divina-Film

Distributed by
Gloria

Release dates

October 17, 1958 (West Germany)


Running time
 103 minutes
Country
West Germany
Language
German
The Trapp Family in America (German: Die Trapp-Familie in Amerika) is a 1958 West German comedy drama film directed by Wolfgang Liebeneiner and starring Ruth Leuwerik, Hans Holt, and Josef Meinrad. It is a sequel to the 1956 film The Trapp Family.[1] The film's art direction was by Robert Herlth.


Contents  [hide]
1 Plot
2 Cast
3 References 3.1 Citations
3.2 Sources
4 External links

Plot[edit]
The von Trapps have left Austria and are now in the United States. But the Land of Unlimited Possibilities turns out to be anything but for our hapless heroes. Though the American public has demonstrated countless times, that they'll pay anything to hear German folk songs and other pop songs, the von Trapps on the verge of being penniless and suicidal, thanks to Father Wasner, who's determined to teach Americans to appreciate great church music ... no matter how much his "cultural mission" pushes the von Trapps to starvation. Only the insistence of paying patrons that they drop the holy roller music and the guffaws of the audience abandoning their shows finally convinces Maria, that it's time to start entertaining the paying public and give Palestrina a rest. Eventually they receive critical acclaim and a large following for their music. Later, They purchase a farm in Vermont and decide to remain in America.
Cast[edit]
Ruth Leuwerik as Baronin von Trapp
Hans Holt as Baron von Trapp
Josef Meinrad as Dr. Wasner
Adrienne Gessner as Mrs. Hammerfield
Michael Ande as Werner von Trapp
Knut Mahlke as Rupert von Trapp
Ursula Wolff as Agathe von Trapp
Angelika Werth as Hedwig von Trapp
Monika Wolf as Maria von Trapp
Ursula Ettrich as Rosemarie von Trapp
Monika Ettrich as Martina von Trapp
Wolfgang Wahl as Patrick
Peter Esser as Mr. Hammerfield
Till Klockow as Bronx-Lilly
Holger Hagen as Mr, Harris
References[edit]
Citations[edit]
1.Jump up ^ Reimer and Reimer 2010, p. 188.
Sources[edit]
Hirsch, Julia Antopol (1993). The Sound of Music: The Making of America's Favorite Movie. Chicago: Contemporary Books. ISBN 978-0-809-23837-8.
Reimer, Robert C.; Reimer, Carol J. (2010). The A to Z of German Cinema. Lanham, Maryland: Scarecrow Press. ISBN 978-0-810-87611-8.
External links[edit]
The Trapp Family in America at the Internet Movie Database


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Stub icon This article related to a German film of the 1950s is a stub. You can help Wikipedia by expanding it.




  


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German-language films
1950s comedy films
Films directed by Wolfgang Liebeneiner
German comedy films
German films
Sequel films
West German films
1950s German film stubs






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The Trapp Family in America

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Trapp Family in America
Poster showing Ruth Leuwerik as Maria with New York City in the background
German theatrical release poster

Directed by
Wolfgang Liebeneiner
Produced by
Heinz Abel
Ilse Kubaschewski
Utz Utermann

Screenplay by
Herbert Reinecker
Based on
The Story of the Trapp Family Singers
 by Maria von Trapp
Starring
Ruth Leuwerik
Hans Holt
Josef Meinrad
Adrienne Gessner

Music by
Franz Grothe
Cinematography
Werner Krien
Edited by
Margot von Schlieffen

Production
 company

Divina-Film

Distributed by
Gloria

Release dates

October 17, 1958 (West Germany)


Running time
 103 minutes
Country
West Germany
Language
German
The Trapp Family in America (German: Die Trapp-Familie in Amerika) is a 1958 West German comedy drama film directed by Wolfgang Liebeneiner and starring Ruth Leuwerik, Hans Holt, and Josef Meinrad. It is a sequel to the 1956 film The Trapp Family.[1] The film's art direction was by Robert Herlth.


Contents  [hide]
1 Plot
2 Cast
3 References 3.1 Citations
3.2 Sources
4 External links

Plot[edit]
The von Trapps have left Austria and are now in the United States. But the Land of Unlimited Possibilities turns out to be anything but for our hapless heroes. Though the American public has demonstrated countless times, that they'll pay anything to hear German folk songs and other pop songs, the von Trapps on the verge of being penniless and suicidal, thanks to Father Wasner, who's determined to teach Americans to appreciate great church music ... no matter how much his "cultural mission" pushes the von Trapps to starvation. Only the insistence of paying patrons that they drop the holy roller music and the guffaws of the audience abandoning their shows finally convinces Maria, that it's time to start entertaining the paying public and give Palestrina a rest. Eventually they receive critical acclaim and a large following for their music. Later, They purchase a farm in Vermont and decide to remain in America.
Cast[edit]
Ruth Leuwerik as Baronin von Trapp
Hans Holt as Baron von Trapp
Josef Meinrad as Dr. Wasner
Adrienne Gessner as Mrs. Hammerfield
Michael Ande as Werner von Trapp
Knut Mahlke as Rupert von Trapp
Ursula Wolff as Agathe von Trapp
Angelika Werth as Hedwig von Trapp
Monika Wolf as Maria von Trapp
Ursula Ettrich as Rosemarie von Trapp
Monika Ettrich as Martina von Trapp
Wolfgang Wahl as Patrick
Peter Esser as Mr. Hammerfield
Till Klockow as Bronx-Lilly
Holger Hagen as Mr, Harris
References[edit]
Citations[edit]
1.Jump up ^ Reimer and Reimer 2010, p. 188.
Sources[edit]
Hirsch, Julia Antopol (1993). The Sound of Music: The Making of America's Favorite Movie. Chicago: Contemporary Books. ISBN 978-0-809-23837-8.
Reimer, Robert C.; Reimer, Carol J. (2010). The A to Z of German Cinema. Lanham, Maryland: Scarecrow Press. ISBN 978-0-810-87611-8.
External links[edit]
The Trapp Family in America at the Internet Movie Database


[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers












































[show]
v ·
 t ·
 e
 
The films of Wolfgang Liebeneiner























Stub icon This article related to a German film of the 1950s is a stub. You can help Wikipedia by expanding it.




  


Categories: 1958 films
German-language films
1950s comedy films
Films directed by Wolfgang Liebeneiner
German comedy films
German films
Sequel films
West German films
1950s German film stubs






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The Trapp Family

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Trapp Family
Poster showing a nun smiling and a couple embracing
German theatrical release poster

Directed by
Wolfgang Liebeneiner
Produced by
Ilse Kubaschewski
Screenplay by
George Hurdalek
Herbert Reinecker

Story by
Maria von Trapp
Based on
The Story of the Trapp Family Singers
 by Maria von Trapp
Starring
Ruth Leuwerik
Hans Holt
Maria Holst

Music by
Franz Grothe
Cinematography
Werner Krien
Edited by
Margot von Schlieffen

Production
 company

Divina-Film

Distributed by
Gloria

Release dates

October 9, 1956 (West Germany)


Running time
 100 minutes
Country
West Germany
Language
German
The Trapp Family (German: Die Trapp-Familie) is a 1956 West German comedy drama film directed by Wolfgang Liebeneiner and starring Ruth Leuwerik, Hans Holt, and Maria Holst.[1] Based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, the film is about a novice nun sent to care for the unruly children of a wealthy baron, who falls in love with and marries the young woman. Through her caring influence, the family becomes a famous singing group. When the baron is pressured to join Hitler's army, the family escapes to the United States where they establish themselves as singers.
The Trapp Family became one of the most successful German films of the 1950s, and was the inspiration for the even more fictionalized Broadway musical The Sound of Music and its highly successful 1965 film version. The film had one sequel, The Trapp Family in America (Die Trapp-Familie in Amerika).


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Release
5 Critical response
6 Adaptations
7 References
8 External links

Plot[edit]
At a convent in Austria in the 1930s, a spirited novice named Maria (Ruth Leuwerik) is sent by her mother superior to the estate of a widowed naval hero, Baron von Trapp (Hans Holt), to look after his seven unruly children. The baron is a stern disciplinarian and runs his household like a ship. When Maria arrives, she encourages the children to play games like other youngsters, and teaches them how to sing. When the baron discovers how Maria is ignoring his orders, he sends her back to the convent. Later, when he hears his children singing songs they've learned from Maria, his feelings for her change. Gradually, the baron falls in love with the young woman and proposes marriage.
After obtaining permission to marry from the mother superior back at the convent, Maria becomes the Baroness von Trapp. The family's priest, Dr. Wasner (Josef Meinrad), encourages Maria and the children to sing for charity, and soon they develop a large following. After the Nazis annex Austria, the baron loses his fortune and is summoned to serve in the German military. Unwilling to live under the Nazi regime, the von Trapp family emigrate to the United States, where they perform their music in the new world. But their troubles are far from over when a naive Maria tells the immigration officer they want to stay forever, when he asks how long they will be visiting the United States.
Cast[edit]
##Ruth Leuwerik as Baroness Maria von Trapp
##Hans Holt as Baron von Trapp
##Maria Holst as Princess Yvonne
##Josef Meinrad as Dr. Franz Wasner
##Friedrich Domin as Rudi Gruber, the banker
##Hilde von Stolz as Baroness Mathilde
##Agnes Windeck as Mother Superior
##Gretl Theimer as cook
##Liesl Karlstadt as Raphaela
##Karl Ehmann as a servant
##Hans Schumm as Petroff
##Joseph Offenbach as Samish
##Peter Capell as Ellis Island officer
##Michael Ande as Werner von Trapp
##Knut Mahlke as Rupert von Trapp
##Ursula Wolff as Agathe von Trapp
##Angelika Werth as Hedwig von Trapp
##Monika Wolf as Maria F. von Trapp
##Ursula Ettrich as Rosemarie von Trapp
##Monika Ettrich as Martina von Trapp
Production[edit]
The film is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, written in 1948 to help promote her family's singing group following the death of her husband, Captain von Trapp, in 1947.[2] Hollywood producers expressed immediate interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[2] In 1956, German producer Wolfgang Liebeneiner offered her $10,000 (equal to $86,744 today) for the complete rights to her story. Following her lawyer's advice, she asked for a share of the film profits, but was told that German law prohibited a German film company from paying royalties to non-German citizens—Maria was an American citizen by then. She signed away the rights to her story without confirming that such a law existed (it did not).[2] The same agent that misled her offered her a single cash payment if she would accept $9,000, which she did.[2]
Liebeneiner brought in George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which included traditional Austrian folk songs.[3] The movie was filmed on location in Salzburg, Austria, and Murnau am Staffelsee in Bavaria, West Germany.
Release[edit]
The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[2] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two films soon became the most successful films in West Germany during the post-war years.[2] Their success extended throughout Europe and South America.[2]
Critical response[edit]
In his review of the 1961 United States version for The New York Times, Howard Thompson gave the film a positive review, calling it "genteel, tuneful and frankly sentimental".[1] According to Thompson, the film "steers an undramatic, but disarming, course", with "friendly" acting and "pretty" cinematography.[1] The central attraction for Thompson, however, is the traditional folk music:

As happens nightly on Broadway, the music really carries the film. Instead of Rodgers and Hammerstein, we now hear genuine folk tunes, light European favorites and the classics. The flavor of these genuinely sweet young voices (dubbed, we assume) is as distinct and clear as an Alpine bell.
Thompson concludes, "The children will love it. Nobody, certainly, will resent such a happy family, content to love one another and, thank heaven, to sing."[1]
Adaptations[edit]
In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[2] The studio eventually dropped its option, but one of its directors, Vincent Donehue, proposed the story as a stage musical for Mary Martin.[2] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who recently won a Pulitzer Prize for State of the Union.[3] They approached Richard Rodgers and Oscar Hammerstein to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work, and offered to write a new score for the entire production.[3] The Sound of Music opened on November 16, 1959, at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[4]
In June 1960, Twentieth Century Fox purchased the film rights to the Broadway musical for $1.25 million (equal to $9,964,848 today) against ten percent of the gross, and at that time, also purchased the rights to the two German films for distribution in the United States. Fox combined the two German films, Die Trapp-Familie and Die Trapp-Familie in Amerika, hired Lee Kresel to dub the films in English, and released them as a single 106-minute film titled The Trapp Family on April 19, 1961.[5][6]
References[edit]
Citations
1.^ Jump up to: a b c d Thompson, Howard (August 31, 1961). "The Trapp Family". The New York Times. Retrieved January 8, 2015.
2.^ Jump up to: a b c d e f g h i Hirsch 1993, p. 4.
3.^ Jump up to: a b c Hirsch 1993, p. 6.
4.Jump up ^ Hirsch 1993, pp. 7–8.
5.Jump up ^ Hirsch 1993, p. 8.
6.Jump up ^ "The Trapp Family: Notes". Turner Classic Movies. Retrieved January 9, 2015.
Sources
##Hirsch, Julia Antopol (1993). The Sound of Music: The Making of America's Favorite Movie. Chicago: Contemporary Books. ISBN 978-0-809-23837-8.
External links[edit]
##The Trapp Family at the Internet Movie Database
##The Trapp Family at the TCM Movie Database


[show]
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 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers












































[show]
v ·
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German-language films
Films directed by Wolfgang Liebeneiner
Trapp family
West German films





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The Trapp Family

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Trapp Family
Poster showing a nun smiling and a couple embracing
German theatrical release poster

Directed by
Wolfgang Liebeneiner
Produced by
Ilse Kubaschewski
Screenplay by
George Hurdalek
Herbert Reinecker

Story by
Maria von Trapp
Based on
The Story of the Trapp Family Singers
 by Maria von Trapp
Starring
Ruth Leuwerik
Hans Holt
Maria Holst

Music by
Franz Grothe
Cinematography
Werner Krien
Edited by
Margot von Schlieffen

Production
 company

Divina-Film

Distributed by
Gloria

Release dates

October 9, 1956 (West Germany)


Running time
 100 minutes
Country
West Germany
Language
German
The Trapp Family (German: Die Trapp-Familie) is a 1956 West German comedy drama film directed by Wolfgang Liebeneiner and starring Ruth Leuwerik, Hans Holt, and Maria Holst.[1] Based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, the film is about a novice nun sent to care for the unruly children of a wealthy baron, who falls in love with and marries the young woman. Through her caring influence, the family becomes a famous singing group. When the baron is pressured to join Hitler's army, the family escapes to the United States where they establish themselves as singers.
The Trapp Family became one of the most successful German films of the 1950s, and was the inspiration for the even more fictionalized Broadway musical The Sound of Music and its highly successful 1965 film version. The film had one sequel, The Trapp Family in America (Die Trapp-Familie in Amerika).


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Release
5 Critical response
6 Adaptations
7 References
8 External links

Plot[edit]
At a convent in Austria in the 1930s, a spirited novice named Maria (Ruth Leuwerik) is sent by her mother superior to the estate of a widowed naval hero, Baron von Trapp (Hans Holt), to look after his seven unruly children. The baron is a stern disciplinarian and runs his household like a ship. When Maria arrives, she encourages the children to play games like other youngsters, and teaches them how to sing. When the baron discovers how Maria is ignoring his orders, he sends her back to the convent. Later, when he hears his children singing songs they've learned from Maria, his feelings for her change. Gradually, the baron falls in love with the young woman and proposes marriage.
After obtaining permission to marry from the mother superior back at the convent, Maria becomes the Baroness von Trapp. The family's priest, Dr. Wasner (Josef Meinrad), encourages Maria and the children to sing for charity, and soon they develop a large following. After the Nazis annex Austria, the baron loses his fortune and is summoned to serve in the German military. Unwilling to live under the Nazi regime, the von Trapp family emigrate to the United States, where they perform their music in the new world. But their troubles are far from over when a naive Maria tells the immigration officer they want to stay forever, when he asks how long they will be visiting the United States.
Cast[edit]
##Ruth Leuwerik as Baroness Maria von Trapp
##Hans Holt as Baron von Trapp
##Maria Holst as Princess Yvonne
##Josef Meinrad as Dr. Franz Wasner
##Friedrich Domin as Rudi Gruber, the banker
##Hilde von Stolz as Baroness Mathilde
##Agnes Windeck as Mother Superior
##Gretl Theimer as cook
##Liesl Karlstadt as Raphaela
##Karl Ehmann as a servant
##Hans Schumm as Petroff
##Joseph Offenbach as Samish
##Peter Capell as Ellis Island officer
##Michael Ande as Werner von Trapp
##Knut Mahlke as Rupert von Trapp
##Ursula Wolff as Agathe von Trapp
##Angelika Werth as Hedwig von Trapp
##Monika Wolf as Maria F. von Trapp
##Ursula Ettrich as Rosemarie von Trapp
##Monika Ettrich as Martina von Trapp
Production[edit]
The film is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, written in 1948 to help promote her family's singing group following the death of her husband, Captain von Trapp, in 1947.[2] Hollywood producers expressed immediate interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[2] In 1956, German producer Wolfgang Liebeneiner offered her $10,000 (equal to $86,744 today) for the complete rights to her story. Following her lawyer's advice, she asked for a share of the film profits, but was told that German law prohibited a German film company from paying royalties to non-German citizens—Maria was an American citizen by then. She signed away the rights to her story without confirming that such a law existed (it did not).[2] The same agent that misled her offered her a single cash payment if she would accept $9,000, which she did.[2]
Liebeneiner brought in George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which included traditional Austrian folk songs.[3] The movie was filmed on location in Salzburg, Austria, and Murnau am Staffelsee in Bavaria, West Germany.
Release[edit]
The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[2] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two films soon became the most successful films in West Germany during the post-war years.[2] Their success extended throughout Europe and South America.[2]
Critical response[edit]
In his review of the 1961 United States version for The New York Times, Howard Thompson gave the film a positive review, calling it "genteel, tuneful and frankly sentimental".[1] According to Thompson, the film "steers an undramatic, but disarming, course", with "friendly" acting and "pretty" cinematography.[1] The central attraction for Thompson, however, is the traditional folk music:

As happens nightly on Broadway, the music really carries the film. Instead of Rodgers and Hammerstein, we now hear genuine folk tunes, light European favorites and the classics. The flavor of these genuinely sweet young voices (dubbed, we assume) is as distinct and clear as an Alpine bell.
Thompson concludes, "The children will love it. Nobody, certainly, will resent such a happy family, content to love one another and, thank heaven, to sing."[1]
Adaptations[edit]
In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[2] The studio eventually dropped its option, but one of its directors, Vincent Donehue, proposed the story as a stage musical for Mary Martin.[2] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who recently won a Pulitzer Prize for State of the Union.[3] They approached Richard Rodgers and Oscar Hammerstein to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work, and offered to write a new score for the entire production.[3] The Sound of Music opened on November 16, 1959, at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[4]
In June 1960, Twentieth Century Fox purchased the film rights to the Broadway musical for $1.25 million (equal to $9,964,848 today) against ten percent of the gross, and at that time, also purchased the rights to the two German films for distribution in the United States. Fox combined the two German films, Die Trapp-Familie and Die Trapp-Familie in Amerika, hired Lee Kresel to dub the films in English, and released them as a single 106-minute film titled The Trapp Family on April 19, 1961.[5][6]
References[edit]
Citations
1.^ Jump up to: a b c d Thompson, Howard (August 31, 1961). "The Trapp Family". The New York Times. Retrieved January 8, 2015.
2.^ Jump up to: a b c d e f g h i Hirsch 1993, p. 4.
3.^ Jump up to: a b c Hirsch 1993, p. 6.
4.Jump up ^ Hirsch 1993, pp. 7–8.
5.Jump up ^ Hirsch 1993, p. 8.
6.Jump up ^ "The Trapp Family: Notes". Turner Classic Movies. Retrieved January 9, 2015.
Sources
##Hirsch, Julia Antopol (1993). The Sound of Music: The Making of America's Favorite Movie. Chicago: Contemporary Books. ISBN 978-0-809-23837-8.
External links[edit]
##The Trapp Family at the Internet Movie Database
##The Trapp Family at the TCM Movie Database


[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers












































[show]
v ·
 t ·
 e
 
The films of Wolfgang Liebeneiner




















  


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German-language films
Films directed by Wolfgang Liebeneiner
Trapp family
West German films





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Trapp Family Story

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Trapp Family Story
Sonrisas y lagrimas.JPG
Screenshot of the opening logo of the TV series

トラップ一家物語
(Torappu Ikka Monogatari)

Genre
Drama
Anime television series
Directed by
Kôzô Kusuha
Studio
Nippon Animation
Network
Fuji TV
Original run
January 13, 1991 – December 28, 1991
Episodes
40
Portal icon Anime and Manga portal
Trapp Family Story (トラップ一家物語 Torappu Ikka Monogatari?) is a Japanese anime series by Nippon Animation.
It was based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, which has also inspired the world famous musical The Sound of Music.
While many things were changed from the original story, unlike other adaptations such as The Sound of Music, the children's names are all correct in this version.


Contents  [hide]
1 Music 1.1 Opening themes
1.2 Ending Themes
2 Episodes
3 External links

Music[edit]
Opening themes[edit]
The opening theme differed depending on the broadcasting. The series first used "Doremi no Uta (Doremi Song)" as the intro theme during earlier broadcasting, however, the DVD and video version of the series uses "Hohoemi no Mahou (Smile Magic)" as the new opening song.
1."Doremi Song [ドレミのうた] (Do-Re-Mi no Uta)" by Eri Itoh and Children's Choir of the Forest (early broadcasting version) - This was a Japanese adaptation of the song Do-Re-Mi from The Sound of Music.
1."Smile Magic [ほほえみの魔法](Hohoemi no Mahou)" by Eri Itoh (video, DVD, and later rebroadcasting version)
Ending Themes[edit]
1."With Outstretched Hands'' [両手を広げて](Ryoute wo hirogete)" by Eri Itoh
Episodes[edit]
1.My Aspiration to be a Catholic Nun
2.My Future as a Sister
3.The Captain and his 7 Children
4.The 26th Governess
5.Maria is the Cause of Drama
6.The Missing children and the Hunger Rebellion
7.I can not trust Adults
8.Courtesy is Important!?
9.Baron Trapp's Fiance?
10.Sewing Machine and Violin
11.Playing in Mud is Supreme
12.Chocolate Cake: Maria Style
13.Don Quixote's First Love
14.Music Box's Secret
15.Martina and the Bear, Nikola
16.The House without Fraulein Maria
17.A Wounded Fawn
18.All God's creature, Great and Small
19.Lady Yvonne's Gift
20.Each Person's Life
21.Baron von Trapp's Decision
22.Can You Live Alone?
23.Letter to the Angel
24.Christmas Carol
25.In the Snow of the Alps
26.Orange and Flower Seedling
27.Yesterday, Today, and Tomorrow
28.Mischief Agathe
29.Person Who Becomes Wife and Mother
30.Marriage?
31.Desire and the Summons of God
32.A Bride in July
33.True Family
34.Family chorus birth
35.The singing voice of the Wind
36.Nazi's Invasion
37.New greeting
38.Hans' secrets
39.Boast and belief
40.Good-bye to the mother Country
External links[edit]
Trapp Family Story (anime) at Anime News Network's encyclopedia


[show]
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World Masterpiece Theater by Nippon Animation







































































[show]
v ·
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Maria von Trapp's The Story of the Trapp Family Singers










































Stub icon This anime television series–related article is a stub. You can help Wikipedia by expanding it.




  


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World Masterpiece Theater series
Trapp family
Programs acquired by ABS-CBN
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Trapp Family Story

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Trapp Family Story
Sonrisas y lagrimas.JPG
Screenshot of the opening logo of the TV series

トラップ一家物語
(Torappu Ikka Monogatari)

Genre
Drama
Anime television series
Directed by
Kôzô Kusuha
Studio
Nippon Animation
Network
Fuji TV
Original run
January 13, 1991 – December 28, 1991
Episodes
40
Portal icon Anime and Manga portal
Trapp Family Story (トラップ一家物語 Torappu Ikka Monogatari?) is a Japanese anime series by Nippon Animation.
It was based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, which has also inspired the world famous musical The Sound of Music.
While many things were changed from the original story, unlike other adaptations such as The Sound of Music, the children's names are all correct in this version.


Contents  [hide]
1 Music 1.1 Opening themes
1.2 Ending Themes
2 Episodes
3 External links

Music[edit]
Opening themes[edit]
The opening theme differed depending on the broadcasting. The series first used "Doremi no Uta (Doremi Song)" as the intro theme during earlier broadcasting, however, the DVD and video version of the series uses "Hohoemi no Mahou (Smile Magic)" as the new opening song.
1."Doremi Song [ドレミのうた] (Do-Re-Mi no Uta)" by Eri Itoh and Children's Choir of the Forest (early broadcasting version) - This was a Japanese adaptation of the song Do-Re-Mi from The Sound of Music.
1."Smile Magic [ほほえみの魔法](Hohoemi no Mahou)" by Eri Itoh (video, DVD, and later rebroadcasting version)
Ending Themes[edit]
1."With Outstretched Hands'' [両手を広げて](Ryoute wo hirogete)" by Eri Itoh
Episodes[edit]
1.My Aspiration to be a Catholic Nun
2.My Future as a Sister
3.The Captain and his 7 Children
4.The 26th Governess
5.Maria is the Cause of Drama
6.The Missing children and the Hunger Rebellion
7.I can not trust Adults
8.Courtesy is Important!?
9.Baron Trapp's Fiance?
10.Sewing Machine and Violin
11.Playing in Mud is Supreme
12.Chocolate Cake: Maria Style
13.Don Quixote's First Love
14.Music Box's Secret
15.Martina and the Bear, Nikola
16.The House without Fraulein Maria
17.A Wounded Fawn
18.All God's creature, Great and Small
19.Lady Yvonne's Gift
20.Each Person's Life
21.Baron von Trapp's Decision
22.Can You Live Alone?
23.Letter to the Angel
24.Christmas Carol
25.In the Snow of the Alps
26.Orange and Flower Seedling
27.Yesterday, Today, and Tomorrow
28.Mischief Agathe
29.Person Who Becomes Wife and Mother
30.Marriage?
31.Desire and the Summons of God
32.A Bride in July
33.True Family
34.Family chorus birth
35.The singing voice of the Wind
36.Nazi's Invasion
37.New greeting
38.Hans' secrets
39.Boast and belief
40.Good-bye to the mother Country
External links[edit]
Trapp Family Story (anime) at Anime News Network's encyclopedia


[show]
v ·
 t ·
 e
 
World Masterpiece Theater by Nippon Animation







































































[show]
v ·
 t ·
 e
 
Maria von Trapp's The Story of the Trapp Family Singers










































Stub icon This anime television series–related article is a stub. You can help Wikipedia by expanding it.




  


Categories: 1991 anime television series
Drama anime and manga
World Masterpiece Theater series
Trapp family
Programs acquired by ABS-CBN
Anime series stubs






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The Sound of Music Live!

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‹ The template Infobox television is being considered for merging. ›

The Sound of Music Live!
Sound of Music Live! logo.png
Promotional poster

Genre
Musical drama
Created by
Craig Zadan
Neil Meron

Based on
The Sound of Music
Written by
Howard Lindsay
Russel Crouse

Directed by
Rob Ashford
Beth McCarthy-Miller

Presented by
NBC
Starring
Carrie Underwood
Stephen Moyer
Audra McDonald
Laura Benanti
Christian Borle

Composer(s)
Rodgers and Hammerstein
Country of origin
United States
Original language(s)
English
Production

Executive producer(s)
Craig Zadan
Neil Meron

Producer(s)
Priscilla Taussig
Location(s)
Grumman Studios
Bethpage, New York
Running time
135 minutes[1]
Distributor
Universal Studios Home Entertainment
Broadcast

Original channel
NBC
Picture format
Color, NTSC, Widescreen[1]
Audio format
Dolby Digital 5.1[1]
Original airing
December 5, 2013
External links
The Sound of Music Live!
The Sound of Music Live! Is a television special that was originally broadcast by NBC on December 5, 2013. Produced by Craig Zadan and Neil Meron, the special was an adaptation of Rodgers and Hammerstein's Broadway musical The Sound of Music, starring country singer Carrie Underwood as Maria von Trapp, performed and televised live from Grumman Studios in Bethpage, New York.
The production was met with mixed reviews; much of its criticism was directed towards the casting of Carrie Underwood to play Maria, who critics (including the real-life von Trapp family) believed was not experienced enough in theatre to portray such an iconic role. While her vocal performance was universally praised, the acting performance of Underwood was described as being "amateur", "lifeless" and lacking emotion by critics. Despite these criticisms, the production was a ratings success for NBC; with a total of 18.62 million live viewers, The Sound of Music Live! brought the network its highest Thursday night viewership for an entertainment program since the series finale of Frasier in 2004, and prompted NBC to sign Zadan and Meron on to produce more live musicals for the network in the future.


Contents  [hide]
1 Plot
2 Cast and crew
3 Development and promotion
4 Musical numbers
5 Reception 5.1 Critical reception
5.2 Ratings
5.3 Accolades
6 Soundtrack
7 Home media release
8 See also
9 References
10 External links

Plot[edit]
When Maria Rainer, a postulant at Nonnberg Abbey in Salzburg, is sent by the Mother Abbess to be a governess for the naval officer, Captain Georg von Trapp as a test of her commitment to the religious life, she finds that he has emotionally closed himself off since the death of his wife and decides to teach his children the basics of singing to gain their trust and acceptance.
A month, later the captain returns home with Elsa Schraeder, whom he is courting, and their friend Max Detweiler, who is looking for the perfect local singing group to perform at the annual Kaltzberg Festival. When his children arrive dressed in clothes Maria had made from her old bedroom curtains he is outraged and embarrassed. Maria then confronts him and tells him how he does not know or understand his children and that they need him but this only upsets him more and he orders her to return to Nonnberg Abbey. However, upon hearing his children sing to Schraeder, his eyes are open to the truth Maria had been speaking and he embraces his children and ask Maria to stay on as governess.
He then throws a grand party for Schraeder and when the band plays the Ländler, the captain's youngest son ask Maria to teach him the dance and the captain steps in to help. As the two dance an unspoken attraction begins to arise in the two and Maria puts a stop to the dancing. However, this unspoken attraction did not go unnoticed by Brigitta who confronts Maria on this. Though Maria strongly denies it she begins to realize that Brigitta is telling the truth. Then, Schraeder calls the children out to say good night to the guests and Max is instantly smitten with the idea to have the children sing in the festival and during all the hustle and bustle Maria sneaks off unnoticed and returns to the Abbey, where she confides in the Mother Abbess that she has fallen in love with the captain but that she is ready to take the orders of poverty, obedience and chastity. The Mother Abbess denies her this and encourages her to take face her problem head-on and to find the life she was born to live.
Maria then returns to the von Trapp home and is warmly greeted by the children, who no longer feel the joys of singing due to her sudden departure. When she finds out that the captain intends to marry Schraeder she decides to see her duties through until arrangements can be made for a new governess. However, the political differences between Schraeder and the captain cause the two to realize that they have no future together and she leaves. Meanwhile, the captain confronts Maria and the two admit their feelings for each other. The two agree to marry at the Abbey and while the two are on honeymoon, Germany invades Austria.
When they return, the captain is ordered to accept a commission in the German Navy and report immediately to Bremerhaven. Maria, thinking quickly, hands the Admiral the program for the Kaltzberg Festival showing that the von Trapp Family Singers are scheduled to perform, so the captain couldn’t possibly leave right away. They are granted permission to perform. During the finale, Max announces that a guard of honor is waiting to escort the captain away as soon as the concert is over. Maria leads the family in one more song to which they escape to one by one and flee to the Abbey. The Nazi soldiers search the Abbey for the von Trapps to no avail, as the family decides to flee Austria over the mountains with Maria's help.[2]
Cast and crew[edit]
Cast list adapted from the liner notes of the soundtrack.[3]


 Carrie Underwood in 2012


 Stephen MoyerMain
Carrie Underwood as Maria von Trapp (née Rainer)
Stephen Moyer as Captain Georg von Trapp
Audra McDonald as Mother Abbess
Laura Benanti as Elsa Schräder
Christian Borle as Max Detweiler
Supporting
Jessica Molaskey as Sister Berhe
Elena Shaddow as Sister Sophia
Christiane Noll as Sister Margaretta
Ariane Rinehart as Liesl von Trapp
Michael Nigro as Friedrich von Trapp
Ella Watts-Gorman as Louisa von Trapp
Joe West as Kurt von Trapp
Sophia Anne Caruso as Brigitta von Trapp
Grace Rundhaug as Marta von Trapp
Peyton Ella as Gretl von Trapp
Michael Campayno as Rolf
Sean Cullen as Franz
Kristine Nielsen as Frau Schmidt
C.J. Wislon as Herr Zeller
Michael Park as Baron Elberfeld
Paula Leggett Chase as Baroness Elberfeld and a nun
John Bolger as Admiral von Scheiber
Benanti had previously portrayed Maria von Trapp on Broadway in 1998.[4] Craig Zadan and Neil Meron, who had previously worked with Borle on the NBC musical drama television series Smash, served as executive producers.[4][5] Other credits include Rob Ashford and Beth McCarthy-Miller as directors, Ashford also was the choreographer, Priscilla Taussig served as producer, David Chase as music director and Derek McLane as production designer. Catherine Zuber was costume designer and Bernie Telsey was the casting director. The production is taken from the book by Howard Lindsay and Russel Crouse and is based off the memoir, The Story of the Trapp Family Singers by Maria von Trapp.[6]
Development and promotion[edit]
On June 30, 2012, NBC's chairman Bob Greenblatt announced the network's plans to broadcast a live adaptation of the Broadway musical The Sound of Music in 2013.[7] On November 30, 2012, the network announced that country music performer Carrie Underwood would star as Maria von Trapp in the production. In a statement, Greenblatt justified Underwood's involvement, saying that "[Maria] was an iconic woman who will now be played by an iconic artist."[4][8] On September 16, 2013, NBC revealed the full cast of the special, and released a promotional image depicting Underwood as Maria von Trapp, wearing blond braids and a dirndl, referencing one of Julie Andrews' "most iconic moments" from the film adaptation.[9][10] Prior to being cast, Underwood personally asked Andrews for her endorsement of the role and the production, stating that "whenever I do a cover of somebody's song or whatever, I always get permission of the artist first."[11][12]
Produced on a budget of around $9 million, The Sound of Music Live! was broadcast live from a soundstage built at Grumman Studios in Bethpage, New York.[13] Zadan considered it to be "one of the profoundly complicated, amazing experiences we’ve ever had", noting the additional challenges created by the live broadcast. The producers also noted that while promoting the special, they and NBC particularly emphasized that the production was not a remake of the film, but an adaptation of the musical itself; Neil Meron iterated that "the audience will discover, within the first few minutes of watching the show, that they are not seeing a TV version of the movie. They'll know right away it's The Sound of Music, but it's a different Sound of Music than they are accustomed to seeing on film." Meron felt that if successful, the broadcast could "open the door to another kind of entertainment that can exist on TV." He also praised the involvement of Underwood as the star of the production, believing that she was a quick learner, and "has all of the qualities of Maria." NBC Entertainment president Robert Greenblatt was highly supportive of the project, as he was, in the words of Zadan, a "passionate devotee of theater".[14][15]
Promoted by NBC as a "three-hour holiday event",[4] The Sound of Music Live! was aired as part of a push by NBC to air more live entertainment specials. Among its most popular programs in recent years have been those with live components (such as The Voice and Sunday Night Football); NBC's Jennifer Salke believed that the increased level of social network interaction possible in a live broadcast, along with the feeling of being part of an "event", would encourage viewers to watch the special live instead of on-demand or from a recording. NBC's previous attempt at event television, The Million Second Quiz, was met with mixed reviews and viewership, but NBC did indicate that Subway's advertising throughout the series brought a higher level of awareness to the brand.[16] The television special was also the first live musical special in almost fifty years on NBC.[17]
Retail chain Walmart served as the presenting sponsor for The Sound of Music Live!. NBC also produced five themed Walmart commercials to air throughout the special, featuring scenes of a family using products from the store set to songs from The Sound of Music. The five ads were timed to air during the commercial break following the scene where the song was featured; NBC's advertising chief Dan Lovinger considered the ads to be a way to "enhance the excitement" of the presentation for families.[18]
Musical numbers[edit]
The list of musical numbers is taken from the actual broadcast and are in order as they appear in the broadcast and include the characters' names who perform the song.
"Preludium" – Nuns
"The Sound of Music" – Maria
"Maria" – Sister Berthe, Sister Sophia, Sister Margaretta, and the Mother Abbess
"My Favorite Things" – Maria and the Mother Abbess
"My Favorite Things" (reprise 1) – Maria
"Do-Re-Mi" – Maria and the children
"Sixteen Going on Seventeen" – Rolf and Liesl
"The Lonely Goatherd" – Maria and the children
"How Can Love Survive" – Max and Elsa
"The Sound of Music" (reprise) – The children, the captain, and Maria
"The Grand Waltz" (instrumental)
"Ländler" (instrumental)
"So Long, Farewell" – The children
"Climb Ev'ry Mountain" – Mother Abbess
"The Lonely Goatherd" (reprise) – Max and the children
"Do-Re-Mi" (reprise) – The children
"Do-Re-Mi" (reprise 2) – The captain
"The Sound of Music" (reprise 2) – The captain and the children
"My Favorite Things" (reprise) – The children and Maria
"No Way to Stop It" – Elsa, Max and the captain.
"Something Good" – Maria and the captain
"Processional" – Nuns
"Maria" (reprise) – Nuns
"Sixteen Going on Seventeen" (reprise) – Maria and Liesl
"Do-Re-Mi" (reprise 3) – Maria, the children, and the captain
"Edelweiss" – The captain, Maria, and the children
"So Long, Farewell" (reprise) – Maria, the children, and the captain
"Finale Ultimo: Climb Ev'ry Mountain" - Nuns
"End Credits" (instrumental)
Reception[edit]
Critical reception[edit]
Prior to the broadcast, members of the real-life von Trapp family were critical of casting Underwood to play Maria, agreeing with the notion that she would be a good singer but a poor actor. They suggested that Anne Hathaway, who played Fantine in the 2012 film adaptation of Les Misérables for which she won the Academy Award for Best Supporting Actress, would have been a better choice.[19] The Sound of Music Live! received mixed reviews from entertainment critics, commending the show for its scope and supporting cast while questioning Underwood's acting capabilities.
Kevin Fallon of The Daily Beast wrote: "Naturally, Underwood sounded astounding, as alive as those damned hills, every time she was asked to stand on top of things and belt. But whether it was because of nerves or lack of experience, her acting was painfully lifeless and amateur throughout the first two thirds of the lengthy ordeal. The singer, it seems, is a proud graduate of the school of 'If I don't blink, they'll think I'm acting!'"[20] Verne Gay of Newsday liked Underwood's performance, commenting that not only could she sing, but "she is a luminous stage presence who had the guts to take on one of the most iconic roles of the stage or screen."[21]
Brian Lowry of Variety described the production "as lifeless as [its] alpine backdrops."[22] Marc Bernardin of The Hollywood Reporter commended the production's aesthetics but called it a "very expensive karaoke", and he wrote that Underwood "doesn’t acquit herself so well when it comes to the carrying the emotional weight of the production." He also panned Moyer, criticizing his vocal performance and describing "his attempt at conveying an emotional hollowness" as "mildly constipated" and "clenched." However, he lauded Benanti, Borle and McDonald's "strong" performances.[23]
Ratings[edit]
18.62 million viewers watched The Sound of Music Live!, making it the most-watched program of the night. It had a 4.6 share in the 18–49 demographic, which led all networks.[24] It attracted NBC's largest non-sports Thursday audience since the series finale of Frasier in 2004 (which averaged 22.6 million viewers),[25] and NBC's largest non-sports audience on any night since the 2007 Golden Globe Awards.[26] The special performed the best with women in the 25–54 demographic, reaching a household rating of 7.0 for that demographic during the primetime broadcast.[27] It did particularly well in Oklahoma City, the capital of Underwood's home state, where it was watched by 28% of TV viewers.[28] At least 38.69 million viewers watched a portion of The Sound of Music Live!.[29] Factoring in DVR viewership over the week following the broadcast, the special was viewed by 21.84 million, with 3.1 million within the first three days.[29][30][31]
Following its original airing, an encore presentation of The Sound of Music Live! aired on December 14, 2013, attracting 3.1 million viewers. It notably displaced one of NBC's two traditional airings of the film It's a Wonderful Life (the other being on Christmas Eve), which was bumped ahead to December 20, 2013.[32][33][34]
NBC's Bob Greenblatt considered the production to be a success, and signed Meron and Zadan to produce another live musical for the 2014 holiday season. Greenblatt felt that there were enough recognizable, family-friendly musicals to make events like The Sound of Music Live! an annual tradition, and he indicated that NBC received e-mails and phone calls from various theatrical rightsholders, expressing interest in having their musicals adapted in a similar fashion, In January 2014, NBC announced that it would broadcast a live version of Peter Pan in December 2014, and at NBC's upfronts in May 2014, Greenblatt announced that NBC had also obtained rights to produce an adaptation of The Music Man, although the network did not announce any timeframe for the production.[35][36][37] Similarly, Fox announced in April 2014 that it would broadcast a similar live production of Grease in 2015.[38]
The special also had an influence on viewership for ABC's annual broadcast of the 1965 film version of The Sound of Music; with 6.5 million viewers and a 1.3 share, it was ABC's highest-rated airing of the film since 2007, although it was, ironically, beaten in overall viewership by a telecast of Sunday Night Football on NBC.[29]
Accolades[edit]
[icon] This section requires expansion with: Additional accolades. (July 2014)
The broadcast has been nominated for four Emmy Awards for the 66th Primetime Emmy Awards for Outstanding Music Direction, Outstanding Directing for a Variety Special, Outstanding Special Class Program and Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie, or Special in 2014.[39][40][41][42] It won the Emmy for Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie, or Special.[43]
Soundtrack[edit]
Main article: The Sound of Music: Music from the NBC Television Event
A soundtrack for the broadcast was released on December 3, 2013[44][45] and consists of 22 studio recordings.[46] Walmart outlets exclusively released a nine-track instrumental (sing-along) bonus CD with the soundtrack.[47] It peaked at number 17 on the Billboard 200[48] and number 2 on the Billboard Soundtracks chart.[49] The soundtrack has sold 103,000 copies as of January 2, 2014.[50]
Home media release[edit]
A DVD of the special was released on December 17, 2013,[51] through Universal Studios Home Entertainment. The DVD includes a behind-the-scenes look, titled "The Making of The Sound of Music Live!"[52] and a preview of the soundtrack.[53] It was released on DVD in Canada on January 7, 2014.[54]
See also[edit]

Portal icon American television portal
Portal icon Musical Theatre portal
2013 in American television
Peter Pan Live! (2014)

References[edit]
1.^ Jump up to: a b c "The Sound of Music Live!: Movies & TV". Retrieved June 16, 2014.
2.Jump up ^ "The Sound of Music – Music from the NBC Television Event 2013". Masterworks Broadway. Sony Music Entertainment. Retrieved 2014-05-19.
3.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 3. 88843 79814 2.
4.^ Jump up to: a b c d Bricker, Tierney (September 16, 2013). "First Look: Carrie Underwood as Maria in The Sound of Music". E! Online. E! Entertainment Television, LLC. A Division of NBCUniversal. Retrieved September 17, 2013.
5.Jump up ^ "The Sound of Music Live! - All Bios - Newest". NBC.com. NBCUniversal. Retrieved September 17, 2013.
6.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 23. 88843 79814 2.
7.Jump up ^ BWW News Desk (June 30, 2012). "NBC & Craig Zadan/Neil Meron to Present Live Broadcast of THE SOUND OF MUSIC!". broadwayworld.com. Wisdom Digital Media. Retrieved January 9, 2014.
8.Jump up ^ Silverman, Stephen M. (November 30, 2012). "Carrie Underwood to Star as Maria von Trapp on TV's The Sound of Music". People. Time Inc. Retrieved November 30, 2012.
9.Jump up ^ Strecker, Erin (December 10, 2013). "NBC to re-air 'Sound of Music Live!' on Saturday". Entertainment Weekly (Time Inc.). Retrieved December 13, 2013.
10.Jump up ^ Eby, Margaret (September 17, 2013). "Carrie Underwood dons dirndl for NBC's 'The Sound of Music Live!' poster". New York Daily News. Retrieved September 17, 2013.
11.Jump up ^ McGrath, Rachel (December 5, 2013). "Carrie Underwood Reveals Julie Andrews Gave 'Sound Of Music Live!' TV Special Her Seal Of Approval". Entertainmentwise. Giant Digital. Retrieved January 1, 2014.
12.Jump up ^ Aguilera, LeAnne (December 4, 2013). "Carrie Underwood Dishes on The Sound of Music Live! and How She Got Julie Andrew's Seal of Approval—Watch Now!". E! Online. NBCUniversal. Retrieved January 1, 2013.
13.Jump up ^ Amodio, Joseph (December 2, 2013). "Carrie Underwood's 'Sound of Music' special to air live from Bethpage". Newsday. Cablevision. Retrieved December 6, 2013.
14.Jump up ^ Littleton, Cynthia (December 6, 2013). "‘Sound of Music Live’: Producers Call It a ‘Profoundly Complicated, Amazing Experience’". Variety. Penske Business Media. Retrieved December 9, 2013.
15.Jump up ^ Ng, Philiana (December 5, 2013). "NBC's 'Sound of Music' Producers on Live Show Fears and Big Expectations (Q&A)". The Hollywood Reporter. Prometheus Global Media. Retrieved December 9, 2013.
16.Jump up ^ Poggi, Jeanine (December 2, 2013). "NBC Plots Aggressive Live Programming Strategy". AdAge. Crain Communications. Retrieved December 6, 2013.
17.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 7. 88843 79814 2.
18.Jump up ^ Steinberg, Brian (December 5, 2013). "Walmart Ads for NBC’s "Sound of Music" Will Sound Just Like the Show". Variety. Penske Business Media. Retrieved December 12, 2013.
19.Jump up ^ Rothman, Michael (December 5, 2013). "Who the Von Trapps Wish Could Replace Carrie Underwood in ‘The Sound of Music Live’". ABC News. Retrieved December 6, 2013.
20.Jump up ^ Fallon, Kevin (December 6, 2013). "‘Sound of Music Live!’ Review: The Hills Are Barely Alive". The Daily Beast. The Newsweek Daily Beast Company. Retrieved December 6, 2013.
21.Jump up ^ Gay, Verne (December 5, 2013). "'Sound of Music' -- and Carrie Underwood -- largely a success". Newsday. Cablevision. Retrieved December 6, 2013.
22.Jump up ^ Lowry, Brian (December 5, 2013). "TV Review: 'The Sound of Music Live!' ". Variety. Penske Business Media. Retrieved December 6, 2013.
23.Jump up ^ Bernardin, Marc (December 5, 2013). "The Sound of Music Live!: TV Review". The Hollywood Reporter. Prometheus Global Media. Retrieved December 6, 2013.
24.Jump up ^ Kondolojy, Amanda (December 6, 2013). "Thursday Final Ratings: 'The Big Bang Theory' & 'The X Factor' Adjusted Up; 'Once Upon a Time in Wonderland', 'The Millers', 'Grey's Anatomy' & Scandal' Adjusted Down". TV by the Numbers. Retrieved December 7, 2013.
25.Jump up ^ Mitovich, Matt Webb (December 6, 2013). "Ratings: NBC's Sound of Music Live! Does Something Very Good; Glee and Grey's Eye Lows". TVLine. Retrieved December 7, 2013.
26.Jump up ^ Gay, Verne (December 6, 2013). "'The Sound of Music Live!' ratings: 18.5 million viewers". Newsday. Retrieved December 7, 2013.
27.Jump up ^ Weisman, Jon (December 6, 2013). "'Sound of Music' Ratings Sing for NBC Thursday Night". Variety (Penske Business Media). Retrieved December 7, 2013.
28.Jump up ^ Levin, Gary (December 6, 2013). "'Sound of Music' was ratings high". USA Today (Gannett Company). Retrieved December 7, 2013.
29.^ Jump up to: a b c "‘The Sound Of Music’ Continues To Echo Across The Ratings Landscape". Deadline Hollywood. Retrieved 24 December 2013.
30.Jump up ^ "Ratings for The Sound of Music Live! Swell to Nearly 22 Million with DVR Playback". Playbill. Retrieved 24 December 2013.
31.Jump up ^ Carter, Bill (December 10, 2013). "Live ‘Sound of Music’ Added 3 Million Delayed Viewers". The New York Times. Retrieved December 11, 2013.
32.Jump up ^ Friedlander, Whitney (December 10, 2013). "NBC to Re-Air ‘The Sound of Music Live!’". Variety (Penske Business Media). Retrieved December 14, 2013.
33.Jump up ^ Strecker, Erin (December 10, 2013). "NBC to re-air 'Sound of Music Live!' on Saturday". Entertainment Weekly (Entertainment Weekly Inc). Retrieved December 13, 2013.
34.Jump up ^ "Ask Sam: 'It's a Wonderful Life' pre-empted by 'Sound of Music Live'". Winston-Salem Journal (BH Media). December 20, 2013. Retrieved December 20, 2013.
35.Jump up ^ Carter, Bill (December 9, 2013). "NBC Says It Will Put On a Show, Again". The New York Times. Retrieved December 10, 2013.
36.Jump up ^ "NBC Announces 'Music Man' Live TV Production". Billboard. Retrieved 5 December 2014.
37.Jump up ^ Frizell, Sam (January 19, 2014). "NBC Announces Peter Pan for Next Live Production". Time. Retrieved November 17, 2014.
38.Jump up ^ "'Grease' Live Coming to Fox TV". Billboard. Retrieved 5 December 2014.
39.Jump up ^ Whitaker, Sterling (July 11, 2014). "Carrie Underwood's 'The Sound of Music Live!' Earns Four Primetime Emmy Nominations". The Boot. Taste of Country Network. Retrieved July 17, 2014.
40.Jump up ^ Ragusa, Tammy (July 11, 2014). ""Emmy Nods for Carrie Underwood's "The Sound of Music Live!" and "The Voice"". Country Weekly. American Media, Inc. Retrieved July 17, 2014.
41.Jump up ^ Leahey, Andrew (July 11, 2014). "Carrie Underwood's 'Music' Receives Four Emmy Nods". Rolling Stone Retrieved July 17, 2014.
42.Jump up ^ Wyland, Sarah (July 14, 2014). "Carrie Underwood’s ‘The Sound of Music’ Receives Emmy Nominations". Great American Country. Scripps Networks. LLC. Retrieved July 17, 2014.
43.Jump up ^ de Moraes, Lisa (August 16, 2014). "Creative Arts Emmy Awards: ‘Saturday Night Live’, HBO Grab Most Trophies — Full List Of Winners". Deadline.com. Retrieved December 5, 2014.
44.Jump up ^ "The Sound of Music (Music from the NBC Television Event) by Various Artists - iTunes album detail page". iTunes Stores. Apple, Inc. Retrieved 17 April 2014.
45.Jump up ^ Erlewine, Stephen Thomas (December 3, 2013). "Carrie Underwood: The Sound of Music (2013 NBC Television Cast)". AllMusic. Rovi Corporation. Retrieved April 21, 2014.
46.Jump up ^ "Sony Masterworks Releases Television Soundtrack To NBC's Live Broadcast of 'The Sound of Music' Starring Six-Time Grammy Winner Carrie Underwood". The State Journal (WorldNow and WVSTATE). October 24, 2013. Archived from the original on December 3, 2013. Retrieved November 14, 2013.
47.Jump up ^ "The Sound Of Music (2013 NBC Television Cast) Soundtrack (Walmart Exclusive) (2CD), Carrie Underwood: Country : Walmart.com". Walmart.com. Wal-Mart Stores, Inc. Retrieved December 10, 2013.
48.Jump up ^ "Billboard 200: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
49.Jump up ^ "Soundtracks: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
50.Jump up ^ Bjorke, Matt (January 2, 2014). "Country Album Chart News: The Week of January 2, 2013: Garth Brooks, Duck Dynasty, Cassadee Pope, Danielle Bradbery & Scotty McCreery". Roughstock. Retrieved January 2, 2014.
51.Jump up ^ BWW News Desk (November 23, 2013). "NBC to Release THE SOUND OF MUSIC LIVE! on DVD, Dec 17". Broadway World (Wisdom Digital Media). Retrieved November 25, 2013.
52.Jump up ^ "'Slo 'Mo', Holi-GAYS, amd Sound of Music Live!' DVD coming up". Windy City Times (Chicago, IL: Windy City Media Group). December 10, 2013. Retrieved December 14, 2013.
53.Jump up ^ The Sound of Music Live! DVD. 2013. Universal Studios Home Entertainment. Main Menu.
54.Jump up ^ "The Sound of Music - Live (Bilingual): Carrie Underwood, Stephen Moyer, Neil Meron;Craig Zadan: DVD". Amazon.com (Canada), Amazon.com, Inc. Retrieved December 24, 2013.
External links[edit]
Official website
The Sound of Music Live! at the Internet Movie Database


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Maria von Trapp's The Story of the Trapp Family Singers












































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NBC television specials
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The Sound of Music Live!

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The Sound of Music Live!
Sound of Music Live! logo.png
Promotional poster

Genre
Musical drama
Created by
Craig Zadan
Neil Meron

Based on
The Sound of Music
Written by
Howard Lindsay
Russel Crouse

Directed by
Rob Ashford
Beth McCarthy-Miller

Presented by
NBC
Starring
Carrie Underwood
Stephen Moyer
Audra McDonald
Laura Benanti
Christian Borle

Composer(s)
Rodgers and Hammerstein
Country of origin
United States
Original language(s)
English
Production

Executive producer(s)
Craig Zadan
Neil Meron

Producer(s)
Priscilla Taussig
Location(s)
Grumman Studios
Bethpage, New York
Running time
135 minutes[1]
Distributor
Universal Studios Home Entertainment
Broadcast

Original channel
NBC
Picture format
Color, NTSC, Widescreen[1]
Audio format
Dolby Digital 5.1[1]
Original airing
December 5, 2013
External links
The Sound of Music Live!
The Sound of Music Live! Is a television special that was originally broadcast by NBC on December 5, 2013. Produced by Craig Zadan and Neil Meron, the special was an adaptation of Rodgers and Hammerstein's Broadway musical The Sound of Music, starring country singer Carrie Underwood as Maria von Trapp, performed and televised live from Grumman Studios in Bethpage, New York.
The production was met with mixed reviews; much of its criticism was directed towards the casting of Carrie Underwood to play Maria, who critics (including the real-life von Trapp family) believed was not experienced enough in theatre to portray such an iconic role. While her vocal performance was universally praised, the acting performance of Underwood was described as being "amateur", "lifeless" and lacking emotion by critics. Despite these criticisms, the production was a ratings success for NBC; with a total of 18.62 million live viewers, The Sound of Music Live! brought the network its highest Thursday night viewership for an entertainment program since the series finale of Frasier in 2004, and prompted NBC to sign Zadan and Meron on to produce more live musicals for the network in the future.


Contents  [hide]
1 Plot
2 Cast and crew
3 Development and promotion
4 Musical numbers
5 Reception 5.1 Critical reception
5.2 Ratings
5.3 Accolades
6 Soundtrack
7 Home media release
8 See also
9 References
10 External links

Plot[edit]
When Maria Rainer, a postulant at Nonnberg Abbey in Salzburg, is sent by the Mother Abbess to be a governess for the naval officer, Captain Georg von Trapp as a test of her commitment to the religious life, she finds that he has emotionally closed himself off since the death of his wife and decides to teach his children the basics of singing to gain their trust and acceptance.
A month, later the captain returns home with Elsa Schraeder, whom he is courting, and their friend Max Detweiler, who is looking for the perfect local singing group to perform at the annual Kaltzberg Festival. When his children arrive dressed in clothes Maria had made from her old bedroom curtains he is outraged and embarrassed. Maria then confronts him and tells him how he does not know or understand his children and that they need him but this only upsets him more and he orders her to return to Nonnberg Abbey. However, upon hearing his children sing to Schraeder, his eyes are open to the truth Maria had been speaking and he embraces his children and ask Maria to stay on as governess.
He then throws a grand party for Schraeder and when the band plays the Ländler, the captain's youngest son ask Maria to teach him the dance and the captain steps in to help. As the two dance an unspoken attraction begins to arise in the two and Maria puts a stop to the dancing. However, this unspoken attraction did not go unnoticed by Brigitta who confronts Maria on this. Though Maria strongly denies it she begins to realize that Brigitta is telling the truth. Then, Schraeder calls the children out to say good night to the guests and Max is instantly smitten with the idea to have the children sing in the festival and during all the hustle and bustle Maria sneaks off unnoticed and returns to the Abbey, where she confides in the Mother Abbess that she has fallen in love with the captain but that she is ready to take the orders of poverty, obedience and chastity. The Mother Abbess denies her this and encourages her to take face her problem head-on and to find the life she was born to live.
Maria then returns to the von Trapp home and is warmly greeted by the children, who no longer feel the joys of singing due to her sudden departure. When she finds out that the captain intends to marry Schraeder she decides to see her duties through until arrangements can be made for a new governess. However, the political differences between Schraeder and the captain cause the two to realize that they have no future together and she leaves. Meanwhile, the captain confronts Maria and the two admit their feelings for each other. The two agree to marry at the Abbey and while the two are on honeymoon, Germany invades Austria.
When they return, the captain is ordered to accept a commission in the German Navy and report immediately to Bremerhaven. Maria, thinking quickly, hands the Admiral the program for the Kaltzberg Festival showing that the von Trapp Family Singers are scheduled to perform, so the captain couldn’t possibly leave right away. They are granted permission to perform. During the finale, Max announces that a guard of honor is waiting to escort the captain away as soon as the concert is over. Maria leads the family in one more song to which they escape to one by one and flee to the Abbey. The Nazi soldiers search the Abbey for the von Trapps to no avail, as the family decides to flee Austria over the mountains with Maria's help.[2]
Cast and crew[edit]
Cast list adapted from the liner notes of the soundtrack.[3]


 Carrie Underwood in 2012


 Stephen MoyerMain
Carrie Underwood as Maria von Trapp (née Rainer)
Stephen Moyer as Captain Georg von Trapp
Audra McDonald as Mother Abbess
Laura Benanti as Elsa Schräder
Christian Borle as Max Detweiler
Supporting
Jessica Molaskey as Sister Berhe
Elena Shaddow as Sister Sophia
Christiane Noll as Sister Margaretta
Ariane Rinehart as Liesl von Trapp
Michael Nigro as Friedrich von Trapp
Ella Watts-Gorman as Louisa von Trapp
Joe West as Kurt von Trapp
Sophia Anne Caruso as Brigitta von Trapp
Grace Rundhaug as Marta von Trapp
Peyton Ella as Gretl von Trapp
Michael Campayno as Rolf
Sean Cullen as Franz
Kristine Nielsen as Frau Schmidt
C.J. Wislon as Herr Zeller
Michael Park as Baron Elberfeld
Paula Leggett Chase as Baroness Elberfeld and a nun
John Bolger as Admiral von Scheiber
Benanti had previously portrayed Maria von Trapp on Broadway in 1998.[4] Craig Zadan and Neil Meron, who had previously worked with Borle on the NBC musical drama television series Smash, served as executive producers.[4][5] Other credits include Rob Ashford and Beth McCarthy-Miller as directors, Ashford also was the choreographer, Priscilla Taussig served as producer, David Chase as music director and Derek McLane as production designer. Catherine Zuber was costume designer and Bernie Telsey was the casting director. The production is taken from the book by Howard Lindsay and Russel Crouse and is based off the memoir, The Story of the Trapp Family Singers by Maria von Trapp.[6]
Development and promotion[edit]
On June 30, 2012, NBC's chairman Bob Greenblatt announced the network's plans to broadcast a live adaptation of the Broadway musical The Sound of Music in 2013.[7] On November 30, 2012, the network announced that country music performer Carrie Underwood would star as Maria von Trapp in the production. In a statement, Greenblatt justified Underwood's involvement, saying that "[Maria] was an iconic woman who will now be played by an iconic artist."[4][8] On September 16, 2013, NBC revealed the full cast of the special, and released a promotional image depicting Underwood as Maria von Trapp, wearing blond braids and a dirndl, referencing one of Julie Andrews' "most iconic moments" from the film adaptation.[9][10] Prior to being cast, Underwood personally asked Andrews for her endorsement of the role and the production, stating that "whenever I do a cover of somebody's song or whatever, I always get permission of the artist first."[11][12]
Produced on a budget of around $9 million, The Sound of Music Live! was broadcast live from a soundstage built at Grumman Studios in Bethpage, New York.[13] Zadan considered it to be "one of the profoundly complicated, amazing experiences we’ve ever had", noting the additional challenges created by the live broadcast. The producers also noted that while promoting the special, they and NBC particularly emphasized that the production was not a remake of the film, but an adaptation of the musical itself; Neil Meron iterated that "the audience will discover, within the first few minutes of watching the show, that they are not seeing a TV version of the movie. They'll know right away it's The Sound of Music, but it's a different Sound of Music than they are accustomed to seeing on film." Meron felt that if successful, the broadcast could "open the door to another kind of entertainment that can exist on TV." He also praised the involvement of Underwood as the star of the production, believing that she was a quick learner, and "has all of the qualities of Maria." NBC Entertainment president Robert Greenblatt was highly supportive of the project, as he was, in the words of Zadan, a "passionate devotee of theater".[14][15]
Promoted by NBC as a "three-hour holiday event",[4] The Sound of Music Live! was aired as part of a push by NBC to air more live entertainment specials. Among its most popular programs in recent years have been those with live components (such as The Voice and Sunday Night Football); NBC's Jennifer Salke believed that the increased level of social network interaction possible in a live broadcast, along with the feeling of being part of an "event", would encourage viewers to watch the special live instead of on-demand or from a recording. NBC's previous attempt at event television, The Million Second Quiz, was met with mixed reviews and viewership, but NBC did indicate that Subway's advertising throughout the series brought a higher level of awareness to the brand.[16] The television special was also the first live musical special in almost fifty years on NBC.[17]
Retail chain Walmart served as the presenting sponsor for The Sound of Music Live!. NBC also produced five themed Walmart commercials to air throughout the special, featuring scenes of a family using products from the store set to songs from The Sound of Music. The five ads were timed to air during the commercial break following the scene where the song was featured; NBC's advertising chief Dan Lovinger considered the ads to be a way to "enhance the excitement" of the presentation for families.[18]
Musical numbers[edit]
The list of musical numbers is taken from the actual broadcast and are in order as they appear in the broadcast and include the characters' names who perform the song.
"Preludium" – Nuns
"The Sound of Music" – Maria
"Maria" – Sister Berthe, Sister Sophia, Sister Margaretta, and the Mother Abbess
"My Favorite Things" – Maria and the Mother Abbess
"My Favorite Things" (reprise 1) – Maria
"Do-Re-Mi" – Maria and the children
"Sixteen Going on Seventeen" – Rolf and Liesl
"The Lonely Goatherd" – Maria and the children
"How Can Love Survive" – Max and Elsa
"The Sound of Music" (reprise) – The children, the captain, and Maria
"The Grand Waltz" (instrumental)
"Ländler" (instrumental)
"So Long, Farewell" – The children
"Climb Ev'ry Mountain" – Mother Abbess
"The Lonely Goatherd" (reprise) – Max and the children
"Do-Re-Mi" (reprise) – The children
"Do-Re-Mi" (reprise 2) – The captain
"The Sound of Music" (reprise 2) – The captain and the children
"My Favorite Things" (reprise) – The children and Maria
"No Way to Stop It" – Elsa, Max and the captain.
"Something Good" – Maria and the captain
"Processional" – Nuns
"Maria" (reprise) – Nuns
"Sixteen Going on Seventeen" (reprise) – Maria and Liesl
"Do-Re-Mi" (reprise 3) – Maria, the children, and the captain
"Edelweiss" – The captain, Maria, and the children
"So Long, Farewell" (reprise) – Maria, the children, and the captain
"Finale Ultimo: Climb Ev'ry Mountain" - Nuns
"End Credits" (instrumental)
Reception[edit]
Critical reception[edit]
Prior to the broadcast, members of the real-life von Trapp family were critical of casting Underwood to play Maria, agreeing with the notion that she would be a good singer but a poor actor. They suggested that Anne Hathaway, who played Fantine in the 2012 film adaptation of Les Misérables for which she won the Academy Award for Best Supporting Actress, would have been a better choice.[19] The Sound of Music Live! received mixed reviews from entertainment critics, commending the show for its scope and supporting cast while questioning Underwood's acting capabilities.
Kevin Fallon of The Daily Beast wrote: "Naturally, Underwood sounded astounding, as alive as those damned hills, every time she was asked to stand on top of things and belt. But whether it was because of nerves or lack of experience, her acting was painfully lifeless and amateur throughout the first two thirds of the lengthy ordeal. The singer, it seems, is a proud graduate of the school of 'If I don't blink, they'll think I'm acting!'"[20] Verne Gay of Newsday liked Underwood's performance, commenting that not only could she sing, but "she is a luminous stage presence who had the guts to take on one of the most iconic roles of the stage or screen."[21]
Brian Lowry of Variety described the production "as lifeless as [its] alpine backdrops."[22] Marc Bernardin of The Hollywood Reporter commended the production's aesthetics but called it a "very expensive karaoke", and he wrote that Underwood "doesn’t acquit herself so well when it comes to the carrying the emotional weight of the production." He also panned Moyer, criticizing his vocal performance and describing "his attempt at conveying an emotional hollowness" as "mildly constipated" and "clenched." However, he lauded Benanti, Borle and McDonald's "strong" performances.[23]
Ratings[edit]
18.62 million viewers watched The Sound of Music Live!, making it the most-watched program of the night. It had a 4.6 share in the 18–49 demographic, which led all networks.[24] It attracted NBC's largest non-sports Thursday audience since the series finale of Frasier in 2004 (which averaged 22.6 million viewers),[25] and NBC's largest non-sports audience on any night since the 2007 Golden Globe Awards.[26] The special performed the best with women in the 25–54 demographic, reaching a household rating of 7.0 for that demographic during the primetime broadcast.[27] It did particularly well in Oklahoma City, the capital of Underwood's home state, where it was watched by 28% of TV viewers.[28] At least 38.69 million viewers watched a portion of The Sound of Music Live!.[29] Factoring in DVR viewership over the week following the broadcast, the special was viewed by 21.84 million, with 3.1 million within the first three days.[29][30][31]
Following its original airing, an encore presentation of The Sound of Music Live! aired on December 14, 2013, attracting 3.1 million viewers. It notably displaced one of NBC's two traditional airings of the film It's a Wonderful Life (the other being on Christmas Eve), which was bumped ahead to December 20, 2013.[32][33][34]
NBC's Bob Greenblatt considered the production to be a success, and signed Meron and Zadan to produce another live musical for the 2014 holiday season. Greenblatt felt that there were enough recognizable, family-friendly musicals to make events like The Sound of Music Live! an annual tradition, and he indicated that NBC received e-mails and phone calls from various theatrical rightsholders, expressing interest in having their musicals adapted in a similar fashion, In January 2014, NBC announced that it would broadcast a live version of Peter Pan in December 2014, and at NBC's upfronts in May 2014, Greenblatt announced that NBC had also obtained rights to produce an adaptation of The Music Man, although the network did not announce any timeframe for the production.[35][36][37] Similarly, Fox announced in April 2014 that it would broadcast a similar live production of Grease in 2015.[38]
The special also had an influence on viewership for ABC's annual broadcast of the 1965 film version of The Sound of Music; with 6.5 million viewers and a 1.3 share, it was ABC's highest-rated airing of the film since 2007, although it was, ironically, beaten in overall viewership by a telecast of Sunday Night Football on NBC.[29]
Accolades[edit]
[icon] This section requires expansion with: Additional accolades. (July 2014)
The broadcast has been nominated for four Emmy Awards for the 66th Primetime Emmy Awards for Outstanding Music Direction, Outstanding Directing for a Variety Special, Outstanding Special Class Program and Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie, or Special in 2014.[39][40][41][42] It won the Emmy for Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie, or Special.[43]
Soundtrack[edit]
Main article: The Sound of Music: Music from the NBC Television Event
A soundtrack for the broadcast was released on December 3, 2013[44][45] and consists of 22 studio recordings.[46] Walmart outlets exclusively released a nine-track instrumental (sing-along) bonus CD with the soundtrack.[47] It peaked at number 17 on the Billboard 200[48] and number 2 on the Billboard Soundtracks chart.[49] The soundtrack has sold 103,000 copies as of January 2, 2014.[50]
Home media release[edit]
A DVD of the special was released on December 17, 2013,[51] through Universal Studios Home Entertainment. The DVD includes a behind-the-scenes look, titled "The Making of The Sound of Music Live!"[52] and a preview of the soundtrack.[53] It was released on DVD in Canada on January 7, 2014.[54]
See also[edit]

Portal icon American television portal
Portal icon Musical Theatre portal
2013 in American television
Peter Pan Live! (2014)

References[edit]
1.^ Jump up to: a b c "The Sound of Music Live!: Movies & TV". Retrieved June 16, 2014.
2.Jump up ^ "The Sound of Music – Music from the NBC Television Event 2013". Masterworks Broadway. Sony Music Entertainment. Retrieved 2014-05-19.
3.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 3. 88843 79814 2.
4.^ Jump up to: a b c d Bricker, Tierney (September 16, 2013). "First Look: Carrie Underwood as Maria in The Sound of Music". E! Online. E! Entertainment Television, LLC. A Division of NBCUniversal. Retrieved September 17, 2013.
5.Jump up ^ "The Sound of Music Live! - All Bios - Newest". NBC.com. NBCUniversal. Retrieved September 17, 2013.
6.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 23. 88843 79814 2.
7.Jump up ^ BWW News Desk (June 30, 2012). "NBC & Craig Zadan/Neil Meron to Present Live Broadcast of THE SOUND OF MUSIC!". broadwayworld.com. Wisdom Digital Media. Retrieved January 9, 2014.
8.Jump up ^ Silverman, Stephen M. (November 30, 2012). "Carrie Underwood to Star as Maria von Trapp on TV's The Sound of Music". People. Time Inc. Retrieved November 30, 2012.
9.Jump up ^ Strecker, Erin (December 10, 2013). "NBC to re-air 'Sound of Music Live!' on Saturday". Entertainment Weekly (Time Inc.). Retrieved December 13, 2013.
10.Jump up ^ Eby, Margaret (September 17, 2013). "Carrie Underwood dons dirndl for NBC's 'The Sound of Music Live!' poster". New York Daily News. Retrieved September 17, 2013.
11.Jump up ^ McGrath, Rachel (December 5, 2013). "Carrie Underwood Reveals Julie Andrews Gave 'Sound Of Music Live!' TV Special Her Seal Of Approval". Entertainmentwise. Giant Digital. Retrieved January 1, 2014.
12.Jump up ^ Aguilera, LeAnne (December 4, 2013). "Carrie Underwood Dishes on The Sound of Music Live! and How She Got Julie Andrew's Seal of Approval—Watch Now!". E! Online. NBCUniversal. Retrieved January 1, 2013.
13.Jump up ^ Amodio, Joseph (December 2, 2013). "Carrie Underwood's 'Sound of Music' special to air live from Bethpage". Newsday. Cablevision. Retrieved December 6, 2013.
14.Jump up ^ Littleton, Cynthia (December 6, 2013). "‘Sound of Music Live’: Producers Call It a ‘Profoundly Complicated, Amazing Experience’". Variety. Penske Business Media. Retrieved December 9, 2013.
15.Jump up ^ Ng, Philiana (December 5, 2013). "NBC's 'Sound of Music' Producers on Live Show Fears and Big Expectations (Q&A)". The Hollywood Reporter. Prometheus Global Media. Retrieved December 9, 2013.
16.Jump up ^ Poggi, Jeanine (December 2, 2013). "NBC Plots Aggressive Live Programming Strategy". AdAge. Crain Communications. Retrieved December 6, 2013.
17.Jump up ^ The Sound of Music: Music from the NBC Television Event (Compact disc liner notes). Masterworks. 2013. p. 7. 88843 79814 2.
18.Jump up ^ Steinberg, Brian (December 5, 2013). "Walmart Ads for NBC’s "Sound of Music" Will Sound Just Like the Show". Variety. Penske Business Media. Retrieved December 12, 2013.
19.Jump up ^ Rothman, Michael (December 5, 2013). "Who the Von Trapps Wish Could Replace Carrie Underwood in ‘The Sound of Music Live’". ABC News. Retrieved December 6, 2013.
20.Jump up ^ Fallon, Kevin (December 6, 2013). "‘Sound of Music Live!’ Review: The Hills Are Barely Alive". The Daily Beast. The Newsweek Daily Beast Company. Retrieved December 6, 2013.
21.Jump up ^ Gay, Verne (December 5, 2013). "'Sound of Music' -- and Carrie Underwood -- largely a success". Newsday. Cablevision. Retrieved December 6, 2013.
22.Jump up ^ Lowry, Brian (December 5, 2013). "TV Review: 'The Sound of Music Live!' ". Variety. Penske Business Media. Retrieved December 6, 2013.
23.Jump up ^ Bernardin, Marc (December 5, 2013). "The Sound of Music Live!: TV Review". The Hollywood Reporter. Prometheus Global Media. Retrieved December 6, 2013.
24.Jump up ^ Kondolojy, Amanda (December 6, 2013). "Thursday Final Ratings: 'The Big Bang Theory' & 'The X Factor' Adjusted Up; 'Once Upon a Time in Wonderland', 'The Millers', 'Grey's Anatomy' & Scandal' Adjusted Down". TV by the Numbers. Retrieved December 7, 2013.
25.Jump up ^ Mitovich, Matt Webb (December 6, 2013). "Ratings: NBC's Sound of Music Live! Does Something Very Good; Glee and Grey's Eye Lows". TVLine. Retrieved December 7, 2013.
26.Jump up ^ Gay, Verne (December 6, 2013). "'The Sound of Music Live!' ratings: 18.5 million viewers". Newsday. Retrieved December 7, 2013.
27.Jump up ^ Weisman, Jon (December 6, 2013). "'Sound of Music' Ratings Sing for NBC Thursday Night". Variety (Penske Business Media). Retrieved December 7, 2013.
28.Jump up ^ Levin, Gary (December 6, 2013). "'Sound of Music' was ratings high". USA Today (Gannett Company). Retrieved December 7, 2013.
29.^ Jump up to: a b c "‘The Sound Of Music’ Continues To Echo Across The Ratings Landscape". Deadline Hollywood. Retrieved 24 December 2013.
30.Jump up ^ "Ratings for The Sound of Music Live! Swell to Nearly 22 Million with DVR Playback". Playbill. Retrieved 24 December 2013.
31.Jump up ^ Carter, Bill (December 10, 2013). "Live ‘Sound of Music’ Added 3 Million Delayed Viewers". The New York Times. Retrieved December 11, 2013.
32.Jump up ^ Friedlander, Whitney (December 10, 2013). "NBC to Re-Air ‘The Sound of Music Live!’". Variety (Penske Business Media). Retrieved December 14, 2013.
33.Jump up ^ Strecker, Erin (December 10, 2013). "NBC to re-air 'Sound of Music Live!' on Saturday". Entertainment Weekly (Entertainment Weekly Inc). Retrieved December 13, 2013.
34.Jump up ^ "Ask Sam: 'It's a Wonderful Life' pre-empted by 'Sound of Music Live'". Winston-Salem Journal (BH Media). December 20, 2013. Retrieved December 20, 2013.
35.Jump up ^ Carter, Bill (December 9, 2013). "NBC Says It Will Put On a Show, Again". The New York Times. Retrieved December 10, 2013.
36.Jump up ^ "NBC Announces 'Music Man' Live TV Production". Billboard. Retrieved 5 December 2014.
37.Jump up ^ Frizell, Sam (January 19, 2014). "NBC Announces Peter Pan for Next Live Production". Time. Retrieved November 17, 2014.
38.Jump up ^ "'Grease' Live Coming to Fox TV". Billboard. Retrieved 5 December 2014.
39.Jump up ^ Whitaker, Sterling (July 11, 2014). "Carrie Underwood's 'The Sound of Music Live!' Earns Four Primetime Emmy Nominations". The Boot. Taste of Country Network. Retrieved July 17, 2014.
40.Jump up ^ Ragusa, Tammy (July 11, 2014). ""Emmy Nods for Carrie Underwood's "The Sound of Music Live!" and "The Voice"". Country Weekly. American Media, Inc. Retrieved July 17, 2014.
41.Jump up ^ Leahey, Andrew (July 11, 2014). "Carrie Underwood's 'Music' Receives Four Emmy Nods". Rolling Stone Retrieved July 17, 2014.
42.Jump up ^ Wyland, Sarah (July 14, 2014). "Carrie Underwood’s ‘The Sound of Music’ Receives Emmy Nominations". Great American Country. Scripps Networks. LLC. Retrieved July 17, 2014.
43.Jump up ^ de Moraes, Lisa (August 16, 2014). "Creative Arts Emmy Awards: ‘Saturday Night Live’, HBO Grab Most Trophies — Full List Of Winners". Deadline.com. Retrieved December 5, 2014.
44.Jump up ^ "The Sound of Music (Music from the NBC Television Event) by Various Artists - iTunes album detail page". iTunes Stores. Apple, Inc. Retrieved 17 April 2014.
45.Jump up ^ Erlewine, Stephen Thomas (December 3, 2013). "Carrie Underwood: The Sound of Music (2013 NBC Television Cast)". AllMusic. Rovi Corporation. Retrieved April 21, 2014.
46.Jump up ^ "Sony Masterworks Releases Television Soundtrack To NBC's Live Broadcast of 'The Sound of Music' Starring Six-Time Grammy Winner Carrie Underwood". The State Journal (WorldNow and WVSTATE). October 24, 2013. Archived from the original on December 3, 2013. Retrieved November 14, 2013.
47.Jump up ^ "The Sound Of Music (2013 NBC Television Cast) Soundtrack (Walmart Exclusive) (2CD), Carrie Underwood: Country : Walmart.com". Walmart.com. Wal-Mart Stores, Inc. Retrieved December 10, 2013.
48.Jump up ^ "Billboard 200: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
49.Jump up ^ "Soundtracks: Dec 21, 2013 (Billboard Chart Archive)". Billboard. Prometheus Global Media. Retrieved December 24, 2013.
50.Jump up ^ Bjorke, Matt (January 2, 2014). "Country Album Chart News: The Week of January 2, 2013: Garth Brooks, Duck Dynasty, Cassadee Pope, Danielle Bradbery & Scotty McCreery". Roughstock. Retrieved January 2, 2014.
51.Jump up ^ BWW News Desk (November 23, 2013). "NBC to Release THE SOUND OF MUSIC LIVE! on DVD, Dec 17". Broadway World (Wisdom Digital Media). Retrieved November 25, 2013.
52.Jump up ^ "'Slo 'Mo', Holi-GAYS, amd Sound of Music Live!' DVD coming up". Windy City Times (Chicago, IL: Windy City Media Group). December 10, 2013. Retrieved December 14, 2013.
53.Jump up ^ The Sound of Music Live! DVD. 2013. Universal Studios Home Entertainment. Main Menu.
54.Jump up ^ "The Sound of Music - Live (Bilingual): Carrie Underwood, Stephen Moyer, Neil Meron;Craig Zadan: DVD". Amazon.com (Canada), Amazon.com, Inc. Retrieved December 24, 2013.
External links[edit]
Official website
The Sound of Music Live! at the Internet Movie Database


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The Sound of Music

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This article is about the stage musical. For the film, see The Sound of Music (film). For other uses, see The Sound of Music (disambiguation).

The Sound of Music
The Sound of Music OBC Album Cover.jpg
Original cast recording

Music
Richard Rodgers
Lyrics
Oscar Hammerstein II
Book
Howard Lindsay
Russel Crouse
Basis
1956 German film Die Trapp-Familie and Maria von Trapp's autobiography The Story of the Trapp Family Singers
Productions
1959 Broadway
1961 West End
1961 Melbourne
1965 Film
1981 West End revival
1988 Oslo
1998 Broadway revival
2006 West End revival
2009–11 UK Tour
2009 Paris
2010 Sao Paulo
2011 Spanish Tour
2011 Buenos Aires
2011 Moscow
2013 U.S. TV special
2014 Chicago
2015 Bogota

The Sound of Music (1959) is a multiple Tony Award–winning musical by Richard Rodgers, lyrics by Oscar Hammerstein II and a book by Howard Lindsay and Russel Crouse. It is based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers. Many songs from the musical have become standards, such as "Edelweiss", "My Favorite Things", "Climb Ev'ry Mountain", "Do-Re-Mi", and the title song "The Sound of Music".
The original Broadway production,[1] starring Mary Martin and Theodore Bikel, opened on November 16, 1959. This production was a five time winner at the 14th Tony Awards, out of nine nominations. The original London production opened at The Palace Theatre on May 18, 1961 starring Jean Bayless and Roger Dann. The show has enjoyed numerous productions and revivals since then, with a 1998 Broadway production earning a Tony nomination for Best Revival. It was adapted as a 1965 film musical starring Julie Andrews and Christopher Plummer, which won five Academy Awards. The Sound of Music was the final musical written by Rodgers and Hammerstein; Oscar Hammerstein died of cancer nine months after the Broadway premiere.


Contents  [hide]
1 History
2 Story 2.1 Act I
2.2 Act II
3 Musical numbers
4 Main characters
5 Notable productions 5.1 Original productions
5.2 1981 London revival
5.3 1998 Broadway revival
5.4 2006 London revival
5.5 Other productions
6 Film adaptation
7 Televised production
8 Reception
9 Cast recordings
10 Notes
11 References
12 Further reading
13 External links

History[edit]
After viewing The Trapp Family, a 1956 West German film about the von Trapp family, and its 1958 sequel (Die Trapp-Familie in Amerika), stage director Vincent J. Donehue thought that the project would be perfect for his friend Mary Martin; Broadway producers Leland Hayward and Richard Halliday (Martin's husband) agreed.[2] The producers originally envisioned a non-musical play that would be written by Lindsay and Crouse and that would feature songs from the repertoire of the Trapp Family Singers. Then they decided to add an original song or two, perhaps by Rodgers and Hammerstein. But it was soon agreed that the project should feature all new songs and be a musical rather than a play.[3]
Details of the history of the von Trapp family were altered for the musical. The real Georg Ludwig von Trapp did live with his family in a villa in Aigen, a suburb of Salzburg, and Maria von Trapp (born Maria Augusta Kutschera) had been sent to be a tutor to one of the children. Lindsay and Crouse altered the story so that Maria was governess to all of them. The names and ages of the children were also altered, as was Maria's original surname (the show used "Rainer" instead of "Kutschera"). The von Trapps spent some years in Austria after Maria and the Captain married and was offered a commission to Germany's navy. Since Von Trapp opposed the Nazis by that time, the family left Austria after the Anschluss, going by train to Italy and then traveling on to London and the United States.[4] To make the story more dramatic, Lindsay and Crouse had the family, soon after Maria's and the Captain's wedding, escape over the mountains to Switzerland on foot.
Story[edit]
Act I[edit]
In Salzburg, Austria, just before World War II, nuns from Nonnberg Abbey sing the Dixit Dominus. One of the postulants, Maria Rainer, is on the nearby mountainside, regretting leaving the beautiful hills ("The Sound of Music") where she was brought up. She returns late. The Mother Abbess and the other nuns consider what to do about her ("Maria"). Maria explains her lateness, saying she was raised on that mountain, and apologizes for singing in the garden without permission. The Mother Abbess joins her in song ("My Favorite Things").[5] The Mother Abbess tells her that she should spend some time outside the abbey to decide whether she is ready for the monastic life. She will act as the governess to the seven children of a widower, Austro-Hungarian Navy submarine Captain Georg von Trapp.
Maria arrives at the villa of Captain von Trapp. He explains her duties and summons the children with a boatswain's call. They march in, clad in uniforms. He teaches her their individual signals on the call, but she openly disapproves of this militaristic approach. Alone with them, she breaks through their wariness and teaches them the basics of music ("Do-Re-Mi").
Rolf, a young messenger, delivers a telegram and then meets with the oldest child, Liesl, outside the villa. He claims he knows what is right for her because he is a year older than she ("Sixteen Going on Seventeen"). They kiss, and he runs off, leaving her screaming with joy. Meanwhile, the housekeeper, Frau Schmidt, gives Maria material to make new clothes, as she had given all her possessions to the poor. She sees Liesl slipping in through the window, wet from a sudden thunderstorm, but agrees to keep her secret. The other children are frightened by the storm. Maria sings "The Lonely Goatherd" to distract them.
Captain von Trapp arrives a month later with Elsa Schräder and Max Detweiler. Elsa tells Max that something is preventing the Captain from marrying her. He opines that only poor people have the time for great romances ("How Can Love Survive"). Rolf enters, looking for Liesl, and greets them with "Heil". The Captain orders him away, saying that he is Austrian, not German. Maria and the children leapfrog in, wearing playclothes that she made from old drapes. Infuriated, the Captain sends them off to change. She tells him that they need him to love them, and he angrily orders her back to the abbey. As she apologizes, they hear the children singing "The Sound of Music", which she had taught them, to welcome Elsa Schräder. He joins in and embraces them. Alone with Maria, he asks her to stay, thanking her for bringing music back into his house. Elsa is suspicious of her until she explains that she will be returning to the abbey in September.
The Captain gives a party to introduce Elsa, and guests argue over the Anschluss. Kurt asks Maria to teach him to dance the Ländler. When he is unable to negotiate a complicated figure, the Captain steps in to demonstrate. He and Maria dance until they come face-to-face; and she breaks away, embarrassed and confused. Discussing the expected marriage between Elsa and the Captain, Brigitta tells Maria that she thinks Maria and the Captain are really in love with each other. Elsa asks the Captain to allow the children say goodnight to the guests with a song, "So Long, Farewell". Max is amazed at their talent and wants them for the Kaltzberg Festival, which he is organizing. The guests leave for the dining room, and Maria slips out the front door with her luggage.
At the abbey, Maria says that she is ready to take her monastic vows; but the Mother Abbess realizes that she is running away from her feelings. She tells her to face the Captain and discover if they love each other, and tells her to search for and find the life she was meant to live ("Climb Ev'ry Mountain").
Act II[edit]
Max teaches the children how to sing on stage. When the Captain tries to lead them, they complain that he is not doing it as Maria did. He tells them that he has asked Elsa to marry him. They try to cheer themselves up by singing "My Favorite Things" but are unsuccessful until they hear Maria singing on her way to rejoin them. Learning of the wedding plans, she decides to stay only until the Captain can arrange for another governess. Max and Elsa argue with him about the imminent Anschluss, trying to convince him that it is inevitable ("No Way to Stop It"). When he refuses to compromise, Elsa breaks off the engagement. Alone, the Captain and Maria finally admit their love, desiring only to be "An Ordinary Couple". As they marry, the nuns reprise "Maria" against the wedding processional.
During the honeymoon, Max prepares the children to perform at the Kaltzberg Festival. Herr Zeller, the Gauleiter, demands to know why they are not flying the flag of the Third Reich now that the Anschluss has occurred. The Captain and Maria return early from their honeymoon before the Festival. In view of developments, he refuses to allow the children to sing. Max argues that they would sing for Austria, but the Captain points out that it no longer exists. Maria and Liesl discuss romantic love; Maria predicts that in a few years Liesl will be married ("Sixteen Going on Seventeen (Reprise)"). Rolf enters with a telegram that offers the Captain a commission in the German Navy, and Liesl is upset to discover that Rolf is now a committed Nazi. The Captain consults Maria and decides that they must secretly flee Austria. German Admiral von Schreiber arrives to find out why Captain Von Trapp has not answered the telegram. He explains that the German Navy holds him in high regard, offers him the commission, and tells him to report immediately to Bremerhaven to assume command. Maria says that he cannot leave immediately, as they are all singing in the Festival concert; and the Admiral agrees to wait.
At the concert, after the von Trapps sing an elaborate reprise of "Do-Re-Mi", Max brings out the Captain's guitar. Captain von Trapp sings "Edelweiss", as a goodbye to his homeland, while using Austria's national flower as a symbol to declare his loyalty to the country. Max asks for an encore and announces that this is the von Trapp family's last chance to sing together, as the honor guard waits to escort the Captain to his new command. While the judges decide on the prizes, the von Trapps sing "So Long, Farewell", leaving the stage in small groups. Max then announces the runners-up, stalling as much as possible. When he announces that the first prize goes to the von Trapps and they do not appear, the Nazis start a search. The family hides at the Abbey, and Sister Margaretta tells them that the borders have been closed. The Nazis do not find them until Rolf comes upon them. He calls his lieutenant; but, upon seeing Liesl hiding, he reports that he has found no one. To help them flee, the nuns have secretly sabotaged the cars of the Nazis. The von Trapps flee over the Alps as the nuns reprise "Climb Ev'ry Mountain".
Musical numbers[edit]
Act I"Preludium" Nuns
"The Sound of Music" – Maria
"Maria" – Sister Berthe, Sister Sophia, Sister Margaretta, and the Mother Abbess
"My Favorite Things" – Maria and the Mother Abbess
"My Favorite Things" (reprise 1) – Maria
"Do-Re-Mi" – Maria and the children
"Sixteen Going on Seventeen" – Rolf and Liesl
"The Lonely Goatherd" – Maria and the children
"The Lonely Goatherd" (reprise) – Gretl
"How Can Love Survive" – Max and Elsa
"The Sound of Music" (reprise) – Maria, the Captain and the children
"Ländler" (instrumental)
"So Long, Farewell" – The children
"Morning Hymn" – Nuns
"Climb Ev'ry Mountain" – Mother Abbess
 Act II"My Favorite Things" (reprise 2) – Maria and the children
"No Way to Stop It" – Elsa, Max and the Captain
"An Ordinary Couple" – Maria and the Captain †
"Gaudeamus Domino" – Nuns
"Maria" (reprise) – Nuns
"Confitemini Domino" – Nuns
"Sixteen Going on Seventeen" (reprise) – Maria and Liesl
"Do-Re-Mi" (reprise) – Maria, the Captain, and the children ‡
"Edelweiss" – The Captain
"So Long, Farewell" (reprise) – Maria, the Captain, and the children
"Finale Ultimo" (reprise of "Climb Every Mountain") – Nuns

NotesThe musical numbers listed appeared in the original production unless otherwise noted.
† Sometimes replaced by "Something Good", which was written for the film version.
‡ Replaced by "The Lonely Goatherd" in the 1998 revival.
In some productions, "My Favorite Things" follows "Sixteen Going on Seventeen" in the thunderstorm scene, while "The Lonely Goatherd" is shifted to the concert scene.
Many stage revivals have also included "I Have Confidence" and "Something Good", which were written by Richard Rodgers for the film version (since the film was made after original lyricist Oscar Hammerstein's death).
Although many people believe that "Edelweiss" is a traditional Austrian song, it was in fact written for the musical and did not become known in Austria until after the film's success.[6]
The Ländler dance performed by Maria and the Captain during the party is only loosely based on the traditional Austrian dance of the same name.[7]
Main characters[edit]
Sources: Rodgers & Hammerstein[8] Guidetomusicaltheatre.com[9]
Maria Rainer, a postulant at Nonnberg Abbey
Captain Georg von Trapp
Max Detweiler, Captain von Trapp's friend, a music agent and producer
The Mother Abbess, the head of Nonnberg Abbey
Elsa Schrader,[10] "wealthy and sophisticated" and Captain von Trapp's would-be fiancée
Rolf Gruber, the 17-year-old Nazi delivery boy who is in love with Liesl
Sister Bertha, the Mistress of Novices
Sister Margareta, the Mistress of Postulants
Sister Sophia, a sister at the Abbey
Herr Zeller, the Gauleiter
Franz, Captain von Trapp's butler
Frau Schmidt, Captain von Trapp's housekeeper
The Children: Liesl von Trapp, age 16
Friedrich von Trapp, age 15
Louisa von Trapp, age 13
Kurt von Trapp, age 11
Brigitta von Trapp, age 10
Marta von Trapp, age 7
Gretl von Trapp, age 5

Notable productions[edit]
Original productions[edit]
The Sound of Music opened on Broadway at the Lunt-Fontanne Theatre on November 16, 1959, moved to the Mark Hellinger Theatre on November 6, 1962 and closed on June 15, 1963 after 1,443 performances. The director was Vincent J. Donehue, and the choreographer was Joe Layton. The original cast included Mary Martin (at age 46) as Maria, Theodore Bikel as Captain Georg von Trapp, Patricia Neway as Mother Abbess, Kurt Kasznar as Max Detweiler, Marion Marlowe as Elsa Schrader, Brian Davies as Rolf and Lauri Peters as Liesl. Sopranos Patricia Brooks and June Card were ensemble members in the original production. The show tied for the Tony Award for Best Musical with Fiorello!. Other awards included Martin for Best Actress in a Musical, Neway for Best Featured Actress, Best Scenic Design (Oliver Smith) and Best Musical Direction (Frederick Dvonch). Bikel and Kasznar were nominated for acting awards, and Donehue was nominated for his direction. The entire children's cast was nominated for Best Featured Actress category as a single nominee, even though two children were boys.
Martha Wright replaced Martin in the role of Maria on Broadway in October 1961, followed by Karen Gantz in July 1962, Jeannie Carson in August 1962[11] and Nancy Dussault in September 1962. Jon Voight, who eventually married co-star Lauri Peters, was a replacement for Rolf. The national tour starred Florence Henderson as Maria and Beatrice Krebs as Mother Abbess. It opened at the Grand Riviera Theater, Detroit, on February 27, 1961 and closed November 23, 1963 at the O'Keefe Centre, Toronto. Henderson was succeeded by Barbara Meister in June 1962. Theodore Bikel was not satisfied playing the role of the Captain, because of the role's limited singing,[citation needed] and Bikel did not like to play the same role over and over again. In his autobiography, he writes: "I promised myself then that if I could afford it, I would never do a run as long as that again."[12] The original Broadway cast album sold three million copies.
The musical premiered in London's West End at the Palace Theatre on May 18, 1961, and ran for 2,385 performances. It was directed by Jerome Whyte and used the original New York choreography, supervised by Joe Layton, and the original sets designed by Oliver Smith. The cast included Jean Bayless as Maria, followed by Sonia Rees, Roger Dann as Captain von Trapp, Constance Shacklock as Mother Abbess, Eunice Gayson as Elsa Schrader, Harold Kasket as Max Detweiler, Barbara Brown as Liesl, Nicholas Bennett as Rolf and Olive Gilbert as Sister Margaretta.[13]
1981 London revival[edit]
In 1981, at producer Ross Taylor's urging, Petula Clark agreed to star in a revival of the show at the Apollo Victoria Theatre in London's West End. Michael Jayston played Captain von Trapp, Honor Blackman was the Baroness and June Bronhill the Mother Abbess. Other notable cast members included Helen Anker, John Bennett and Martina Grant.[14] Despite Clark's misgivings that, at age 49, she was too old to play the role convincingly, Clark opened to unanimous rave reviews (and the largest advance sale in the history of British theatre at that time). Maria von Trapp herself, present at the opening night performance, described Clark as "the best" Maria ever. Clark extended her initial six-month contract to thirteen months. Playing to 101 percent of seating capacity, the show set the highest attendance figure for a single week (October 26–31, 1981) of any British musical production in history (as recorded in The Guinness Book of Theatre).[15] This was the first stage production to incorporate the two additional songs ("Something Good" and "I Have Confidence") that Richard Rodgers composed for the film version.[16] The song "My Favorite Things" was placed into the same context as in the film version and the short verse "A Bell is No Bell" was extended into a full-length song for Maria and the Mother Abbess while "The Lonely Goatherd" was set in a new scene at a village fair. The cast recording of this production was the first to be recorded digitally. In 2010 the UK label 'Pet Sounds' officially released the album on CD with two bonus tracks from the original Epic 45rpm single issued to promote the production.
1998 Broadway revival[edit]
In 1998, director Susan H. Schulman staged the first Broadway revival of The Sound of Music, with Rebecca Luker as Maria and Michael Siberry as Captain von Trapp. It also featured Patti Cohenour as Mother Abbess, Jan Maxwell as Elsa Schrader, Fred Applegate as Max Detweiler, Dashiell Eaves as Rolf, Patricia Conolly as Frau Schmidt and Laura Benanti, in her Broadway debut, as Luker's understudy. Later, Luker and Siberry were replaced by Richard Chamberlain as the Captain and Benanti as Maria. Lou Taylor Pucci made his Broadway debut as the understudy for Kurt von Trapp. This revival opened on March 12, 1998, at the Martin Beck Theatre, where it ran for 15 months. It then went on tour in North America. This production was nominated for a Tony Award for Best Revival of a Musical.
2006 London revival[edit]
An Andrew Lloyd Webber production opened on November 15, 2006, at the London Palladium and ran until February 2009, produced by Live Nation's David Ian and Jeremy Sams. Following failed negotiations with Hollywood star Scarlett Johansson,[17] the role of Maria was cast through a UK talent search reality TV show called How Do You Solve a Problem like Maria? The talent show was produced by (and starred) Andrew Lloyd Webber and featured presenter/comedian Graham Norton and a judging panel of David Ian, John Barrowman and Zoe Tyler.
Connie Fisher was selected by public voting as the winner of the show. In early 2007, Fisher suffered from a heavy cold that prevented her from performing for two weeks. To prevent further disruptions, an alternate Maria, Aoife Mulholland, a fellow contestant on How Do You Solve a Problem like Maria?, played Maria on Monday evenings and Wednesday matinee performances. Simon Shepherd was originally cast as Captain von Trapp, but after two preview performances he was withdrawn from the production, and Alexander Hanson moved into the role in time for the official opening date along with Lesley Garrett as the Mother Abbess. After Garrett left, Margaret Preece took the role. The cast also featured Lauren Ward as the Baroness, Ian Gelber as Max, Sophie Bould as Liesl, and Neil McDermott as Rolf. Other notable replacements have included Simon Burke and Simon MacCorkindale as the Captain and newcomer Amy Lennox as Liesl. Summer Strallen replaced Fisher in February 2008, with Mulholland and later Gemma Baird portraying Maria on Monday evenings and Wednesday matinees.
The revival received enthusiastic reviews, especially for Fisher, Preece, Bould and Garrett. A cast recording of the London Palladium cast was released.[18] The production closed on February 21, 2009, after a run of over two years[19] and was followed by a UK national tour, described below.
Other productions[edit]
1961 Australian productionThe Australian production opened at Melbourne's Princess Theatre in 1961 and ran for three years. The production was directed by Charles Hickman, with musical numbers staged by Ernest Parham. The cast included June Bronhill as Maria, Peter Graves as Captain von Trapp, Rosina Raisbeck as Mother Abbess, Lola Brooks as Elsa Schrader, Eric Reiman as Max Detweiler, Julie Day as Liesl, and Tony Jenkins as Rolf. A touring company then played for years, with Vanessa Lee (Graves' wife) in the role of Maria. A recording was made in 1961. It was the first time a major overseas production featuring Australian artists was transferred to disc.1966 Puerto Rican ProductionThe Puerto Rican Premiere of The Sound of Music, performed in English, opened at the Tapia Theatre in San Juan under the direction of Pablo Cabrera. It started Camille Carrión as María, Raúl Dávila as Captain Von Trapp and it featured a young Johanna Rosaly as Liesl. In 1968, the production was transferred to the Teatro de la Zarzuela in Madrid, Spain, were it was performed in Spanish with Ms. Carrión reprising the role of María, Alfredo Mayo as Captain Von Trapp and Roberto Rey as Uncle Max.The 1988 Takarazuka (Japan) versionIn 1988, the Snow Troupe of Takarazuka Revue performed the musical at the Bow Hall (Takarazuka, Hyōgo). Harukaze Hitomi and Gou Mayuka starred.1990 New York City Opera productionA 1990 New York City Opera production was directed by Oscar Hammerstein II's son, James. It featured Debby Boone as Maria, Laurence Guittard as Captain von Trapp, and Werner Klemperer as Max Detweiler.1993 Stockholm premiereIn the original Stockholm production, Carola Häggkvist played Maria, Tommy Körberg played Captain Georg von Trapp, Erik Skutnick played Max, and Emilia Brown played Gretl.1999 Australian revivalAn Australian revival played in the Lyric Theatre, Sydney, New South Wales from November 1999 to February 2000. Lisa McCune played Maria; TV personality Bert Newton was Max; John Waters was Captain von Trapp and Eilene Hannan as Mother Abbess. The children's cast included Tim Draxl as Rolf, Chris Nolan as Friedrich, Rachel Marley as Marta and Pia Morley as Liesl. This production was based on the 1998 Broadway revival staging directed by Susan Schulman and choreographed by Michael Lichtefield. The show was produced by the Gordon Frost Organisation and Sports and Entertainment Limited.[20] The production also toured until February 2001, in Melbourne (Princess Theatre, March 21, 2000 through July 5, 2000), Brisbane (9 weeks), and Perth (August 3, 2000, 6 weeks) Adelaide. Rachael Beck took over as Maria for the Perth and Adelaide seasons and Rob Guest took over as Captain von Trapp in Perth.[21][22][23][24]2005 Vienna productionThe first full-scale Austrian production opened on February 26, 2005 at the Volksoper Wien. It was directed and choreographed by Renaud Doucet, with sets and costume design by André Barbe. The 2005 cast included Sandra Pires as Maria, (Martina Dorak and Johanna Arrouas as Maria in other productions), Kurt Schreibmayer and Michael Kraus as Kapitän von Trapp and Heidi Brunner, Gabriele Sima and Ulrike Steinsky as Mutter Oberin (Mother Abbess). The production is still in the repertoire of the Volksoper with 12–20 performances per season.[25][26][27]2007 Salzburg Marionette Theatre productionThe Salzburg Marionette Theatre has been touring their version of the show, featuring the recorded voices of Broadway singers such as Christiane Noll as Maria.[28] The U.S. tour began in Dallas, Texas in November 2007.[29] It opened on May 9 in Salzburg, with performances scheduled through December 2008.[30] The director is Richard Hamburger.[31] In December 2010, the production was given in Paris, France, with dialogues in French and the songs in English.2008 International productionsA Brazilian production with Kiara Sasso as Maria and Herson Capri as the Captain played Rio de Janeiro and São Paulo the following year.[32] A Dutch version of the musical premiered in September 2008 with Wieneke Remmers as Maria, directed by John Yost.[33]2008 Canadian productionAndrew Lloyd Webber, David Ian and David Mirvish presented The Sound of Music at the Princess of Wales Theatre in Toronto. The role of Maria was chosen by the public through a television show, How Do You Solve a Problem Like Maria?, which was produced by Andrew Lloyd Webber and David Ian and aired in July and August. Elicia MacKenzie was declared the winner over fellow "Maria" Janna Polzin.[34] Polzin was cast as an "alternate Maria" for the Toronto stage production. She played Maria twice a week (Wednesday evenings and Saturday matinees), while MacKenzie performed the role six times weekly.[35] Captain von Trapp was played by Burke Moses. The show closed on January 10, 2010 after a run of 69 weeks and over 500 performances. It is the longest running revival to play Toronto.[36]2009 UK tourA UK tour was launched on July 26, 2009, at the Wales Millennium Centre in Cardiff. The tour has also visited Bradford, Southampton, Milton Keynes, Sunderland, Manchester, Edinburgh, Aberdeen, Belfast, Llandudno, Eastbourne, and Woking, Birmingham, Plymouth, Bournemouth, Liverpool, Bristol, Oxford, Hull, Stoke-On-Trent, Derry, Dublin, Glasgow, Leeds, Nottingham, another return to Cardiff and Newcastle, before ending the run on October 22, 2011, at the New Wimbledon Theatre, Wimbledon. The original cast included Connie Fisher as Maria, Michael Praed as Captain von Trapp, Margaret Preece as the Mother Abbess, Martin Callaghan as Uncle Max, Jacinta Mulcahy as Baroness Schrader, Jeremy Taylor as Rolf and Claire Fishenden as Liesl. Kirsty Malpass stars as the alternate Maria.[37] Margaret Preece left the role of Mother Abbess on February 20, 2010, in Edinburgh and was replaced by Marilyn Hill Smith and Chris Barton took over the role of Rolf from Jeremy Taylor on June 29, 2010. Kirsty Malpass played the role of Maria full-time from August 24 to October 9, 2010, in Plymouth and Bournemouth due to Fisher's wedding plans. Jason Donovan assumed the role of Captain Von Trapp from Michael Praed on January 29, 2011, in Hull. Verity Rushworth replaced Fisher as Maria on February 15, 2011, when the show visited Stoke-on-Trent. Fisher planned to return to the role for the Tour's final engagements in Cardiff, Manchester, Newcastle and Wimbledon but had to pull out due to problems with her voice. Rushworth continued in the role until its closure in October 2011. Lesley Garrett reprised her role as Mother Abbess for the Tour's final engagement in Wimbledon in October 2011.2011 Spanish National TourA Spanish national tour of The Sound of Music (Sonrisas y Lágrimas) was launched on November, 2011 at the Auditorio de Tenerife in Santa Cruz de Tenerife in the Canary Islands. The tour visited 29 Spanish cities, spending one year in Madrid's Gran Vía at the Teatro Coliseum, and one season at the Tívoli Theatre in Barcelona. It was directed by Jaime Azpilicueta and starred Silvia Luchetti as Maria, Carlos J. Benito as Captain Von Trapp, Noemi Mazoy as Mother Abbess, Loreto Valverde as Elsa Schrader, Ángel Padilla as Uncle Max, Paris Martín as Rolf and Yolanda García as Liesl.[38]2011 ArgentinaLa Novicia Rebelde was performed in the Ópera-Citi theater in Buenos Aires from March 9, 2011, to August 14, 2011. The cast included Laura Conforte as Maria and Diego Ramos as Captain Von Trapp. It also included Rodolfo Valss as Uncle Max, Coni Marino as Baroness Schrader, Patricia Ana González as the Mother Abbess, Fernando Dente as Rolf, Julieta Nair Calvo as Liesl, Mirta Wons as Frau Schmidt, Mariano Muso as Franz and a cast of 19 who played the Von Trapp Children.[39][40]2013 London productionA new production played at the Open Air Theatre, Regent's Park from July 25 to September 14, 2013.[41][42] The production starred Charlotte Wakefield as Maria, with Michael Xavier as Captain von Trapp, Helen Hobson as Mother Abbess, Michael Matus as Max Detweiler, Caroline Keiff as Elsa Schraeder, Faye Bookes as Liesl and Joshua Tonks as Rolf Gruber.[41] It received enthusiastic reviews and became the highest-grossing production ever at the theatre.[41] In November 2013, it was reported that the producers had plans to transfer the show to the West End in 2014.[43] On March 10, 2014, the show received a nomination for Best Musical Revival at the Laurence Olivier Awards and Wakefield was nominated for Best Actress in a Musical.[44]2014 South Korean productionIt will be shown at the Universal Arts Center from January 5 to February 2. Singer Sohyang will play one of the three Marias.[45]2014 South African productionAt the Artscape in Cape Town from 29 Feb to 30 March 2014 and Teatro at Montecasino form 5 April to 8 June 2014. Pieter Toerien presents Andrew Lloyd Webber and David Ian’s London Palladium Production.2014 Puerto Rican RevivalThe world premiere of the new Spanish language translation of The Sound of Music (the original 1966 Puerto Rican production was performed in English) opened at University Theatre (Teatro de la Universidad) in San Juan on September 26 under the direction of Edgar García. It started Lourdes Robles as Maria, Braulio Castillo as Captain Von Trapp, Margarita Castro-Alberty as Mother Abbess, Julio Enrique Court as Uncle Max, Dagmar as Elsa Schrader, Ulises de Orduna as Rolf and Yeidimar Ramos as Liesl.[46]2015 Thailand productionThe play will performed at Muangthai ratchadalai Theatre from April 2nd, 2015 to April 26th,2015 (18 performances). This play was named in Thai is "มนต์รักเพลงสวรรค์". This Licensed production was translated from original production to Thai language. (Thai conversation and Thai lyric is the same meaning of original production). Replace the song "Ordinary couple" with "Something Good".[47][48][49][50][51]
Film adaptation[edit]
Main article: The Sound of Music (film)
On March 2, 1965, 20th Century Fox released a film adaption of the musical starring Julie Andrews as Maria Rainer and Christopher Plummer as Captain Georg von Trapp. It was produced and directed by Robert Wise with the screenplay adaption written by Ernest Lehman. Two songs were written by Rodgers specifically for the film, "I Have Confidence" and "Something Good".
Televised production[edit]
Main article: The Sound of Music Live!
A live televised production of the musical aired on December 5, 2013 on NBC. It was directed by Beth McCarthy-Miller and Rob Ashford.[52] Carrie Underwood starred as Maria Rainer, with Stephen Moyer as Captain von Trapp, Christian Borle as Max, Laura Benanti as Elsa, and Audra McDonald as the Mother Abbess.[53] The broadcast was repeated on December 14, 2013.[54] The production was released on DVD on Dec. 17, 2013.[55]
Reception[edit]
Most reviews of the original Broadway production were favorable. Richard Watts, Jr. of the New York Post stated that the show had "strangely gentle charm that is wonderfully endearing. The Sound of Music strives for nothing in the way of smash effects, substituting instead a kind of gracious and unpretentious simplicity."[56] The New York World-Telegram and Sun pronounced The Sound of Music "the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement."[56] The New York Journal American's review opined that The Sound of Music is "the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents".[56]
Brooks Atkinson of The New York Times gave a mixed assessment. He praised Mary Martin's performance, saying "she still has the same common touch ... same sharp features, goodwill, and glowing personality that makes music sound intimate and familiar" and stated that "the best of the Sound of Music is Rodgers and Hammerstein in good form". However, he said, the libretto "has the hackneyed look of the musical theatre replaced with Oklahoma! in 1943. It is disappointing to see the American musical stage succumbing to the clichés of operetta."[56] Walter Kerr's review in the New York Herald Tribune was unfavorable: "Before The Sound of Music is halfway through its promising chores it becomes not only too sweet for words but almost too sweet for music", stating that the "evening suffer(s) from little children".[56]
Cast recordings[edit]
One of Rodgers and Hammerstein’s favorite singers was the 1950s best-selling female vocalist, Patti Page. They approached Page and her manager Jack Rael to see if the duo would be interested in recording the title song, The Sound of Music, feeling that a well-known artist might give the Broadway musical a little "national" attention. Rael and Page agreed and recorded the song for Mercury Records at Fine Sound Studios in New York on November 16, 1959, the same day Sound of Music opened on Broadway. Page’s version was recorded a full week before the original Broadway cast entered Columbia Studios to record the cast album. Not only was Page the first person to ever record any song from the beloved musical but even showcased the song in an episode of her self-titled nationally televised variety show sponsored by Oldsmobile, bringing national attention to the Rodgers and Hammerstein masterpiece.
Columbia Masterworks recorded the original Broadway cast album a week after the show's 1959 opening. The album was the label's first deluxe package in a gatefold jacket, priced $1 higher than previous cast albums. It was #1 on Billboard's best-selling albums chart for 16 weeks in 1960.[57] It is currently available on CD from Sony in the Columbia Broadway Masterworks series.[58]
The 1960 London production was recorded by EMI and has been issued on CD on the Broadway Angel Label.[59]
The 1965 film soundtrack was released by RCA Victor and is one of the most successful soundtrack albums in history, having sold over 10 million copies worldwide.[60] Recent CD editions incorporate musical material from the film that would not fit on the original LP. The label has also issued the soundtrack in German, Italian, Spanish and French editions.
RCA Victor also released an album of the 1998 Broadway revival produced by Hallmark Entertainment and featuring the full revival cast, including Rebecca Luker, Michael Siberry, Jan Maxwell and Fred Applegate.[61]
The Telarc label made a studio cast recording of The Sound of Music, with the Cincinnati Pops Orchestra conducted by Erich Kunzel (1987). The lead roles went to opera stars: Frederica von Stade as Maria, Håkan Hagegård as Captain von Trapp, and Eileen Farrell as the Mother Abbess.[16] The recording "includes both the two new songs written for the film version and the three Broadway songs they replace, as well as a previously unrecorded verse of "An Ordinary Couple"".[62]
The 2006 London revival was recorded and has been released on the Decca Broadway label.[63]
There have been numerous studio cast albums and foreign cast albums issued, though many have only received regional distribution. According to the cast album database, there are 62 recordings of the score that have been issued over the years.[64]
The original recording reached number 15 on the Dutch MegaCharts albums chart.[65] A recording for the version at the Vlaamse Opera company peaked at number 23 on the Ultrapop 100 albums chart in Flanders.[66]
The 2013 NBC television production starring Carrie Underwood and Stephen Moyer was released on CD and digital download on December 3, 2013 under the Sony Masterworks label. Also featured on the album are Audra McDonald, Laura Benanti and Christian Borle.
Notes[edit]
1.Jump up ^ "Sound of Music: The Forgotten Maria". LIFE.com.
2.Jump up ^ Nolan, 244
3.Jump up ^ "The Sound of Music :: Rodgers & Hammerstein Organization :: Show Details". The Rodgers & Hammerstein Organization. Retrieved May 19, 2011. (Show History section)
4.Jump up ^ Gearin, Joan (Winter 2005). "Movie vs. Reality:The Real Story of the von Trapp Family". Prologue (National Archives and Records Administration) 37 (4). Retrieved April 2, 2008.
5.Jump up ^ "Welcome to the Official Sound of Music London Web Site". Soundofmusiclondon.com. Retrieved August 29, 2012.
6.Jump up ^ "Information from the BBC website". Bbc.co.uk. November 16, 1959. Retrieved August 29, 2012.
7.Jump up ^ Information from Earthlydelights.com[dead link]
8.Jump up ^ "The Sound of Music Cast Requirements". Rodgers & Hammerstein. Retrieved July 27, 2012.
9.Jump up ^ "The Sound of Music". Guidetomusicaltheatre.com. Retrieved July 27, 2012.
10.Jump up ^ Rodgers, Richard; Hammerstein, Oscar (1960). The Sound of Music. Hal Leonard Corporation. p. 2. ISBN 978-0-88188-050-2. Retrieved July 9, 2012.
11.Jump up ^ August 1962 PLAYBILL from the Lunt-Fontanne Theatre
12.Jump up ^ Bikel, Theodore. Theo: The Autobiography of Theodore Bikel, Univ of Wisconsin Press, 2002, ISBN 0-299-18284-3, p. Z-17
13.Jump up ^ Green, Stanley. Encyclopedia of the Musical Theatre (1980). Da Capo Press. ISBN 0-306-80113-2, p. 396
14.Jump up ^ "Cast list at Broadway World". Broadwayworld.com. Retrieved August 21, 2012.
15.Jump up ^ Maslon, Lawrence and Webber, Andrew Lloyd. The Sound of Music Companion (2007). Simon and Schuster. ISBN 1-4165-4954-4, p. 150
16.^ Jump up to: a b Hischak, p. 259
17.Jump up ^ Scarlett Johansson – Johansson Snubs Sound Of Music contactmusic.com, July 27, 2006
18.Jump up ^ Information from Theatre.com[dead link]
19.Jump up ^ "So "Long, Farewell": London's Sound of Music Closes Feb. 21". Playbill.
20.Jump up ^ Rose, Colin. "Head for the hills;Stage", The Sun Herald (Sydney, Australia), November 14, 1999, Time Out; p. 15
21.Jump up ^ CRITICS' CHOICE, The Australian, April 14, 2000, FEATURES; Pg. 11
22.Jump up ^ Barclay, Alison. "Von Trapps' house is full", Herald Sun (Melbourne, Australia), July 7, 2000, p. 89
23.Jump up ^ Aldred, Debra. "Lisa can sing for her supper of marshmallows", Courier Mail (Queensland, Australia), August 4, 2000, p. 7
24.Jump up ^ Archdall, Susan. "Rachael's happy to go her own way", The Advertiser, January 1, 2001 p. 77
25.Jump up ^ "Website of the Volksoper Wien". Volksoper.at. Retrieved August 29, 2012.
26.Jump up ^ Official Season Programme of the Volksoper Wien 2005/06, 2006/07, 2007/08
27.Jump up ^ Lash, Larry L. "The Sound of Music", Variety, March 7, 2005 – March 13, 2005, Legit Reviews; Abroad; Pg. 57
28.Jump up ^ Genzlinger, Neil."The Hills Are Still Alive, Just Look Past the Strings" The New York Times, December 7, 2007
29.Jump up ^ Review of Dallas opening, November 3, 2007[dead link]
30.Jump up ^ 2008 schedule of performances[dead link]
31.Jump up ^ Official website of the Salzburg Marionette Theatre's production[dead link]
32.Jump up ^ Official website of the Brazilian Production
33.Jump up ^ Official website of the 2008 Dutch production[dead link]
34.Jump up ^ Lipton, Brian Scott." 'The Sound of Music' to Bow in Toronto in September 2008" theatermania.com, September 25, 2007
35.Jump up ^ "Turns out Janna's a 'Maria' after all". The Star (Toronto). August 14, 2008. Retrieved May 25, 2010.
36.Jump up ^ BWW News Desk." 'The Sound Of Music' Ends Run At The Princess of Wales Theatre January 10" broadwayworld.com, January 10, 2010
37.Jump up ^ The Sound of Music UK Tour thesoundofmusictour.com, Retrieved May 18, 2009
38.Jump up ^ Nuria Frutos. "BWW TV: 'Sonrisas y lágrimas' se prepara para su gira española". BroadwayWorld.com.
39.Jump up ^ "lanoviciarebelde.com".
40.Jump up ^ La Novicia Rebelde, Argentina. "La Novicia Rebelde".
41.^ Jump up to: a b c The Sound of Music Extends Run at London's Open Air Theatre, Regent's Park Playbill, Retrieved November 7, 2013
42.Jump up ^ "To Kill A Mockingbird & Sound of Music lead 2013 Open Air season". whatsonstage.com. 15 August 2012. Retrieved 28 October 2012.
43.Jump up ^ Bill Kenwright Limited Bringing THE SOUND OF MUSIC, FAME & More to West End in 2014? Broadway World, Retrieved November 7, 2013
44.Jump up ^ Nominations Announced for 2014 Olivier Awards! CHARLIE AND THE CHOCOLATE FACTORY, ONCE, MORMON, MERRILY, Jude Law, Judi Dench & More broadwayworld, retrieved 10 March 2014
45.Jump up ^ "2014.1.1 Ticket". Korea JoongAng Daily. 1 January 2014.
46.Jump up ^ "En cartelera The Sound of Music".
47.Jump up ^ th:เมืองไทยรัชดาลัย เธียเตอร์
48.Jump up ^ [https://www.youtube.com/watch?v=XzTZhCFCdek
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50.Jump up ^ http://www.nationmultimedia.com/life/Thailands-hills-are-alive-30253718.html
51.Jump up ^ http://www.bangkokpost.com/lifestyle/music/514667/bangkok-is-alive-with-the-sound-of-music
52.Jump up ^ NBC & Craig Zadan/Neil Meron to Present Live Broadcast of THE SOUND OF MUSIC! Retrieved November 30, 2012
53.Jump up ^ Bernardin, Marc (December 5, 2013). "The Sound of Music Live!: TV Review". The Hollywood Reporter. Prometheus Global Media. Retrieved December 6, 2013.
54.Jump up ^ Friedlander, Whitney (December 10, 2013). "NBC to Re-Air ‘The Sound of Music Live!’". Variety (Penske Business Media). Retrieved December 14, 2013.
55.Jump up ^ BWW News Desk (November 23, 2013). "NBC to Release The Sound of Music Live! on DVD, Dec 17". Broadway World (Wisdom Digital Media). Retrieved November 25, 2013.
56.^ Jump up to: a b c d e Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, pp. 460–64. Schirmer Books, New York, 1990. ISBN 0-02-872625-1
57.Jump up ^ Bronson, Fred."Chart Beat"Billboard', September 14, 1996
58.Jump up ^ "The Sound Of Music – Original Broadway Cast", Castalbums.org
59.Jump up ^ "The Sound Of Music – Original London Cast", Castalbums.org
60.Jump up ^ Hischak, p. 44
61.Jump up ^ "The Sound Of Music – Broadway Cast", Castalbums.org
62.Jump up ^ Dyer, Richard, "Record Review;Cincinnati Pops Orchestra Rodgers And Hammersrein: The Sound of Music Telarc (CD)", The Boston Globe, September 15, 1988, Calendar; p. 12
63.Jump up ^ "The Sound Of Music – London Cast", Castalbums.org
64.Jump up ^ "The Sound of Music", CastAlbums.org database
65.Jump up ^ MUSICAL - THE SOUND OF MUSIC (in Dutch). dutchcharts.nl. Accessed on August 9, 2013.
66.Jump up ^ Musical - The Sound Of Music [VL] (in Dutch). ultratop.be. Accessed on August 9, 2013.
References[edit]
Hal, Leonard. The Sound of Music (1999) Fitzhenry & Whiteside ISBN 0-7935-9876-1
Hischak, Thomas. The Rodgers and Hammerstein Encyclopedia (2007). Greenwood Publishing Group. ISBN 0-313-34140-0
Hirsch, Julia Antopol. The Sound Of Music—The Making Of America's Favorite Movie (1993) McGraw-Hill Publishing
Maslon, Laurence, with a foreword by Andrew Lloyd Webber. The Sound of Music Companion (2007) Fireside ISBN 1-4165-4954-4
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers & Hammerstein, New York: Applause Theatre & Cinema Books. ISBN 1-55783-473-3
Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, Schirmer Books (1990) ISBN 0-02-872625-1
Wilk, Max. The Making of The Sound of Music (2007) Routledge ISBN 0-415-97934-X
Further reading[edit]
Bell, Bethany, "Austria discovers The Sound of Music", BBC, Saturday, March 19, 2005.
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David. With a Song in His Heart (Richard Rodgers). New York: Holt, Rinehart and Winston, 1963.
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II. New York: Random House, 1977; Decapo Press, 1995.
Gearin, Joan, Movie vs. Reality: The Real Story of the von Trapp Family, Prologue magazine, Winter 2005, Vol. 37, No. 4, published by the National Archives and Records Administration
Green, Stanley. The Rodgers and Hammerstein Fact Book. Milwaukee: Hal Leonard, 1980.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.
Papamichael, Stella, The Sound of Music: 40th Anniversary Collector's Edition DVD (1965), BBC, review and history, November 23, 2005
External links[edit]
 Wikiquote has quotations related to: The Sound of Music
The Sound of Music at the Internet Broadway Database
The Sound of Music at RNH Theatricals
Synopsis on theatrehistory
Sound of Music character descriptions and plot summary from StageAgent.com
The Sound of Music: 50th Anniversary Edition Podcast Series


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The Sound of Music

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This article is about the stage musical. For the film, see The Sound of Music (film). For other uses, see The Sound of Music (disambiguation).

The Sound of Music
The Sound of Music OBC Album Cover.jpg
Original cast recording

Music
Richard Rodgers
Lyrics
Oscar Hammerstein II
Book
Howard Lindsay
Russel Crouse
Basis
1956 German film Die Trapp-Familie and Maria von Trapp's autobiography The Story of the Trapp Family Singers
Productions
1959 Broadway
1961 West End
1961 Melbourne
1965 Film
1981 West End revival
1988 Oslo
1998 Broadway revival
2006 West End revival
2009–11 UK Tour
2009 Paris
2010 Sao Paulo
2011 Spanish Tour
2011 Buenos Aires
2011 Moscow
2013 U.S. TV special
2014 Chicago
2015 Bogota

The Sound of Music (1959) is a multiple Tony Award–winning musical by Richard Rodgers, lyrics by Oscar Hammerstein II and a book by Howard Lindsay and Russel Crouse. It is based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers. Many songs from the musical have become standards, such as "Edelweiss", "My Favorite Things", "Climb Ev'ry Mountain", "Do-Re-Mi", and the title song "The Sound of Music".
The original Broadway production,[1] starring Mary Martin and Theodore Bikel, opened on November 16, 1959. This production was a five time winner at the 14th Tony Awards, out of nine nominations. The original London production opened at The Palace Theatre on May 18, 1961 starring Jean Bayless and Roger Dann. The show has enjoyed numerous productions and revivals since then, with a 1998 Broadway production earning a Tony nomination for Best Revival. It was adapted as a 1965 film musical starring Julie Andrews and Christopher Plummer, which won five Academy Awards. The Sound of Music was the final musical written by Rodgers and Hammerstein; Oscar Hammerstein died of cancer nine months after the Broadway premiere.


Contents  [hide]
1 History
2 Story 2.1 Act I
2.2 Act II
3 Musical numbers
4 Main characters
5 Notable productions 5.1 Original productions
5.2 1981 London revival
5.3 1998 Broadway revival
5.4 2006 London revival
5.5 Other productions
6 Film adaptation
7 Televised production
8 Reception
9 Cast recordings
10 Notes
11 References
12 Further reading
13 External links

History[edit]
After viewing The Trapp Family, a 1956 West German film about the von Trapp family, and its 1958 sequel (Die Trapp-Familie in Amerika), stage director Vincent J. Donehue thought that the project would be perfect for his friend Mary Martin; Broadway producers Leland Hayward and Richard Halliday (Martin's husband) agreed.[2] The producers originally envisioned a non-musical play that would be written by Lindsay and Crouse and that would feature songs from the repertoire of the Trapp Family Singers. Then they decided to add an original song or two, perhaps by Rodgers and Hammerstein. But it was soon agreed that the project should feature all new songs and be a musical rather than a play.[3]
Details of the history of the von Trapp family were altered for the musical. The real Georg Ludwig von Trapp did live with his family in a villa in Aigen, a suburb of Salzburg, and Maria von Trapp (born Maria Augusta Kutschera) had been sent to be a tutor to one of the children. Lindsay and Crouse altered the story so that Maria was governess to all of them. The names and ages of the children were also altered, as was Maria's original surname (the show used "Rainer" instead of "Kutschera"). The von Trapps spent some years in Austria after Maria and the Captain married and was offered a commission to Germany's navy. Since Von Trapp opposed the Nazis by that time, the family left Austria after the Anschluss, going by train to Italy and then traveling on to London and the United States.[4] To make the story more dramatic, Lindsay and Crouse had the family, soon after Maria's and the Captain's wedding, escape over the mountains to Switzerland on foot.
Story[edit]
Act I[edit]
In Salzburg, Austria, just before World War II, nuns from Nonnberg Abbey sing the Dixit Dominus. One of the postulants, Maria Rainer, is on the nearby mountainside, regretting leaving the beautiful hills ("The Sound of Music") where she was brought up. She returns late. The Mother Abbess and the other nuns consider what to do about her ("Maria"). Maria explains her lateness, saying she was raised on that mountain, and apologizes for singing in the garden without permission. The Mother Abbess joins her in song ("My Favorite Things").[5] The Mother Abbess tells her that she should spend some time outside the abbey to decide whether she is ready for the monastic life. She will act as the governess to the seven children of a widower, Austro-Hungarian Navy submarine Captain Georg von Trapp.
Maria arrives at the villa of Captain von Trapp. He explains her duties and summons the children with a boatswain's call. They march in, clad in uniforms. He teaches her their individual signals on the call, but she openly disapproves of this militaristic approach. Alone with them, she breaks through their wariness and teaches them the basics of music ("Do-Re-Mi").
Rolf, a young messenger, delivers a telegram and then meets with the oldest child, Liesl, outside the villa. He claims he knows what is right for her because he is a year older than she ("Sixteen Going on Seventeen"). They kiss, and he runs off, leaving her screaming with joy. Meanwhile, the housekeeper, Frau Schmidt, gives Maria material to make new clothes, as she had given all her possessions to the poor. She sees Liesl slipping in through the window, wet from a sudden thunderstorm, but agrees to keep her secret. The other children are frightened by the storm. Maria sings "The Lonely Goatherd" to distract them.
Captain von Trapp arrives a month later with Elsa Schräder and Max Detweiler. Elsa tells Max that something is preventing the Captain from marrying her. He opines that only poor people have the time for great romances ("How Can Love Survive"). Rolf enters, looking for Liesl, and greets them with "Heil". The Captain orders him away, saying that he is Austrian, not German. Maria and the children leapfrog in, wearing playclothes that she made from old drapes. Infuriated, the Captain sends them off to change. She tells him that they need him to love them, and he angrily orders her back to the abbey. As she apologizes, they hear the children singing "The Sound of Music", which she had taught them, to welcome Elsa Schräder. He joins in and embraces them. Alone with Maria, he asks her to stay, thanking her for bringing music back into his house. Elsa is suspicious of her until she explains that she will be returning to the abbey in September.
The Captain gives a party to introduce Elsa, and guests argue over the Anschluss. Kurt asks Maria to teach him to dance the Ländler. When he is unable to negotiate a complicated figure, the Captain steps in to demonstrate. He and Maria dance until they come face-to-face; and she breaks away, embarrassed and confused. Discussing the expected marriage between Elsa and the Captain, Brigitta tells Maria that she thinks Maria and the Captain are really in love with each other. Elsa asks the Captain to allow the children say goodnight to the guests with a song, "So Long, Farewell". Max is amazed at their talent and wants them for the Kaltzberg Festival, which he is organizing. The guests leave for the dining room, and Maria slips out the front door with her luggage.
At the abbey, Maria says that she is ready to take her monastic vows; but the Mother Abbess realizes that she is running away from her feelings. She tells her to face the Captain and discover if they love each other, and tells her to search for and find the life she was meant to live ("Climb Ev'ry Mountain").
Act II[edit]
Max teaches the children how to sing on stage. When the Captain tries to lead them, they complain that he is not doing it as Maria did. He tells them that he has asked Elsa to marry him. They try to cheer themselves up by singing "My Favorite Things" but are unsuccessful until they hear Maria singing on her way to rejoin them. Learning of the wedding plans, she decides to stay only until the Captain can arrange for another governess. Max and Elsa argue with him about the imminent Anschluss, trying to convince him that it is inevitable ("No Way to Stop It"). When he refuses to compromise, Elsa breaks off the engagement. Alone, the Captain and Maria finally admit their love, desiring only to be "An Ordinary Couple". As they marry, the nuns reprise "Maria" against the wedding processional.
During the honeymoon, Max prepares the children to perform at the Kaltzberg Festival. Herr Zeller, the Gauleiter, demands to know why they are not flying the flag of the Third Reich now that the Anschluss has occurred. The Captain and Maria return early from their honeymoon before the Festival. In view of developments, he refuses to allow the children to sing. Max argues that they would sing for Austria, but the Captain points out that it no longer exists. Maria and Liesl discuss romantic love; Maria predicts that in a few years Liesl will be married ("Sixteen Going on Seventeen (Reprise)"). Rolf enters with a telegram that offers the Captain a commission in the German Navy, and Liesl is upset to discover that Rolf is now a committed Nazi. The Captain consults Maria and decides that they must secretly flee Austria. German Admiral von Schreiber arrives to find out why Captain Von Trapp has not answered the telegram. He explains that the German Navy holds him in high regard, offers him the commission, and tells him to report immediately to Bremerhaven to assume command. Maria says that he cannot leave immediately, as they are all singing in the Festival concert; and the Admiral agrees to wait.
At the concert, after the von Trapps sing an elaborate reprise of "Do-Re-Mi", Max brings out the Captain's guitar. Captain von Trapp sings "Edelweiss", as a goodbye to his homeland, while using Austria's national flower as a symbol to declare his loyalty to the country. Max asks for an encore and announces that this is the von Trapp family's last chance to sing together, as the honor guard waits to escort the Captain to his new command. While the judges decide on the prizes, the von Trapps sing "So Long, Farewell", leaving the stage in small groups. Max then announces the runners-up, stalling as much as possible. When he announces that the first prize goes to the von Trapps and they do not appear, the Nazis start a search. The family hides at the Abbey, and Sister Margaretta tells them that the borders have been closed. The Nazis do not find them until Rolf comes upon them. He calls his lieutenant; but, upon seeing Liesl hiding, he reports that he has found no one. To help them flee, the nuns have secretly sabotaged the cars of the Nazis. The von Trapps flee over the Alps as the nuns reprise "Climb Ev'ry Mountain".
Musical numbers[edit]
Act I"Preludium" Nuns
"The Sound of Music" – Maria
"Maria" – Sister Berthe, Sister Sophia, Sister Margaretta, and the Mother Abbess
"My Favorite Things" – Maria and the Mother Abbess
"My Favorite Things" (reprise 1) – Maria
"Do-Re-Mi" – Maria and the children
"Sixteen Going on Seventeen" – Rolf and Liesl
"The Lonely Goatherd" – Maria and the children
"The Lonely Goatherd" (reprise) – Gretl
"How Can Love Survive" – Max and Elsa
"The Sound of Music" (reprise) – Maria, the Captain and the children
"Ländler" (instrumental)
"So Long, Farewell" – The children
"Morning Hymn" – Nuns
"Climb Ev'ry Mountain" – Mother Abbess
 Act II"My Favorite Things" (reprise 2) – Maria and the children
"No Way to Stop It" – Elsa, Max and the Captain
"An Ordinary Couple" – Maria and the Captain †
"Gaudeamus Domino" – Nuns
"Maria" (reprise) – Nuns
"Confitemini Domino" – Nuns
"Sixteen Going on Seventeen" (reprise) – Maria and Liesl
"Do-Re-Mi" (reprise) – Maria, the Captain, and the children ‡
"Edelweiss" – The Captain
"So Long, Farewell" (reprise) – Maria, the Captain, and the children
"Finale Ultimo" (reprise of "Climb Every Mountain") – Nuns

NotesThe musical numbers listed appeared in the original production unless otherwise noted.
† Sometimes replaced by "Something Good", which was written for the film version.
‡ Replaced by "The Lonely Goatherd" in the 1998 revival.
In some productions, "My Favorite Things" follows "Sixteen Going on Seventeen" in the thunderstorm scene, while "The Lonely Goatherd" is shifted to the concert scene.
Many stage revivals have also included "I Have Confidence" and "Something Good", which were written by Richard Rodgers for the film version (since the film was made after original lyricist Oscar Hammerstein's death).
Although many people believe that "Edelweiss" is a traditional Austrian song, it was in fact written for the musical and did not become known in Austria until after the film's success.[6]
The Ländler dance performed by Maria and the Captain during the party is only loosely based on the traditional Austrian dance of the same name.[7]
Main characters[edit]
Sources: Rodgers & Hammerstein[8] Guidetomusicaltheatre.com[9]
Maria Rainer, a postulant at Nonnberg Abbey
Captain Georg von Trapp
Max Detweiler, Captain von Trapp's friend, a music agent and producer
The Mother Abbess, the head of Nonnberg Abbey
Elsa Schrader,[10] "wealthy and sophisticated" and Captain von Trapp's would-be fiancée
Rolf Gruber, the 17-year-old Nazi delivery boy who is in love with Liesl
Sister Bertha, the Mistress of Novices
Sister Margareta, the Mistress of Postulants
Sister Sophia, a sister at the Abbey
Herr Zeller, the Gauleiter
Franz, Captain von Trapp's butler
Frau Schmidt, Captain von Trapp's housekeeper
The Children: Liesl von Trapp, age 16
Friedrich von Trapp, age 15
Louisa von Trapp, age 13
Kurt von Trapp, age 11
Brigitta von Trapp, age 10
Marta von Trapp, age 7
Gretl von Trapp, age 5

Notable productions[edit]
Original productions[edit]
The Sound of Music opened on Broadway at the Lunt-Fontanne Theatre on November 16, 1959, moved to the Mark Hellinger Theatre on November 6, 1962 and closed on June 15, 1963 after 1,443 performances. The director was Vincent J. Donehue, and the choreographer was Joe Layton. The original cast included Mary Martin (at age 46) as Maria, Theodore Bikel as Captain Georg von Trapp, Patricia Neway as Mother Abbess, Kurt Kasznar as Max Detweiler, Marion Marlowe as Elsa Schrader, Brian Davies as Rolf and Lauri Peters as Liesl. Sopranos Patricia Brooks and June Card were ensemble members in the original production. The show tied for the Tony Award for Best Musical with Fiorello!. Other awards included Martin for Best Actress in a Musical, Neway for Best Featured Actress, Best Scenic Design (Oliver Smith) and Best Musical Direction (Frederick Dvonch). Bikel and Kasznar were nominated for acting awards, and Donehue was nominated for his direction. The entire children's cast was nominated for Best Featured Actress category as a single nominee, even though two children were boys.
Martha Wright replaced Martin in the role of Maria on Broadway in October 1961, followed by Karen Gantz in July 1962, Jeannie Carson in August 1962[11] and Nancy Dussault in September 1962. Jon Voight, who eventually married co-star Lauri Peters, was a replacement for Rolf. The national tour starred Florence Henderson as Maria and Beatrice Krebs as Mother Abbess. It opened at the Grand Riviera Theater, Detroit, on February 27, 1961 and closed November 23, 1963 at the O'Keefe Centre, Toronto. Henderson was succeeded by Barbara Meister in June 1962. Theodore Bikel was not satisfied playing the role of the Captain, because of the role's limited singing,[citation needed] and Bikel did not like to play the same role over and over again. In his autobiography, he writes: "I promised myself then that if I could afford it, I would never do a run as long as that again."[12] The original Broadway cast album sold three million copies.
The musical premiered in London's West End at the Palace Theatre on May 18, 1961, and ran for 2,385 performances. It was directed by Jerome Whyte and used the original New York choreography, supervised by Joe Layton, and the original sets designed by Oliver Smith. The cast included Jean Bayless as Maria, followed by Sonia Rees, Roger Dann as Captain von Trapp, Constance Shacklock as Mother Abbess, Eunice Gayson as Elsa Schrader, Harold Kasket as Max Detweiler, Barbara Brown as Liesl, Nicholas Bennett as Rolf and Olive Gilbert as Sister Margaretta.[13]
1981 London revival[edit]
In 1981, at producer Ross Taylor's urging, Petula Clark agreed to star in a revival of the show at the Apollo Victoria Theatre in London's West End. Michael Jayston played Captain von Trapp, Honor Blackman was the Baroness and June Bronhill the Mother Abbess. Other notable cast members included Helen Anker, John Bennett and Martina Grant.[14] Despite Clark's misgivings that, at age 49, she was too old to play the role convincingly, Clark opened to unanimous rave reviews (and the largest advance sale in the history of British theatre at that time). Maria von Trapp herself, present at the opening night performance, described Clark as "the best" Maria ever. Clark extended her initial six-month contract to thirteen months. Playing to 101 percent of seating capacity, the show set the highest attendance figure for a single week (October 26–31, 1981) of any British musical production in history (as recorded in The Guinness Book of Theatre).[15] This was the first stage production to incorporate the two additional songs ("Something Good" and "I Have Confidence") that Richard Rodgers composed for the film version.[16] The song "My Favorite Things" was placed into the same context as in the film version and the short verse "A Bell is No Bell" was extended into a full-length song for Maria and the Mother Abbess while "The Lonely Goatherd" was set in a new scene at a village fair. The cast recording of this production was the first to be recorded digitally. In 2010 the UK label 'Pet Sounds' officially released the album on CD with two bonus tracks from the original Epic 45rpm single issued to promote the production.
1998 Broadway revival[edit]
In 1998, director Susan H. Schulman staged the first Broadway revival of The Sound of Music, with Rebecca Luker as Maria and Michael Siberry as Captain von Trapp. It also featured Patti Cohenour as Mother Abbess, Jan Maxwell as Elsa Schrader, Fred Applegate as Max Detweiler, Dashiell Eaves as Rolf, Patricia Conolly as Frau Schmidt and Laura Benanti, in her Broadway debut, as Luker's understudy. Later, Luker and Siberry were replaced by Richard Chamberlain as the Captain and Benanti as Maria. Lou Taylor Pucci made his Broadway debut as the understudy for Kurt von Trapp. This revival opened on March 12, 1998, at the Martin Beck Theatre, where it ran for 15 months. It then went on tour in North America. This production was nominated for a Tony Award for Best Revival of a Musical.
2006 London revival[edit]
An Andrew Lloyd Webber production opened on November 15, 2006, at the London Palladium and ran until February 2009, produced by Live Nation's David Ian and Jeremy Sams. Following failed negotiations with Hollywood star Scarlett Johansson,[17] the role of Maria was cast through a UK talent search reality TV show called How Do You Solve a Problem like Maria? The talent show was produced by (and starred) Andrew Lloyd Webber and featured presenter/comedian Graham Norton and a judging panel of David Ian, John Barrowman and Zoe Tyler.
Connie Fisher was selected by public voting as the winner of the show. In early 2007, Fisher suffered from a heavy cold that prevented her from performing for two weeks. To prevent further disruptions, an alternate Maria, Aoife Mulholland, a fellow contestant on How Do You Solve a Problem like Maria?, played Maria on Monday evenings and Wednesday matinee performances. Simon Shepherd was originally cast as Captain von Trapp, but after two preview performances he was withdrawn from the production, and Alexander Hanson moved into the role in time for the official opening date along with Lesley Garrett as the Mother Abbess. After Garrett left, Margaret Preece took the role. The cast also featured Lauren Ward as the Baroness, Ian Gelber as Max, Sophie Bould as Liesl, and Neil McDermott as Rolf. Other notable replacements have included Simon Burke and Simon MacCorkindale as the Captain and newcomer Amy Lennox as Liesl. Summer Strallen replaced Fisher in February 2008, with Mulholland and later Gemma Baird portraying Maria on Monday evenings and Wednesday matinees.
The revival received enthusiastic reviews, especially for Fisher, Preece, Bould and Garrett. A cast recording of the London Palladium cast was released.[18] The production closed on February 21, 2009, after a run of over two years[19] and was followed by a UK national tour, described below.
Other productions[edit]
1961 Australian productionThe Australian production opened at Melbourne's Princess Theatre in 1961 and ran for three years. The production was directed by Charles Hickman, with musical numbers staged by Ernest Parham. The cast included June Bronhill as Maria, Peter Graves as Captain von Trapp, Rosina Raisbeck as Mother Abbess, Lola Brooks as Elsa Schrader, Eric Reiman as Max Detweiler, Julie Day as Liesl, and Tony Jenkins as Rolf. A touring company then played for years, with Vanessa Lee (Graves' wife) in the role of Maria. A recording was made in 1961. It was the first time a major overseas production featuring Australian artists was transferred to disc.1966 Puerto Rican ProductionThe Puerto Rican Premiere of The Sound of Music, performed in English, opened at the Tapia Theatre in San Juan under the direction of Pablo Cabrera. It started Camille Carrión as María, Raúl Dávila as Captain Von Trapp and it featured a young Johanna Rosaly as Liesl. In 1968, the production was transferred to the Teatro de la Zarzuela in Madrid, Spain, were it was performed in Spanish with Ms. Carrión reprising the role of María, Alfredo Mayo as Captain Von Trapp and Roberto Rey as Uncle Max.The 1988 Takarazuka (Japan) versionIn 1988, the Snow Troupe of Takarazuka Revue performed the musical at the Bow Hall (Takarazuka, Hyōgo). Harukaze Hitomi and Gou Mayuka starred.1990 New York City Opera productionA 1990 New York City Opera production was directed by Oscar Hammerstein II's son, James. It featured Debby Boone as Maria, Laurence Guittard as Captain von Trapp, and Werner Klemperer as Max Detweiler.1993 Stockholm premiereIn the original Stockholm production, Carola Häggkvist played Maria, Tommy Körberg played Captain Georg von Trapp, Erik Skutnick played Max, and Emilia Brown played Gretl.1999 Australian revivalAn Australian revival played in the Lyric Theatre, Sydney, New South Wales from November 1999 to February 2000. Lisa McCune played Maria; TV personality Bert Newton was Max; John Waters was Captain von Trapp and Eilene Hannan as Mother Abbess. The children's cast included Tim Draxl as Rolf, Chris Nolan as Friedrich, Rachel Marley as Marta and Pia Morley as Liesl. This production was based on the 1998 Broadway revival staging directed by Susan Schulman and choreographed by Michael Lichtefield. The show was produced by the Gordon Frost Organisation and Sports and Entertainment Limited.[20] The production also toured until February 2001, in Melbourne (Princess Theatre, March 21, 2000 through July 5, 2000), Brisbane (9 weeks), and Perth (August 3, 2000, 6 weeks) Adelaide. Rachael Beck took over as Maria for the Perth and Adelaide seasons and Rob Guest took over as Captain von Trapp in Perth.[21][22][23][24]2005 Vienna productionThe first full-scale Austrian production opened on February 26, 2005 at the Volksoper Wien. It was directed and choreographed by Renaud Doucet, with sets and costume design by André Barbe. The 2005 cast included Sandra Pires as Maria, (Martina Dorak and Johanna Arrouas as Maria in other productions), Kurt Schreibmayer and Michael Kraus as Kapitän von Trapp and Heidi Brunner, Gabriele Sima and Ulrike Steinsky as Mutter Oberin (Mother Abbess). The production is still in the repertoire of the Volksoper with 12–20 performances per season.[25][26][27]2007 Salzburg Marionette Theatre productionThe Salzburg Marionette Theatre has been touring their version of the show, featuring the recorded voices of Broadway singers such as Christiane Noll as Maria.[28] The U.S. tour began in Dallas, Texas in November 2007.[29] It opened on May 9 in Salzburg, with performances scheduled through December 2008.[30] The director is Richard Hamburger.[31] In December 2010, the production was given in Paris, France, with dialogues in French and the songs in English.2008 International productionsA Brazilian production with Kiara Sasso as Maria and Herson Capri as the Captain played Rio de Janeiro and São Paulo the following year.[32] A Dutch version of the musical premiered in September 2008 with Wieneke Remmers as Maria, directed by John Yost.[33]2008 Canadian productionAndrew Lloyd Webber, David Ian and David Mirvish presented The Sound of Music at the Princess of Wales Theatre in Toronto. The role of Maria was chosen by the public through a television show, How Do You Solve a Problem Like Maria?, which was produced by Andrew Lloyd Webber and David Ian and aired in July and August. Elicia MacKenzie was declared the winner over fellow "Maria" Janna Polzin.[34] Polzin was cast as an "alternate Maria" for the Toronto stage production. She played Maria twice a week (Wednesday evenings and Saturday matinees), while MacKenzie performed the role six times weekly.[35] Captain von Trapp was played by Burke Moses. The show closed on January 10, 2010 after a run of 69 weeks and over 500 performances. It is the longest running revival to play Toronto.[36]2009 UK tourA UK tour was launched on July 26, 2009, at the Wales Millennium Centre in Cardiff. The tour has also visited Bradford, Southampton, Milton Keynes, Sunderland, Manchester, Edinburgh, Aberdeen, Belfast, Llandudno, Eastbourne, and Woking, Birmingham, Plymouth, Bournemouth, Liverpool, Bristol, Oxford, Hull, Stoke-On-Trent, Derry, Dublin, Glasgow, Leeds, Nottingham, another return to Cardiff and Newcastle, before ending the run on October 22, 2011, at the New Wimbledon Theatre, Wimbledon. The original cast included Connie Fisher as Maria, Michael Praed as Captain von Trapp, Margaret Preece as the Mother Abbess, Martin Callaghan as Uncle Max, Jacinta Mulcahy as Baroness Schrader, Jeremy Taylor as Rolf and Claire Fishenden as Liesl. Kirsty Malpass stars as the alternate Maria.[37] Margaret Preece left the role of Mother Abbess on February 20, 2010, in Edinburgh and was replaced by Marilyn Hill Smith and Chris Barton took over the role of Rolf from Jeremy Taylor on June 29, 2010. Kirsty Malpass played the role of Maria full-time from August 24 to October 9, 2010, in Plymouth and Bournemouth due to Fisher's wedding plans. Jason Donovan assumed the role of Captain Von Trapp from Michael Praed on January 29, 2011, in Hull. Verity Rushworth replaced Fisher as Maria on February 15, 2011, when the show visited Stoke-on-Trent. Fisher planned to return to the role for the Tour's final engagements in Cardiff, Manchester, Newcastle and Wimbledon but had to pull out due to problems with her voice. Rushworth continued in the role until its closure in October 2011. Lesley Garrett reprised her role as Mother Abbess for the Tour's final engagement in Wimbledon in October 2011.2011 Spanish National TourA Spanish national tour of The Sound of Music (Sonrisas y Lágrimas) was launched on November, 2011 at the Auditorio de Tenerife in Santa Cruz de Tenerife in the Canary Islands. The tour visited 29 Spanish cities, spending one year in Madrid's Gran Vía at the Teatro Coliseum, and one season at the Tívoli Theatre in Barcelona. It was directed by Jaime Azpilicueta and starred Silvia Luchetti as Maria, Carlos J. Benito as Captain Von Trapp, Noemi Mazoy as Mother Abbess, Loreto Valverde as Elsa Schrader, Ángel Padilla as Uncle Max, Paris Martín as Rolf and Yolanda García as Liesl.[38]2011 ArgentinaLa Novicia Rebelde was performed in the Ópera-Citi theater in Buenos Aires from March 9, 2011, to August 14, 2011. The cast included Laura Conforte as Maria and Diego Ramos as Captain Von Trapp. It also included Rodolfo Valss as Uncle Max, Coni Marino as Baroness Schrader, Patricia Ana González as the Mother Abbess, Fernando Dente as Rolf, Julieta Nair Calvo as Liesl, Mirta Wons as Frau Schmidt, Mariano Muso as Franz and a cast of 19 who played the Von Trapp Children.[39][40]2013 London productionA new production played at the Open Air Theatre, Regent's Park from July 25 to September 14, 2013.[41][42] The production starred Charlotte Wakefield as Maria, with Michael Xavier as Captain von Trapp, Helen Hobson as Mother Abbess, Michael Matus as Max Detweiler, Caroline Keiff as Elsa Schraeder, Faye Bookes as Liesl and Joshua Tonks as Rolf Gruber.[41] It received enthusiastic reviews and became the highest-grossing production ever at the theatre.[41] In November 2013, it was reported that the producers had plans to transfer the show to the West End in 2014.[43] On March 10, 2014, the show received a nomination for Best Musical Revival at the Laurence Olivier Awards and Wakefield was nominated for Best Actress in a Musical.[44]2014 South Korean productionIt will be shown at the Universal Arts Center from January 5 to February 2. Singer Sohyang will play one of the three Marias.[45]2014 South African productionAt the Artscape in Cape Town from 29 Feb to 30 March 2014 and Teatro at Montecasino form 5 April to 8 June 2014. Pieter Toerien presents Andrew Lloyd Webber and David Ian’s London Palladium Production.2014 Puerto Rican RevivalThe world premiere of the new Spanish language translation of The Sound of Music (the original 1966 Puerto Rican production was performed in English) opened at University Theatre (Teatro de la Universidad) in San Juan on September 26 under the direction of Edgar García. It started Lourdes Robles as Maria, Braulio Castillo as Captain Von Trapp, Margarita Castro-Alberty as Mother Abbess, Julio Enrique Court as Uncle Max, Dagmar as Elsa Schrader, Ulises de Orduna as Rolf and Yeidimar Ramos as Liesl.[46]2015 Thailand productionThe play will performed at Muangthai ratchadalai Theatre from April 2nd, 2015 to April 26th,2015 (18 performances). This play was named in Thai is "มนต์รักเพลงสวรรค์". This Licensed production was translated from original production to Thai language. (Thai conversation and Thai lyric is the same meaning of original production). Replace the song "Ordinary couple" with "Something Good".[47][48][49][50][51]
Film adaptation[edit]
Main article: The Sound of Music (film)
On March 2, 1965, 20th Century Fox released a film adaption of the musical starring Julie Andrews as Maria Rainer and Christopher Plummer as Captain Georg von Trapp. It was produced and directed by Robert Wise with the screenplay adaption written by Ernest Lehman. Two songs were written by Rodgers specifically for the film, "I Have Confidence" and "Something Good".
Televised production[edit]
Main article: The Sound of Music Live!
A live televised production of the musical aired on December 5, 2013 on NBC. It was directed by Beth McCarthy-Miller and Rob Ashford.[52] Carrie Underwood starred as Maria Rainer, with Stephen Moyer as Captain von Trapp, Christian Borle as Max, Laura Benanti as Elsa, and Audra McDonald as the Mother Abbess.[53] The broadcast was repeated on December 14, 2013.[54] The production was released on DVD on Dec. 17, 2013.[55]
Reception[edit]
Most reviews of the original Broadway production were favorable. Richard Watts, Jr. of the New York Post stated that the show had "strangely gentle charm that is wonderfully endearing. The Sound of Music strives for nothing in the way of smash effects, substituting instead a kind of gracious and unpretentious simplicity."[56] The New York World-Telegram and Sun pronounced The Sound of Music "the loveliest musical imaginable. It places Rodgers and Hammerstein back in top form as melodist and lyricist. The Lindsay-Crouse dialogue is vibrant and amusing in a plot that rises to genuine excitement."[56] The New York Journal American's review opined that The Sound of Music is "the most mature product of the team ... it seemed to me to be the full ripening of these two extraordinary talents".[56]
Brooks Atkinson of The New York Times gave a mixed assessment. He praised Mary Martin's performance, saying "she still has the same common touch ... same sharp features, goodwill, and glowing personality that makes music sound intimate and familiar" and stated that "the best of the Sound of Music is Rodgers and Hammerstein in good form". However, he said, the libretto "has the hackneyed look of the musical theatre replaced with Oklahoma! in 1943. It is disappointing to see the American musical stage succumbing to the clichés of operetta."[56] Walter Kerr's review in the New York Herald Tribune was unfavorable: "Before The Sound of Music is halfway through its promising chores it becomes not only too sweet for words but almost too sweet for music", stating that the "evening suffer(s) from little children".[56]
Cast recordings[edit]
One of Rodgers and Hammerstein’s favorite singers was the 1950s best-selling female vocalist, Patti Page. They approached Page and her manager Jack Rael to see if the duo would be interested in recording the title song, The Sound of Music, feeling that a well-known artist might give the Broadway musical a little "national" attention. Rael and Page agreed and recorded the song for Mercury Records at Fine Sound Studios in New York on November 16, 1959, the same day Sound of Music opened on Broadway. Page’s version was recorded a full week before the original Broadway cast entered Columbia Studios to record the cast album. Not only was Page the first person to ever record any song from the beloved musical but even showcased the song in an episode of her self-titled nationally televised variety show sponsored by Oldsmobile, bringing national attention to the Rodgers and Hammerstein masterpiece.
Columbia Masterworks recorded the original Broadway cast album a week after the show's 1959 opening. The album was the label's first deluxe package in a gatefold jacket, priced $1 higher than previous cast albums. It was #1 on Billboard's best-selling albums chart for 16 weeks in 1960.[57] It is currently available on CD from Sony in the Columbia Broadway Masterworks series.[58]
The 1960 London production was recorded by EMI and has been issued on CD on the Broadway Angel Label.[59]
The 1965 film soundtrack was released by RCA Victor and is one of the most successful soundtrack albums in history, having sold over 10 million copies worldwide.[60] Recent CD editions incorporate musical material from the film that would not fit on the original LP. The label has also issued the soundtrack in German, Italian, Spanish and French editions.
RCA Victor also released an album of the 1998 Broadway revival produced by Hallmark Entertainment and featuring the full revival cast, including Rebecca Luker, Michael Siberry, Jan Maxwell and Fred Applegate.[61]
The Telarc label made a studio cast recording of The Sound of Music, with the Cincinnati Pops Orchestra conducted by Erich Kunzel (1987). The lead roles went to opera stars: Frederica von Stade as Maria, Håkan Hagegård as Captain von Trapp, and Eileen Farrell as the Mother Abbess.[16] The recording "includes both the two new songs written for the film version and the three Broadway songs they replace, as well as a previously unrecorded verse of "An Ordinary Couple"".[62]
The 2006 London revival was recorded and has been released on the Decca Broadway label.[63]
There have been numerous studio cast albums and foreign cast albums issued, though many have only received regional distribution. According to the cast album database, there are 62 recordings of the score that have been issued over the years.[64]
The original recording reached number 15 on the Dutch MegaCharts albums chart.[65] A recording for the version at the Vlaamse Opera company peaked at number 23 on the Ultrapop 100 albums chart in Flanders.[66]
The 2013 NBC television production starring Carrie Underwood and Stephen Moyer was released on CD and digital download on December 3, 2013 under the Sony Masterworks label. Also featured on the album are Audra McDonald, Laura Benanti and Christian Borle.
Notes[edit]
1.Jump up ^ "Sound of Music: The Forgotten Maria". LIFE.com.
2.Jump up ^ Nolan, 244
3.Jump up ^ "The Sound of Music :: Rodgers & Hammerstein Organization :: Show Details". The Rodgers & Hammerstein Organization. Retrieved May 19, 2011. (Show History section)
4.Jump up ^ Gearin, Joan (Winter 2005). "Movie vs. Reality:The Real Story of the von Trapp Family". Prologue (National Archives and Records Administration) 37 (4). Retrieved April 2, 2008.
5.Jump up ^ "Welcome to the Official Sound of Music London Web Site". Soundofmusiclondon.com. Retrieved August 29, 2012.
6.Jump up ^ "Information from the BBC website". Bbc.co.uk. November 16, 1959. Retrieved August 29, 2012.
7.Jump up ^ Information from Earthlydelights.com[dead link]
8.Jump up ^ "The Sound of Music Cast Requirements". Rodgers & Hammerstein. Retrieved July 27, 2012.
9.Jump up ^ "The Sound of Music". Guidetomusicaltheatre.com. Retrieved July 27, 2012.
10.Jump up ^ Rodgers, Richard; Hammerstein, Oscar (1960). The Sound of Music. Hal Leonard Corporation. p. 2. ISBN 978-0-88188-050-2. Retrieved July 9, 2012.
11.Jump up ^ August 1962 PLAYBILL from the Lunt-Fontanne Theatre
12.Jump up ^ Bikel, Theodore. Theo: The Autobiography of Theodore Bikel, Univ of Wisconsin Press, 2002, ISBN 0-299-18284-3, p. Z-17
13.Jump up ^ Green, Stanley. Encyclopedia of the Musical Theatre (1980). Da Capo Press. ISBN 0-306-80113-2, p. 396
14.Jump up ^ "Cast list at Broadway World". Broadwayworld.com. Retrieved August 21, 2012.
15.Jump up ^ Maslon, Lawrence and Webber, Andrew Lloyd. The Sound of Music Companion (2007). Simon and Schuster. ISBN 1-4165-4954-4, p. 150
16.^ Jump up to: a b Hischak, p. 259
17.Jump up ^ Scarlett Johansson – Johansson Snubs Sound Of Music contactmusic.com, July 27, 2006
18.Jump up ^ Information from Theatre.com[dead link]
19.Jump up ^ "So "Long, Farewell": London's Sound of Music Closes Feb. 21". Playbill.
20.Jump up ^ Rose, Colin. "Head for the hills;Stage", The Sun Herald (Sydney, Australia), November 14, 1999, Time Out; p. 15
21.Jump up ^ CRITICS' CHOICE, The Australian, April 14, 2000, FEATURES; Pg. 11
22.Jump up ^ Barclay, Alison. "Von Trapps' house is full", Herald Sun (Melbourne, Australia), July 7, 2000, p. 89
23.Jump up ^ Aldred, Debra. "Lisa can sing for her supper of marshmallows", Courier Mail (Queensland, Australia), August 4, 2000, p. 7
24.Jump up ^ Archdall, Susan. "Rachael's happy to go her own way", The Advertiser, January 1, 2001 p. 77
25.Jump up ^ "Website of the Volksoper Wien". Volksoper.at. Retrieved August 29, 2012.
26.Jump up ^ Official Season Programme of the Volksoper Wien 2005/06, 2006/07, 2007/08
27.Jump up ^ Lash, Larry L. "The Sound of Music", Variety, March 7, 2005 – March 13, 2005, Legit Reviews; Abroad; Pg. 57
28.Jump up ^ Genzlinger, Neil."The Hills Are Still Alive, Just Look Past the Strings" The New York Times, December 7, 2007
29.Jump up ^ Review of Dallas opening, November 3, 2007[dead link]
30.Jump up ^ 2008 schedule of performances[dead link]
31.Jump up ^ Official website of the Salzburg Marionette Theatre's production[dead link]
32.Jump up ^ Official website of the Brazilian Production
33.Jump up ^ Official website of the 2008 Dutch production[dead link]
34.Jump up ^ Lipton, Brian Scott." 'The Sound of Music' to Bow in Toronto in September 2008" theatermania.com, September 25, 2007
35.Jump up ^ "Turns out Janna's a 'Maria' after all". The Star (Toronto). August 14, 2008. Retrieved May 25, 2010.
36.Jump up ^ BWW News Desk." 'The Sound Of Music' Ends Run At The Princess of Wales Theatre January 10" broadwayworld.com, January 10, 2010
37.Jump up ^ The Sound of Music UK Tour thesoundofmusictour.com, Retrieved May 18, 2009
38.Jump up ^ Nuria Frutos. "BWW TV: 'Sonrisas y lágrimas' se prepara para su gira española". BroadwayWorld.com.
39.Jump up ^ "lanoviciarebelde.com".
40.Jump up ^ La Novicia Rebelde, Argentina. "La Novicia Rebelde".
41.^ Jump up to: a b c The Sound of Music Extends Run at London's Open Air Theatre, Regent's Park Playbill, Retrieved November 7, 2013
42.Jump up ^ "To Kill A Mockingbird & Sound of Music lead 2013 Open Air season". whatsonstage.com. 15 August 2012. Retrieved 28 October 2012.
43.Jump up ^ Bill Kenwright Limited Bringing THE SOUND OF MUSIC, FAME & More to West End in 2014? Broadway World, Retrieved November 7, 2013
44.Jump up ^ Nominations Announced for 2014 Olivier Awards! CHARLIE AND THE CHOCOLATE FACTORY, ONCE, MORMON, MERRILY, Jude Law, Judi Dench & More broadwayworld, retrieved 10 March 2014
45.Jump up ^ "2014.1.1 Ticket". Korea JoongAng Daily. 1 January 2014.
46.Jump up ^ "En cartelera The Sound of Music".
47.Jump up ^ th:เมืองไทยรัชดาลัย เธียเตอร์
48.Jump up ^ [https://www.youtube.com/watch?v=XzTZhCFCdek
49.Jump up ^ http://news.voicetv.co.th/entertainment/164823.html]
50.Jump up ^ http://www.nationmultimedia.com/life/Thailands-hills-are-alive-30253718.html
51.Jump up ^ http://www.bangkokpost.com/lifestyle/music/514667/bangkok-is-alive-with-the-sound-of-music
52.Jump up ^ NBC & Craig Zadan/Neil Meron to Present Live Broadcast of THE SOUND OF MUSIC! Retrieved November 30, 2012
53.Jump up ^ Bernardin, Marc (December 5, 2013). "The Sound of Music Live!: TV Review". The Hollywood Reporter. Prometheus Global Media. Retrieved December 6, 2013.
54.Jump up ^ Friedlander, Whitney (December 10, 2013). "NBC to Re-Air ‘The Sound of Music Live!’". Variety (Penske Business Media). Retrieved December 14, 2013.
55.Jump up ^ BWW News Desk (November 23, 2013). "NBC to Release The Sound of Music Live! on DVD, Dec 17". Broadway World (Wisdom Digital Media). Retrieved November 25, 2013.
56.^ Jump up to: a b c d e Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, pp. 460–64. Schirmer Books, New York, 1990. ISBN 0-02-872625-1
57.Jump up ^ Bronson, Fred."Chart Beat"Billboard', September 14, 1996
58.Jump up ^ "The Sound Of Music – Original Broadway Cast", Castalbums.org
59.Jump up ^ "The Sound Of Music – Original London Cast", Castalbums.org
60.Jump up ^ Hischak, p. 44
61.Jump up ^ "The Sound Of Music – Broadway Cast", Castalbums.org
62.Jump up ^ Dyer, Richard, "Record Review;Cincinnati Pops Orchestra Rodgers And Hammersrein: The Sound of Music Telarc (CD)", The Boston Globe, September 15, 1988, Calendar; p. 12
63.Jump up ^ "The Sound Of Music – London Cast", Castalbums.org
64.Jump up ^ "The Sound of Music", CastAlbums.org database
65.Jump up ^ MUSICAL - THE SOUND OF MUSIC (in Dutch). dutchcharts.nl. Accessed on August 9, 2013.
66.Jump up ^ Musical - The Sound Of Music [VL] (in Dutch). ultratop.be. Accessed on August 9, 2013.
References[edit]
Hal, Leonard. The Sound of Music (1999) Fitzhenry & Whiteside ISBN 0-7935-9876-1
Hischak, Thomas. The Rodgers and Hammerstein Encyclopedia (2007). Greenwood Publishing Group. ISBN 0-313-34140-0
Hirsch, Julia Antopol. The Sound Of Music—The Making Of America's Favorite Movie (1993) McGraw-Hill Publishing
Maslon, Laurence, with a foreword by Andrew Lloyd Webber. The Sound of Music Companion (2007) Fireside ISBN 1-4165-4954-4
Nolan, Frederick. The Sound of Their Music: The Story of Rodgers & Hammerstein, New York: Applause Theatre & Cinema Books. ISBN 1-55783-473-3
Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, Schirmer Books (1990) ISBN 0-02-872625-1
Wilk, Max. The Making of The Sound of Music (2007) Routledge ISBN 0-415-97934-X
Further reading[edit]
Bell, Bethany, "Austria discovers The Sound of Music", BBC, Saturday, March 19, 2005.
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David. With a Song in His Heart (Richard Rodgers). New York: Holt, Rinehart and Winston, 1963.
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II. New York: Random House, 1977; Decapo Press, 1995.
Gearin, Joan, Movie vs. Reality: The Real Story of the von Trapp Family, Prologue magazine, Winter 2005, Vol. 37, No. 4, published by the National Archives and Records Administration
Green, Stanley. The Rodgers and Hammerstein Fact Book. Milwaukee: Hal Leonard, 1980.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.
Papamichael, Stella, The Sound of Music: 40th Anniversary Collector's Edition DVD (1965), BBC, review and history, November 23, 2005
External links[edit]
 Wikiquote has quotations related to: The Sound of Music
The Sound of Music at the Internet Broadway Database
The Sound of Music at RNH Theatricals
Synopsis on theatrehistory
Sound of Music character descriptions and plot summary from StageAgent.com
The Sound of Music: 50th Anniversary Edition Podcast Series


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The Sound of Music (film)

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The Sound of Music
Poster with an illustration of actress Julie Andrews dancing in the mountains
Theatrical release poster by Howard Terpning

Directed by
Robert Wise
Produced by
Robert Wise
Screenplay by
Ernest Lehman
Story by
Maria von Trapp (uncredited)
Based on
The Sound of Music
 by Howard Lindsay and Russel Crouse
Starring
Julie Andrews
Christopher Plummer

Music by
Richard Rodgers
Oscar Hammerstein II
Irwin Kostal (score)

Cinematography
Ted D. McCord
Edited by
William H. Reynolds

Production
 company

20th Century Fox

Distributed by
20th Century Fox

Release dates

March 2, 1965 (USA)
March 29, 1965 (UK)


Running time
 174 minutes[1]
Country
United States
Language
English
Budget
$8.2 million[2][3]
Box office
$286,214,286[2]
The Sound of Music is a 1965 American musical drama film produced and directed by Robert Wise and starring Julie Andrews and Christopher Plummer. The film is an adaptation of the 1959 Broadway musical The Sound of Music, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. The film's screenplay was written by Ernest Lehman, adapted from the stage musical's book by Howard Lindsay and Russel Crouse. Based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, the film is about a young Austrian woman studying to become a nun in Salzburg in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children. After bringing love and music into the lives of the family through kindness and patience, she marries the officer and together with the children find a way to survive the loss of their homeland through courage and faith.
The original Rodgers and Hammerstein stage musical score was enhanced by two new songs by Richard Rodgers. Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs. Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California. The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.
The film was released on March 2, 1965 in the United States, initially as a limited roadshow theatrical release. The critical response to the film was widely mixed, with Bosley Crowther of The New York Times calling it "romantic nonsense and sentiment", and Philip K. Scheuer of the Los Angeles Times describing it as "three hours of visual and vocal brilliance". The film was a major commercial success, becoming the number one box office movie after four weeks, and the highest-grossing film of 1965. By November 1966, The Sound of Music became the highest-grossing film of all-time—surpassing Gone with the Wind—and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries. Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283.3 million admissions worldwide and earned a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned $2.366 billion at 2014 prices—the fifth highest grossing film of all time.
The Sound of Music received five Academy Awards, including Best Picture and Best Director. The film also received two Golden Globe Awards, for Best Motion Picture and Best Actress, the Directors Guild of America Award for Outstanding Directorial Achievement, and the Writers Guild of America Award for Best Written American Musical. In 1998, the American Film Institute (AFI) listed The Sound of Music as the fifty-fifth greatest American movie of all time, and the fourth greatest movie musical. In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".


Contents  [hide]
1 Plot
2 Cast
3 Background
4 Production 4.1 Screenplay and pre-production
4.2 Casting and rehearsals
4.3 Filming and post-production
5 Release 5.1 Marketing
5.2 Critical response
5.3 Box office
6 Historical accuracy
7 Soundtrack
8 Accolades 8.1 Awards and nominations
8.2 AFI recognition
8.3 Legacy
9 Television and home media
10 References 10.1 Notes
10.2 Citations
10.3 Bibliography
11 External links

Plot[edit]
A free-spirited young Austrian woman named Maria is studying to become a nun at Nonnberg Abbey in Salzburg in 1938. Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of Captain Georg von Trapp to be governess to his seven children. A retired naval officer, the Captain has been raising his children alone using strict military discipline following the death of his first wife. At first, the children treat Maria as they did their former governesses—playing tricks on her as a way of gaining their father's attention. Maria responds with kindness and patience, and soon the children come to trust and respect her.
While the Captain is away in Vienna, Maria makes play clothes for the children out of old drapes—replacing their naval-style uniforms—and takes them around Salzburg and the surrounding mountains. Their bond is strengthened when she teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns. Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears beautiful singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years. Afterwards, he apologizes to Maria and asks her to stay.
Soon after, Maria and the children put on a marionette show for the Baroness, the Captain, and Max, who proposes he enter them in the upcoming Salzburg Festival—a suggestion immediately rejected by the Captain who will not allow his children to sing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire waltz in the ballroom, Maria and the children look on from the garden terrace. When the Captain notices Maria teaching his youngest son Kurt the traditional Ländler folk dance, he cuts in and partners with Maria in a graceful performance, culminating in a close embrace. Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey.
Maria's departure deeply affects the children, who no longer find joy in singing. They are also disappointed to learn that the Baroness will soon become their mother. Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria arrives back at the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and soon he breaks his engagement and declares his love to Maria, who returns his affections and accepts his marriage proposal. Sometime later, Maria walks down the aisle of a large baroque cathedral toward the Captain, who is waiting at the altar dressed in his formal uniform—and they are married.
While the Captain and Maria are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria was annexed into the Third Reich in the Anschluss, the couple return to their home, where a large Nazi flag hangs above the front door. After pulling the flag down and ripping it in half, the Captain reads a telegram informing him that he must report to the German Naval Headquarters in Bremerhaven to accept a commission in the German Navy. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. That night, as the von Trapp family attempt to leave, they are stopped by German soldiers waiting outside the villa. When questioned by Gauleiter Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven.
Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Nazi soldiers soon arrive and search the abbey, but the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start. Nearby, two clever nuns holding engine parts confess their "sin" to Mother Abbess. The following morning, after driving to the border, the von Trapp family make their way on foot across the mountains into Switzerland to freedom.
Cast[edit]
##Julie Andrews as Maria, a young Austrian woman studying to become a nun
##Christopher Plummer as Captain von Trapp, a retired Austrian naval officer
##Eleanor Parker as the Baroness, Elsa von Schraeder
##Richard Haydn as Max Detweiler, a friend of the Baroness and the Captain
##Peggy Wood as Mother Abbess
##Charmian Carr as Liesl, the first and eldest child
##Nicholas Hammond as Friedrich, the second child
##Heather Menzies as Louisa, the third child
##Duane Chase as Kurt, the fourth child and younger boy
##Angela Cartwright as Brigitta, the fifth child
##Debbie Turner as Marta, the sixth child
##Kym Karath as Gretl, the seventh and youngest child
##Anna Lee as Sister Margaretta
##Portia Nelson as Sister Berthe
##Ben Wright as Herr Zeller
##Daniel Truhitte as Rolfe, a telegram delivery boy
##Norma Varden as Frau Schmidt, the housekeeper
##Gil Stuart as Franz, the butler
##Marni Nixon as Sister Sophia
##Evadne Baker as Sister Bernice
##Doris Lloyd as Baronness Ebberfeld, a guest at the Captain's ball
Background[edit]









Composers Richard Rodgers and Oscar Hammerstein II
The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, published in 1949 to help promote her family's singing group following the death of her husband Georg in 1947.[4] Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[4] In 1956, German producer Wolfgang Liebeneiner purchased the film rights for $9,000 (equivalent to $78,070 in 2015), hired George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which consisted of traditional Austrian folk songs.[5] The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[4] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two pictures became the most successful films in West Germany during the post-war years.[4] Their popularity extended throughout Europe and South America.[4]
In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[4] The studio eventually dropped its option, but one of its directors, Vincent J. Donehue, proposed the story as a stage musical for Mary Martin.[4] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the Pulitzer Prize for State of the Union.[5] They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together.[5] They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on Flower Drum Song.[6] The producers quickly responded that they would wait as long as necessary.[6] The Sound of Music stage musical opened on November 16, 1959 at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[7] In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $9,964,848 in 2015) against ten percent of the gross.[8][Note 1]
Production[edit]
Screenplay and pre-production[edit]

Robert Wise smiling

 Robert Wise, 1990
In December 1962, 20th Century Fox president Richard D. Zanuck hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical.[9] Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps.[10] The "Do-Re-Mi" sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively montage showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time.[10] Lehman also eliminated two songs, "How Can Love Survive?" and "No Way to Stop It", sung by the characters of Elsa and Max.[10] In January 1963, he saw the Fox English-dubbed version of the two German films, was not especially impressed, and decided to use the stage musical and Maria's memoir for most of his source material.[11] While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was Robert Wise, with whom Lehman had worked on the film adaptation of West Side Story, but Wise was busy preparing work for another film, The Sand Pebbles.[12] Other directors were approached and turned down the offer, including Stanley Donen, Vincent J. Donehue, George Roy Hill, and Gene Kelly.[13]
In January 1963, Lehman invited one of his favorite directors, William Wyler, to travel to New York with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film.[14] After hiring musical supervisor Roger Edens, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations.[15] In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences.[16] During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible.[17] Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes.[17] At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director.[17] Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct The Collector. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation.[17]
Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film.[18] Wise joined the picture in October 1963,[19] and flew to Salzburg with associate producer Saul Chaplin and members of his production team to scout filming locations, including many that Wyler had identified.[20] When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical.[19] He had reservations about Lehman's opening aerial sequence because they'd used a similar opening in West Side Story, but decided to keep it.[19] Other changes included replacing "An Ordinary Couple" with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided "Something Good" and "I Have Confidence" especially for the film.[21] Lehman completed the second draft on December 20, 1963,[22] but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge.[23] Lehman completed his final draft on March 20, 1964.[24]
Casting and rehearsals[edit]

Portrait photo of Julie Andrews smiling

 Julie Andrews, 1965
Lehman's first and only choice for Maria was Julie Andrews.[25] When Wise joined the project, he made a list of his choices for the role, which included Andrews as his first choice, Grace Kelly, and Shirley Jones.[26] Wise and Lehman went to Disney Studios to view footage from Mary Poppins, which was not yet released. A few minutes into the film, Wise told Lehman, "Let's go sign this girl before somebody else sees this film and grabs her!"[25] Andrews had some reservations—mainly about the amount of sweetness in the theatrical version—but when she learned that her concerns were shared by Wise and Lehman and what their vision was, she signed a contract with Fox to star in The Sound of Music and one other film for $225,000 (equivalent to $1,710,917 in 2015).[27] Wise had a more difficult time casting the role of the Captain. A number of actors were considered for the part, including Bing Crosby, Yul Brynner, Sean Connery, and Richard Burton.[28] Wise had seen Christopher Plummer on Broadway and wanted him for the role, but the stage actor turned down the offer several times. Wise flew to London to meet with Plummer and explained his concept of the film; the actor accepted after being assured that he could work with Lehman to improve the character.[29]

Christopher Plummer and Julie Andrews

 Christopher Plummer and Julie Andrews on location in Salzburg, 1964
Wise also spent considerable time and effort on casting the secondary characters. For the role of Max Detweiler, Wise initially considered Victor Borge, Noël Coward, and Hal Holbrook among others before deciding on Richard Haydn.[29] For the character of Baroness Elsa Schraeder, Wise looked for a "name" actress—Andrews and Plummer were not yet widely known to film audiences—and decided on Eleanor Parker.[30] The casting of the children characters began in November 1963 and involved over two hundred interviews and auditions throughout the United States and England.[31] Some of the child-actors interviewed or tested and were not selected included Mia Farrow, Patty Duke, Lesley Ann Warren, Geraldine Chaplin, Shelley Fabares, Teri Garr, Kurt Russell, and The Osmonds.[32] Most of the actors selected had some acting, singing, or dancing experience. Charmian Carr, however, was a model who worked part-time in a doctor's office and had no ambition to pursue a career as an actress.[33] After a friend sent her photo to Wise's office, she was asked to interview. Wise later recalled, "She was so pretty and had such poise and charm that we liked her immediately."[33] The last person to be cast was Dan Truhitte in the role of Rolf.[33]
Rehearsals for the singing and dance sequences began on February 10, 1964.[34] The husband-and-wife team of Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out the choreography with Saul Chaplin on piano—the arrangements could not be altered under Rodgers and Hammerstein's contract.[35] The stage choreography was not used because it was too restrictive.[36] Breaux and Wood worked out all new choreography better suited for film that incorporated many of the Salzburg locations and settings.[36] They even choreographed the newly added puppet dance sequence for "The Lonely Goatherd".[37] The choreography for the Ländler strictly followed the traditional Austrian folk dance.[36] The musical arranger Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming.[38] Kostal used seven children and five adults to record the children's voices; the only scene where the child-actors actually sing is when they sing "The Sound of Music" on their own after Maria leaves.[39] The voices of some of the adult actors also had voice doubles, including Peggy Wood and Christopher Plummer.[40]
Filming and post-production[edit]

Photo of the city of Salzburg

 Salzburg, Austria, where many of the external scenes were filmed
Principal photography began on March 26, 1964 at 20th Century Fox studios in Los Angeles, where scenes from Maria's bedroom and the abbey cloister and graveyard were filmed.[41] The company then flew to Salzburg where filming resumed on April 23 at Mondsee Abbey for the wedding scenes.[42] From April 25 through May 22, scenes were filmed at the Felsenreitschule (festival concert), Nonnberg Abbey, Mirabell Palace Gardens, Residence Fountain, and various street locations throughout the Altstadt (Old Town) area of the city.[42] On days when it rained—a constant challenge for the company[43]—Wise arranged for scenes to be shot at St. Margarethen Chapel and Dürer Studios (Reverend Mother's office).[44] From May 23 to June 7, the company worked at Schloss Leopoldskron and an adjacent property called Bertelsmann for scenes representing the lakeside terrace and gardens of the von Trapp villa.[45] From June 9 to 19, scenes were shot at Frohnburg Palace which represented the front and back façades of the villa.[45] The "Do-Re-Mi" picnic scene in the mountains was filmed above the town of Werfen in the Salzach River valley on June 25 and 27.[45] The opening sequence of Maria on her mountain was filmed from June 28 to July 2 at Mehlweg mountain near the town of Marktschellenberg in Bavaria.[46][Note 2] The final scene of the von Trapp family escaping over the mountains was filmed on the Obersalzberg in the Bavarian Alps.[47]

Photo of a gazebo

The Sound of Music gazebo at Hellbrunn Palace in Salzburg was moved here from its original location at Schloss Leopoldskron.
The cast and crew flew back to Los Angeles and resumed filming at Fox studios on July 6 for all remaining scenes, including those in the villa dining room, ballroom, terrace, living room, and gazebo.[48] Following the last two scenes shot in the gazebo—for the songs "Something Good" and "You Are Sixteen"—principal photography concluded on September 1, 1964.[48] A total of eighty-three scenes were filmed in just over five months.[49] Post-production work began on August 25 with three weeks of dialogue dubbing to correct lines that were ruined by various street noises and rain.[50] In October, Christopher Plummer's singing voice was dubbed by veteran Disney playback singer Bill Lee.[51] The film was then edited by Wise and film editor William Reynolds.[52] Once the film was edited, Irwin Kostel, who orchestrated the musical numbers, underscored the film with background music consisting of variations on Rodgers and Hammerstein's original songs to amplify or add nuances to the visual images.[51][52] When dubbing, editing, and scoring were complete, Wise arranged for two sneak-preview showings—the first one held in Minneapolis on Friday January 15, 1965[53] at the Mann Theater, and the second one held the following night in Tulsa.[54] Despite the "sensational" responses from the preview audiences, Wise made a few final editing changes before completing the film.[54] According to the original print information for the film, the running time for the theatrical release version was 174 minutes.[1] The film was eventually given a G rating by the Motion Picture Association of America.[1]

Photo of Schloss Leopoldskron

 Schloss Leopoldskron, where scenes representing the lakefront terrace and gardens of the von Trapp villa were filmed
The Sound of Music was filmed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing.[55] Aerial footage was photographed with an MCS-70 camera.[55] The sound was recorded on 70 mm six-track using a Westrex recording system.[1][55] The sets used for the film were based on the storyboards of sketch artist Maurice Zuberano,[56] who accompanied Wise to Austria to scout filming locations in November 1963.[57] Wise met with the artist over a ten-week period and explained his objective for each scene—the feeling he wanted to convey and the visual images he wanted to use.[56] When Zuberano was finished, he provided Wise with a complete set of storyboards that illustrated each scene and set—storyboards the director used as guidance during filming.[56] Zuberano's storyboards and location photos were also used by art director Boris Leven to design and construct all of the original interior sets at Fox studios, as well as some external sets in Salzburg.[58] The von Trapp villa, for example, was actually filmed in several locations: the front and back façades of the villa were filmed at Frohnburg Palace, the lakeside terrace and gardens were a set constructed on a property adjacent to Schloss Leopoldskron called Bertelsmann, and the interior was a constructed set at Fox studios.[59] The gazebo scenes for "Something Good" and "Sixteen Going on Seventeen" were filmed on a larger reconstructed set at Fox studios, while some shots of the original gazebo were filmed on the grounds at Schloss Leopoldskron in Salzburg.[60][61][Note 3]
Release[edit]
Marketing[edit]
Robert Wise hired Mike Kaplan to direct the publicity campaign for the film.[62] After reading the script, Kaplan decided on the ad line "The Happiest Sound in All the World", which would appear on promotional material and artwork.[62] Kaplan also brought in outside agencies to work with the studio's advertising department to develop the promotional artwork, eventually selecting a painting by Howard Terpning of Andrews on an alpine meadow with her carpetbag and guitar case in hand with the children and Plummer in the background.[63][64][Note 4] In February 1964, Kaplan began placing ads in the trade papers Daily Variety, Weekly Variety, and The Hollywood Reporter to attract future exhibitor interest in the project.[62] The studio intended the film to have an initial roadshow theatrical release in select large cities in theaters that could accommodate the 70-mm screenings and six-track stereophonic sound.[65] The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.[65] Kaplan identified forty key cities that would likely be included in the roadshow release and developed a promotional strategy targeting the major newspapers of those cities.[63] During the Salzburg production phase, 20th Century Fox organized press junkets for America journalists to interview Wise and his team and the cast members.[63]
Critical response[edit]



"No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion. This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted."[66]
Richard Rodgers
The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.[67][68] Initial reviews were not positive.[69] Bosley Crowther, in The New York Times, criticized the film's "romantic nonsense and sentiment", the children's "artificial roles", and Robert Wise's "cosy-cum-corny" direction.[70] Judith Crist, in a biting review in the New York Herald Tribune, dismissed the movie as "icky sticky" and designed for "the five to seven set and their mommies".[67][Note 5] Wise later recalled, "The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews."[65] Indeed, reviewers such as Philip K. Scheuer of the Los Angeles Times described the film as "three hours of visual and vocal brilliance",[65] and Daily Variety called it "a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast".[65] The "wildly mixed film reviews" reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical.[73] After its Los Angeles premier on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events.[65] After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965.[74] The original theatrical release of the film in America lasted four and a half years.[74]
A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[75] The German, French, Italian, and Spanish versions were completely dubbed, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[76] In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[76] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[76] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[77] The Sound of Music has never been popular in Austria and Germany.[78]
Box office[edit]
The Sound of Music is one of the most commercially successful films of all time.[79] Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week.[74] It held the number one position for thirty of the next forty-three weeks,[74] and ended up the highest-grossing film of 1965.[80] One contributing factor in the film's early commercial success was the repeat business of many filmgoers.[75] In some cities in the United States, the number of tickets sold exceeded the total population.[75][Note 6] By January 1966, the film had earned $20 million in distributor rentals from just 140 roadshow engagements in the United States and Canada.[81] Overseas, The Sound of Music broke previous box-office records in twenty-nine countries,[82] including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in.[82] By November 1966, The Sound of Music became the highest-grossing film of all-time,[82] surpassing Gone with the Wind, which held that distinction for twenty-four years.[83][Note 7]
In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns.[84] It was the first film to gross over $100 million.[85] The film was re-released in 1973,[86][87] and increased its North American rentals to $78.4 million.[88] By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million.[89] The film's re-release in 1990[87] increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide.[90][91] The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.[92] Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest grossing film of all time.[90][93]
Historical accuracy[edit]
The Sound of Music film, like the stage musical, presents a history of the von Trapp family that is not completely accurate. The following are examples of the dramatic license taken by the filmmakers:

Portrait photo of Georg Ludwig von Trapp in his naval uniform

 Georg Ludwig von Trapp##Georg Ludwig von Trapp was indeed an anti-Nazi opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen. Their lifestyle depicted in the film, however, greatly exaggerated their standard of living. The actual family villa, located at Traunstraße 34, Aigen 5026, was large and comfortable but nowhere near as grand as the palace depicted in the film. The house was also not their ancestral home, as depicted in the film. The family had previously lived in homes in Zell Am See and Klosterneuburg after being forced to abandon their actual ancestral home in Pola following World War I. Georg moved the family to the Salzburg villa shortly after the death of his first wife in 1922.[94]
##The von Trapp family lost most of its wealth during the worldwide depression of the early 1930s, when the Austrian national bank folded.[94] In order to survive, the family dismissed the servants and began taking in boarders. They also started singing onstage to earn money—a fact that caused the proud Georg much embarrassment.[95]
##Maria Augusta Kutschera had indeed been a novice at Nonnberg Abbey in Salzburg and had been hired by the von Trapp family. However, she was hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home, not to be a governess for all of the children.[94]
##Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children." They were married in 1927, not in 1938 as depicted in the film, and the couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[94]
##Georg is referred to as "Baron" in the film, but his actual family title was "Ritter" (German for "knight"), a hereditary knighthood. Austrian nobility, moreover, was legally abolished in 1919 and the nobiliary particle von was proscribed after World War I, so he was legally "Georg Trapp". Both the title and the von particle, however, continued to be widely used unofficially as a matter of courtesy.[94]
##In the film, Georg is depicted as a humorless, emotionally distant father. In reality, third child Maria von Trapp (called "Louisa" in the film) described her father as a doting parent who made handmade gifts for the children in his woodshop and who would often lead family musicales on his violin. She has a different recollection of her stepmother, who she described as moody and prone to outbursts of rage. In a 2003 interview, Maria remembered, "[She] had a terrible temper ... And from one moment to the next, you didn't know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice."[96]
##Georg was offered a position in the Kriegsmarine, but this occurred before the Anschluss. He was heavily recruited by the Nazis because he had extensive experience with submarines, and Germany was looking to expand its fleet of U-boats. With his family in desperate financial straits, and having no other marketable skills other than his training as a naval officer, he seriously considered the offer before deciding he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to woo him.[94]
##The character Max Detweiler, the scheming family music director, is fictional. The von Trapps family priest, the Reverend Franz Wasner, was their musical director for over twenty years and accompanied them when they left Austria.[94]
##In the film, the von Trapp family hike over the Alps from Austria to Switzerland to escape the Nazis, which would not have been possible; Salzburg is over two hundred miles from Switzerland. The von Trapp villa, however, was only a few kilometers from the Austria–Germany border, and the final scene shows the family hiking on the Obersalzberg near the German town of Berchtesgaden, within sight of Adolf Hitler's Kehlsteinhaus Eagle's Nest retreat. In reality, the family simply walked to the local train station and boarded a train to Italy. Although Georg was an ethnic German-Austrian, he was also an Italian citizen, having been born in the Dalmatian city of Zadar, which at that time was part of the Austro-Hungarian Empire, and later fell into Italian territory after World War I. From Italy, they traveled to London and ultimately the United States.[94]
##The character of Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria, and producers thought that it would be confusing to have two characters called Maria in the film.[94]
The von Trapp family had no control over how they were depicted in the film and stage musical, having given up the rights to their story to a German producer in the 1950s who then sold the rights to American producers.[94] Robert Wise met with Maria von Trapp and made it clear, according to a memo to Richard Zanuck, that he was not making a "documentary or realistic movie" about her family, and that he would make the film with "complete dramatic freedom" in order to produce a "fine and moving film"—one they could all be proud of.[97]
Soundtrack[edit]
Main article: The Sound of Music (soundtrack)
The soundtrack to The Sound of Music was written by Richard Rodgers and Oscar Hammerstein II, and arranged and conducted by Irwin Kostal, who also adapted the instrumental underscore passages. The soundtrack album was released on the RCA Victor label in 1965, and reached the number one position on the Billboard 200 that year in the United States.[98][99] The album has been reissued several times, including a 30th Anniversary Edition in 1995, a 35th Anniversary Edition in 2000, a 40th Anniversary Edition in 2005, and a 45th Anniversary Edition, which reached the number one position on the Billboard 200 in 2010 and again in 2013.[98][99] A 50th Anniversary Edition was released in 2015, which reached the number five position on the Top Soundtracks chart.[98][99] The Sound of Music soundtrack album was the biggest-selling album in the United Kingdom in 1965, 1966, and 1968 and the second biggest-selling of the entire decade. The Sound of Music also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.[100]
All songs written and composed by Richard Rodgers and Oscar Hammerstein II, except where noted.

No.
Title
Writer(s)
Sung by
Length

1. "Prelude and The Sound of Music" (0:01:15[Note 8])   Maria 2:44
2. "Overture and Preludium (Dixit Dominus)" (0:04:55) Traditional Nuns 3:14
3. "Morning Hymn and Alleluia" (0:08:07) Traditional Nuns 2:02
4. "Maria" (0:11:00)   Nuns 3:16
5. "I Have Confidence" (0:18:51) Richard Rodgers Maria 3:26
6. "Sixteen Going on Seventeen" (0:38:58)   Rolfe and Liesl 3:17
7. "My Favorite Things" (0:49:40)   Maria 2:16
8. "Salzburg Montage" (Instrumental underscore, 0:54:25)      
9. "Do-Re-Mi" (0:57:15)   Maria and children 5:32
10. "The Sound of Music" (Reprise, 1:14:37)     2:10
11. "The Lonely Goatherd" (1:18:48)   Maria and children 3:09
12. "Edelweiss" (1:24:55)   Captain 1:49
13. "The Grand Waltz" (Instrumental underscore based on "My Favorite Things", 1:28:01)      
14. "Ländler" (Instrumental, 1:30:11)     2:26
15. "So Long, Farewell" (1:33:28)   Children 2:53
16. "Processional Waltz" (Instrumental underscore, 1:36:27)      
17. "Goodbye Maria Waltz" (Instrumental underscore, incorporating "Edelweiss" and "How Can Love Survive?", 1:40:03)      
18. "Entr'acte" (Instrumental, "I Have Confidence", "So Long, Farewell", "Do-Re-Mi", "Something Good", and "The Sound of Music", 1:42:43)     2:06
19. "The Sound of Music" (Reprise, 1:46:49)   Children  
20. "Climb Ev'ry Mountain" (1:55:23)   Mother Abbess 2:13
21. "My Favorite Things" (Reprise, 2:00:10)   Maria and children 1:15
22. "Something Good" (2:11:44) Richard Rodgers Maria and the Captain 3:17
23. "Processional and Maria" (Instrumental, 2:15:54)     2:26
24. "Sixteen Going on Seventeen" (Reprise, 2:26:18)   Maria and Liesl 3:04
25. "Do-Re-Mi" (Reprise, 2:34:37)   Family 1:19
26. "Edelweiss" (Reprise, 2:36:22)   Captain, family, and audience 1:49
27. "So Long, Farewell" (Reprise, 2:39:36)   Family 1:57
28. "Climb Ev'ry Mountain" (Reprise, 2:52:34)     1:20
29. "Finale" (Instrumental, based on "The Sound of Music", 2:53:52)     0:38
Accolades[edit]
Awards and nominations[edit]

Award
Category
Nominee
Result

Academy Awards[102] Best Picture Robert Wise Won
Best Actress in a Leading Role Julie Andrews Nominated
Best Actress in a Supporting Role Peggy Wood
Best Director Robert Wise Won
Best Cinematography – Color Ted D. McCord Nominated
Best Art Direction – Set Decoration – Color Boris Leven (art direction);
Walter M. Scott and
Ruby R. Levitt (set decoration)
Best Costume Design – Color Dorothy Jeakins
Best Sound Mixing James Corcoran and Fred Hynes;
 20th Century Fox Sound Department Won
Best Film Editing William H. Reynolds
Best Music, Scoring of Music – Adaptation or Treatment Irwin Kostal
American Cinema Editors Awards 1966 Best Edited Feature Film William H. Reynolds
BAFTA Awards Best British Actress Julie Andrews Nominated
David di Donatello Awards Best Foreign Actress
Directors Guild of America[102] Outstanding Directorial Achievement in Motion Pictures Robert Wise Won
Golden Globe Awards[102] Best Motion Picture – Musical or Comedy The Sound of Music
Best Motion Picture Actress – Musical or Comedy Julie Andrews
Best Supporting Actress – Motion Picture Peggy Wood Nominated
Best Director – Motion Picture Robert Wise
Laurel Awards General Entertainment The Sound of Music Won
Musical Performance, Female Julie Andrews
National Board of Review[102] Top Ten Films of 1965 The Sound of Music
New York Film Critics Circle Best Actress Julie Andrews 2nd place
Writers Guild of America Best Written American Musical Ernest Lehman Won

AFI recognition[edit]
The Sound of Music has been included in numerous top film lists from the American Film Institute.
##AFI's 100 Years...100 Movies – No. 55[103]
##AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[104]
##AFI's 100 Years...100 Cheers – No. 41[105]
##AFI's 100 Years...100 Heroes & Villains: Maria Von Trapp (hero) – Nominated[106]
##AFI's 100 Years of Musicals – No. 4[107]
##AFI's 100 Years...100 Passions – No. 27[108]
##AFI's 100 Years...100 Songs: "The Sound of Music" – No. 10[109]
##AFI's 100 Years...100 Songs: "My Favorite Things" – No. 64[109]
##AFI's 100 Years...100 Songs: "Do-Re-Mi" – No. 88[109]
Legacy[edit]
##In 1966, American Express created the first Sound of Music guided tour in Salzburg.[110] Since 1972, Panorama Tours has been the leading Sound of Music bus tour company in the city, taking approximately 50,000 tourists a year to various film locations in Salzburg and the surrounding region.[110]
##Sing-a-long Sound of Music revival screenings began in London in 1999, leading to a successful run at the Prince Charles Cinema.[111] During the screenings, audience members were encouraged to sing along to lyrics superimposed on the screen.[111] In July 2000, Sing-a-long Sound of Music shows opened in Boston and Austin, Texas.[111] Some audience members dressed up as cast members and interracted with the action shown on the screen.[111] The film began a successful run at the Ziegfeld Theatre in New York City in September 2000, with the opening attended by cast members Charmian Carr (Liesl), Daniel Truhitte (Rolf), and Kym Karath (Gretl).[112] Sing-a-long Sound of Music screenings have since become an international phenomenon.[113]
##In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".[79]
##As of March 2015, The Sound of Music holds an 85% critical approval rating on the Rotten Tomatoes website.[114]
Television and home media[edit]
The first American television transmission of The Sound of Music was on February 29, 1976 on ABC, which paid $15 million for a one-time only broadcast that became one of the top-rated films ever shown on television to that point.[115] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[116] NBC continued to air the film annually for twenty years.[115] During most of its run on NBC, the film was heavily edited to fit a three-hour time slot—approximately 140 minutes without commercials. The thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolf's dialogue preceding "Sixteen Going on Seventeen", Liesl's verse of "Edelweiss" sung with the Captain, the Captain and Baroness waltzing at the party, and minor dialogue cuts within existing scenes.
In 1995, the film aired in its uncut form (minus the entr'acte) on April 9, 1995 on NBC. Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its television ratings, NBC let their contract lapse in 2001. That year, the film was broadcast one time on the Fox network, in its heavily edited 140-minute version. Since 2002, the film has aired on ABC, generally during Christmas week, and has been broadcast on its sister cable network, ABC Family, periodically around Easter and other holidays. Most of its more recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast an HD resolution version on December 28, 2008. ABC's December 22, 2013 airing of the film attracted 6.5 million viewers—its highest ratings since 2007. The increased viewership was credited to NBC's broadcast of a live adaptation of the musical based on the Broadway version earlier that month.[117]
The film has been released on VHS, LaserDisc, and DVD numerous times. The first DVD version was released on August 29, 2000 to commemorate the 35th anniversary of the film's release.[118] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[118] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[118] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[118][119][120] For the Blu-ray release, the original 70 mm negatives were rescanned at 8K resolution, then restored and remastered at 4K resolution for the transfer to Blu-ray, giving the most detailed copy of the film seen thus far. On March 10, 2015, Fox Home Entertainment released The Sound of Music 50th Anniversary Ultimate Collector's Edition—a five-disc set featuring thirteen hours of bonus features, including a new documentary, The Sound of a City: Julie Andrews Returns to Salzburg.[118][121] A March 2015 episode of ABC's 20/20 entitled The Untold Story of the Sound of Music featured a preview of the documentary and interviews by Diane Sawyer.[122]
References[edit]
Notes[edit]
1.Jump up ^ Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.[8]
2.Jump up ^ Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km).
3.Jump up ^ At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Hellbrunn Palace Park.[60]
4.Jump up ^ Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.[64] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[64]
5.Jump up ^ In her review for McCall's magazine, Pauline Kael called the film "the sugar-coated lie people seem to want to eat", and that audiences have "turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs".[71] This review generated significant negative response from readers and contributed to Kael's dismissal from the magazine.[71][72]
6.Jump up ^ In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks.[75] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[75] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[75]
7.Jump up ^ The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease.
8.Jump up ^ The start times are based on the 45th Anniversary DVD version of the film. The track lengths refer to the 2005 reissue of the original soundtrack album on CD.[101]
Citations[edit]
1.^ Jump up to: a b c d "The Sound of Music (1965): Original Print Information". Turner Classic Movies. Retrieved January 26, 2015.
2.^ Jump up to: a b "The Sound of Music". The Numbers. Retrieved April 26, 2011.
3.Jump up ^ Solomon 1989, p. 254.
4.^ Jump up to: a b c d e f g Hirsch 1993, p. 4.
5.^ Jump up to: a b c Hirsch 1993, p. 6.
6.^ Jump up to: a b Santopietro 2015, p. 27.
7.Jump up ^ Hirsch 1993, pp. 7–8.
8.^ Jump up to: a b Hirsch 1993, p. 8.
9.Jump up ^ Hirsch 1993, p. 11.
10.^ Jump up to: a b c Hirsch 1993, pp. 23–25.
11.Jump up ^ Hirsch 1993, p. 28.
12.Jump up ^ Hirsch 1993, p. 13.
13.Jump up ^ Baer 2008, p. 113.
14.Jump up ^ Hirsch 1993, pp. 13–14.
15.Jump up ^ Hirsch 1993, p. 15.
16.Jump up ^ Hirsch 1993, p. 31.
17.^ Jump up to: a b c d Hirsch 1993, p. 16.
18.Jump up ^ Hirsch 1993, p. 17.
19.^ Jump up to: a b c Hirsch 1993, p. 34.
20.Jump up ^ Hirsch 1993, p. 75, 78.
21.Jump up ^ Hirsch 1993, pp. 34–37.
22.Jump up ^ Hirsch 1993, p. 38.
23.Jump up ^ Hirsch 1993, pp. 38–42.
24.Jump up ^ Hirsch 1993, p. 42.
25.^ Jump up to: a b Hirsch 1993, p. 49.
26.Jump up ^ Hirsch 1993, p. 50.
27.Jump up ^ Hirsch 1993, p. 51.
28.Jump up ^ Hirsch 1993, pp. 51–53.
29.^ Jump up to: a b Hirsch 1993, pp. 53–54.
30.Jump up ^ Hirsch 1993, pp. 54–55.
31.Jump up ^ Hirsch 1993, p. 61.
32.Jump up ^ Hirsch 1993, pp. 61–63.
33.^ Jump up to: a b c Hirsch 1993, pp. 66–67.
34.Jump up ^ Hirsch 1993, p. 92.
35.Jump up ^ Hirsch 1993, pp. 92–93.
36.^ Jump up to: a b c Hirsch 1993, p. 93.
37.Jump up ^ Hirsch 1993, p. 95.
38.Jump up ^ Hirsch 1993, pp. 100–101.
39.Jump up ^ Hirsch 1993, p. 103.
40.Jump up ^ Hirsch 1993, pp. 101–104.
41.Jump up ^ Hirsch 1993, pp. 105–106.
42.^ Jump up to: a b Hirsch 1993, pp. 106–108.
43.Jump up ^ Maslon 2015, p. 118.
44.Jump up ^ Hirsch 1993, p. 123.
45.^ Jump up to: a b c Hirsch 1993, pp. 109–110.
46.Jump up ^ Hirsch 1993, p. 111.
47.Jump up ^ Hirsch 1993, p. 86.
48.^ Jump up to: a b Hirsch 1993, pp. 111–113.
49.Jump up ^ Hirsch 1993, pp. 105–113.
50.Jump up ^ Hirsch 1993, p. 159.
51.^ Jump up to: a b Hirsch 1993, p. 160.
52.^ Jump up to: a b Hirsch 1993, p. 162.
53.Jump up ^ Santopietro 2015, p. 160.
54.^ Jump up to: a b Hirsch 1993, pp. 162–163.
55.^ Jump up to: a b c "The Sound of Music Physical Properties". American Film Institute. Retrieved January 24, 2015.
56.^ Jump up to: a b c Hirsch 1993, p. 70.
57.Jump up ^ Hirsch 1993, pp. 75, 77.
58.Jump up ^ Hirsch 1993, p. 76.
59.Jump up ^ Hirsch 1993, pp. 79–82.
60.^ Jump up to: a b Santopietro 2015, p. 255.
61.Jump up ^ Hirsch 1993, pp. 155–157.
62.^ Jump up to: a b c Hirsch 1993, p. 188.
63.^ Jump up to: a b c Hirsch 1993, p. 189.
64.^ Jump up to: a b c Boehm, Mike (May 17, 2012). "Howard Terpning's paintings keep Old West alive". Los Angeles Times. Retrieved March 15, 2015.
65.^ Jump up to: a b c d e f Hirsch 1993, p. 175.
66.Jump up ^ Rodgers 1975, p. 300.
67.^ Jump up to: a b Hirsch 1993, p. 174.
68.Jump up ^ "The Sound of Music". American Film Institute. Retrieved August 4, 2014.
69.Jump up ^ Fallon, Kevin (March 2, 2015). "Everyone Hated ‘The Sound of Music’". The Daily Beast. Retrieved March 11, 2015.
70.Jump up ^ Crowther, Bosley (March 3, 1965). "The Sound of Music Opens at Rivoli". The New York Times. Retrieved February 27, 2015.
71.^ Jump up to: a b Tucker, Ken. "A Gift for Effrontery". Salon. Retrieved January 18, 2015.
72.Jump up ^ Purdum, Todd (June 1, 2005). "The Sound of Music:40 years of unstoppable success". International Herald Tribune. Retrieved January 18, 2015.
73.Jump up ^ Hischak 2008, p. 697.
74.^ Jump up to: a b c d Hirsch 1993, p. 176.
75.^ Jump up to: a b c d e f Hirsch 1993, p. 179.
76.^ Jump up to: a b c Hirsch 1993, p. 181.
77.Jump up ^ Hirsch 1993, pp. 181–183.
78.Jump up ^ Dassanowsky, Robert Von (2003). "An Unclaimed Country: The Austrian Image in American Film and the Sociopolitics of The Sound of Music". Bright Lights Film Journal 41. Retrieved January 18, 2015.
79.^ Jump up to: a b Santopietro 2015, p. 253.
80.Jump up ^ "Movie Index". The Numbers. Retrieved March 22, 2015.
81.Jump up ^ Thomas, Bob (January 8, 1966). "Variety Celebrates 60 Years". Saskatoon Star-Phoenix. Retrieved March 22, 2015.
82.^ Jump up to: a b c Barthel, Joan (November 20, 1966). "The Sound of Music: Biggest Money-Naking Movie of All Time". The New York Times. Retrieved March 22, 2015.
83.Jump up ^ Berkowitz 2010, p. 160.
84.Jump up ^ Thomas, Bob (November 24, 1969). "'Sound of Music' Sound Finance". Pittsburgh Post-Gazette. p. 22. Retrieved January 27, 2015.
85.Jump up ^ "The Sound of Music 1965". American Film Institute. Retrieved March 22, 2015.
86.Jump up ^ "Big Rental Films of 1973". Variety. January 9, 1974. p. 19.
87.^ Jump up to: a b Block and Wilson 2010, p. 474.
88.Jump up ^ "'Exorcist' No. 3". Deseret News. September 22, 1976. p. A19. Retrieved March 22, 2015.
89.Jump up ^ Anderson, George (January 21, 1980). "Buffs Give Damn About 'Wind' Change". Pittsburgh Post-Gazette. p. 23. Retrieved March 22, 2015.
90.^ Jump up to: a b Glenday 2015, p. 164.
91.Jump up ^ "The Sound of Music: Domestic Grosses". Box Office Mojo. Retrieved March 22, 2015.
92.Jump up ^ "The Sound of Music". BoxOffice Media. Retrieved March 22, 2015.
93.Jump up ^ "All Time Box Office Adjusted For Ticket Price Inflation". Box Office Mojo. Retrieved January 27, 2015.
94.^ Jump up to: a b c d e f g h i j Gearin, Joan (Winter 2005). "Movie vs. Reality: The Real Story of the von Trapp Family". National Archives 37 (4). Retrieved February 17, 2013.
95.Jump up ^ Hirsch 1993, pp. 201–202.
96.Jump up ^ "The Story of My Family". Trapp Family Lodge. Retrieved January 18, 2015.
97.Jump up ^ Hirsch 1993, p. 40.
98.^ Jump up to: a b c "The Sound of Music (Original Motion Picture Soundtrack): Awards". AllMusic. Retrieved February 21, 2015.
99.^ Jump up to: a b c "The Sound of Music (Original Motion Picture Soundtrack): Releases". AllMusic. Retrieved February 21, 2015.
100.Jump up ^ "Best of All Time: Albums". VG-lista. Hung Medien. Retrieved June 22, 2012.
101.Jump up ^ "The Sound Of Music (An Original Soundtrack Recording)". Discogs. 2005. Retrieved January 24, 2015.
102.^ Jump up to: a b c d "The Sound of Music (1965): Awards". The New York Times. Retrieved January 24, 2015.
103.Jump up ^ "AFI's 100 Years ... 100 Movies". American Film Institute. Retrieved February 20, 2013.
104.Jump up ^ "AFI's 100 Years ... 100 Movies, 10th Anniversary Edition". American Film Institute. Retrieved January 18, 2015.
105.Jump up ^ "AFI's 100 Years ... 100 Cheers". American Film Institute. Retrieved January 18, 2015.
106.Jump up ^ "AFI's 100 Years, 100 Heroes and Villains" (PDF). American Film Institute. Retrieved January 18, 2015.
107.Jump up ^ "AFI's 100 Years ... 100 Musicals". American Film Institute. Retrieved January 18, 2015.
108.Jump up ^ "AFI's 100 Years ... 100 Passions". American Film Institute. Retrieved January 18, 2015.
109.^ Jump up to: a b c "AFI's 100 Years ... 100 Songs". American Film Institute. Retrieved January 18, 2015.
110.^ Jump up to: a b Maslon 2015, p. 172.
111.^ Jump up to: a b c d Vinciguerra, Thomas (August 20, 2000). "Do You Really Call That Sound Music?". The New York Times. Retrieved January 27, 2015.
112.Jump up ^ Asch, Amy; Ehren, Christina (September 7, 2000). "Crowds Turn Out for Opening of 'Sing-a-Long Sound of Music' in NYC". Playbill. Retrieved January 27, 2015.
113.Jump up ^ Maslon 2015, pp. 157–158.
114.Jump up ^ "The Sound of Music". Rotten Tomatoes. Retrieved January 18, 2015.
115.^ Jump up to: a b Hirsch 1993, p. 209.
116.Jump up ^ "Chaos in Television". Time. March 12, 1979. Retrieved April 2, 2008.
117.Jump up ^ "'The Sound of Music' Continues to Echo Across the Ratings Landscape". Deadline Hollywood. Retrieved December 24, 2013.
118.^ Jump up to: a b c d e "The Sound of Music: Releases". AllMovie. Retrieved March 26, 2015.
119.Jump up ^ Calogne, Juan (August 31, 2010). "The Sound of Music Blu-ray announced". Blu-ray.com. Retrieved November 16, 2010.
120.Jump up ^ Smotroff, Mark. "HomeTechTell Review: The Sound of Music 45th Anniversary Blu-ray". Hometechtell. technologytell.com. Retrieved March 29, 2012.
121.Jump up ^ Head, Stephen Slaughter (January 20, 2015). "'The Sound of Music' 50th Anniversary ...". Post-Movie. Retrieved March 2, 2015.
122.Jump up ^ Sawyer, Diane (March 2015). "The Untold Story of The Sound of Music". ABC. Retrieved March 31, 2015.
Bibliography[edit]
##Baer, William (2008). Classic American Films: Conversations with the Screenwriters. Westport: Praeger Publishers. ISBN 978-0-313-34898-3.
##Bawden, Liz-Anne (1976). The Oxford Companion to Film. New York: Oxford University Press. ISBN 978-0-192-11541-6.
##Berkowitz, Edward D. (2010). Mass Appeal: The Formative Age of the Movies, Radio, and TV. Cambridge Essential Histories. New York: Cambridge University Press. ISBN 978-0-521-88908-7.
##Block, Alex Ben; Wilson, Autrey, eds. (2010). George Lucas's Blockbusting: A Decade-By-Decade Survey of Timeless Movies ... New York: HarperCollins. ISBN 978-0-061-77889-6.
##Glenday, Craig, ed. (2015). Guinness World Records 2015. New York: Bantam. ISBN 978-1-101-88380-8.
##Herman, Jan (1995). A Talent for Trouble. New York: G. P. Putnam's Sons. ISBN 978-0-399-14012-9.
##Hirsch, Julia Antopol (1993). The Sound of Music: The Making of America's Favorite Movie. Chicago: Contemporary Books. ISBN 978-0-809-23837-8.
##Hischak, Thomas (2008). The Oxford Companion to the American Musical. New York: Oxford University Press. ISBN 978-0-195-33533-0.
##Maslon, Laurence (2015). The Sound of Music Companion. New York: Universe. ISBN 978-0-789-32935-6.
##Rodgers, Richard (1975). Musical Stages: An Autobiography. New York: Random House. ISBN 978-0-394-47596-7.
##Santopietro, Tom (2015). The Sound of Music Story. New York: St. Martin's Press. ISBN 978-1-250-06446-2.
##Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press. ISBN 978-0-810-84244-1.
External links[edit]
 Wikiquote has quotations related to: The Sound of Music (film)
##The Sound of Music at the Internet Movie Database
##The Sound of Music at the TCM Movie Database
##The Sound of Music at AllMovie
##The Sound of Music at Box Office Mojo
##The Sound of Music at Rotten Tomatoes


[hide]
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 e
 
Maria von Trapp's The Story of the Trapp Family Singers


Films
The Trapp Family (1956) ·
 The Trapp Family in America (1958) ·
 The Sound of Music (1965)
 

Other Adaptations
The Sound of Music (1959 musical) ·
 Trapp Family Story (1991 anime) ·
 The Sound of Music Live! (2013)
 

Songs
"The Sound of Music" ·
 "Maria" ·
 "My Favorite Things" ·
 "Do-Re-Mi" ·
 "Sixteen Going on Seventeen" ·
 "The Lonely Goatherd" ·
 "Climb Ev'ry Mountain" ·
 "No Way to Stop It" ·
 "Edelweiss" ·
 "Something Good"
 

Albums
The Groovy Sound of Music (1964) ·
 The Sound of Music (1965 soundtrack) ·
 The Sound of Music: Music from the NBC Television Event (2013)
 

Legacy
The von Trapps (formerly The von Trapp Children), a musical group made up of 4 grandchildren of Werner von Trapp
 



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The Sound of Music (film)

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The Sound of Music
Poster with an illustration of actress Julie Andrews dancing in the mountains
Theatrical release poster by Howard Terpning

Directed by
Robert Wise
Produced by
Robert Wise
Screenplay by
Ernest Lehman
Story by
Maria von Trapp (uncredited)
Based on
The Sound of Music
 by Howard Lindsay and Russel Crouse
Starring
Julie Andrews
Christopher Plummer

Music by
Richard Rodgers
Oscar Hammerstein II
Irwin Kostal (score)

Cinematography
Ted D. McCord
Edited by
William H. Reynolds

Production
 company

20th Century Fox

Distributed by
20th Century Fox

Release dates

March 2, 1965 (USA)
March 29, 1965 (UK)


Running time
 174 minutes[1]
Country
United States
Language
English
Budget
$8.2 million[2][3]
Box office
$286,214,286[2]
The Sound of Music is a 1965 American musical drama film produced and directed by Robert Wise and starring Julie Andrews and Christopher Plummer. The film is an adaptation of the 1959 Broadway musical The Sound of Music, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. The film's screenplay was written by Ernest Lehman, adapted from the stage musical's book by Howard Lindsay and Russel Crouse. Based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, the film is about a young Austrian woman studying to become a nun in Salzburg in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children. After bringing love and music into the lives of the family through kindness and patience, she marries the officer and together with the children find a way to survive the loss of their homeland through courage and faith.
The original Rodgers and Hammerstein stage musical score was enhanced by two new songs by Richard Rodgers. Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs. Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California. The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.
The film was released on March 2, 1965 in the United States, initially as a limited roadshow theatrical release. The critical response to the film was widely mixed, with Bosley Crowther of The New York Times calling it "romantic nonsense and sentiment", and Philip K. Scheuer of the Los Angeles Times describing it as "three hours of visual and vocal brilliance". The film was a major commercial success, becoming the number one box office movie after four weeks, and the highest-grossing film of 1965. By November 1966, The Sound of Music became the highest-grossing film of all-time—surpassing Gone with the Wind—and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries. Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283.3 million admissions worldwide and earned a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned $2.366 billion at 2014 prices—the fifth highest grossing film of all time.
The Sound of Music received five Academy Awards, including Best Picture and Best Director. The film also received two Golden Globe Awards, for Best Motion Picture and Best Actress, the Directors Guild of America Award for Outstanding Directorial Achievement, and the Writers Guild of America Award for Best Written American Musical. In 1998, the American Film Institute (AFI) listed The Sound of Music as the fifty-fifth greatest American movie of all time, and the fourth greatest movie musical. In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".


Contents  [hide]
1 Plot
2 Cast
3 Background
4 Production 4.1 Screenplay and pre-production
4.2 Casting and rehearsals
4.3 Filming and post-production
5 Release 5.1 Marketing
5.2 Critical response
5.3 Box office
6 Historical accuracy
7 Soundtrack
8 Accolades 8.1 Awards and nominations
8.2 AFI recognition
8.3 Legacy
9 Television and home media
10 References 10.1 Notes
10.2 Citations
10.3 Bibliography
11 External links

Plot[edit]
A free-spirited young Austrian woman named Maria is studying to become a nun at Nonnberg Abbey in Salzburg in 1938. Her love of music and the mountains, her youthful enthusiasm and imagination, and her lack of discipline cause some concern among the nuns. The Mother Abbess, believing Maria would be happier outside the abbey, sends her to the villa of Captain Georg von Trapp to be governess to his seven children. A retired naval officer, the Captain has been raising his children alone using strict military discipline following the death of his first wife. At first, the children treat Maria as they did their former governesses—playing tricks on her as a way of gaining their father's attention. Maria responds with kindness and patience, and soon the children come to trust and respect her.
While the Captain is away in Vienna, Maria makes play clothes for the children out of old drapes—replacing their naval-style uniforms—and takes them around Salzburg and the surrounding mountains. Their bond is strengthened when she teaches them how to sing. When the Captain returns to the villa with Baroness Elsa Schraeder, a wealthy socialite, and their mutual friend, Max Detweiler, they are greeted by Maria and the children returning from a boat ride on the lake that concludes when their boat overturns. Displeased by his children's clothes and activities, and Maria's impassioned appeal that he get closer to his children, the Captain orders her to return to the abbey. Just then he hears beautiful singing coming from inside the house and is astonished to see his children singing for the Baroness. Filled with emotion, the Captain joins his children, singing for the first time in years. Afterwards, he apologizes to Maria and asks her to stay.
Soon after, Maria and the children put on a marionette show for the Baroness, the Captain, and Max, who proposes he enter them in the upcoming Salzburg Festival—a suggestion immediately rejected by the Captain who will not allow his children to sing in public. He does agree, however, to organize a grand party at the villa. The night of the party, while guests in formal attire waltz in the ballroom, Maria and the children look on from the garden terrace. When the Captain notices Maria teaching his youngest son Kurt the traditional Ländler folk dance, he cuts in and partners with Maria in a graceful performance, culminating in a close embrace. Confused about her feelings, Maria blushes and breaks away. Later, the Baroness, who noticed the Captain's attraction to Maria, hides her jealousy while convincing Maria that she must return to the abbey.
Maria's departure deeply affects the children, who no longer find joy in singing. They are also disappointed to learn that the Baroness will soon become their mother. Back at the abbey, when Mother Abbess learns that Maria has stayed in seclusion to avoid her feelings for the Captain, she encourages her to return to the villa to look for her life. After Maria arrives back at the villa, she learns about the Captain's engagement to the Baroness and agrees to stay until they find a replacement governess. The Captain's feelings for Maria, however, have not changed, and soon he breaks his engagement and declares his love to Maria, who returns his affections and accepts his marriage proposal. Sometime later, Maria walks down the aisle of a large baroque cathedral toward the Captain, who is waiting at the altar dressed in his formal uniform—and they are married.
While the Captain and Maria are on their honeymoon, Max enters the children in the Salzburg Festival against their father's wishes. When they learn that Austria was annexed into the Third Reich in the Anschluss, the couple return to their home, where a large Nazi flag hangs above the front door. After pulling the flag down and ripping it in half, the Captain reads a telegram informing him that he must report to the German Naval Headquarters in Bremerhaven to accept a commission in the German Navy. Strongly opposed to the Nazis and the Anschluss, the Captain tells his family they must leave Austria immediately. That night, as the von Trapp family attempt to leave, they are stopped by German soldiers waiting outside the villa. When questioned by Gauleiter Hans Zeller, the Captain maintains they are headed to the Salzburg Festival to perform. Zeller insists on escorting them to the festival, after which his men will accompany the Captain to Bremerhaven.
Later that night at the festival, during their final number, the von Trapp family slip away and seek shelter at the nearby abbey, where Mother Abbess hides them in the cemetery crypt. Nazi soldiers soon arrive and search the abbey, but the family is able to escape using the caretaker's car. When the soldiers attempt to pursue, they discover their cars will not start. Nearby, two clever nuns holding engine parts confess their "sin" to Mother Abbess. The following morning, after driving to the border, the von Trapp family make their way on foot across the mountains into Switzerland to freedom.
Cast[edit]
##Julie Andrews as Maria, a young Austrian woman studying to become a nun
##Christopher Plummer as Captain von Trapp, a retired Austrian naval officer
##Eleanor Parker as the Baroness, Elsa von Schraeder
##Richard Haydn as Max Detweiler, a friend of the Baroness and the Captain
##Peggy Wood as Mother Abbess
##Charmian Carr as Liesl, the first and eldest child
##Nicholas Hammond as Friedrich, the second child
##Heather Menzies as Louisa, the third child
##Duane Chase as Kurt, the fourth child and younger boy
##Angela Cartwright as Brigitta, the fifth child
##Debbie Turner as Marta, the sixth child
##Kym Karath as Gretl, the seventh and youngest child
##Anna Lee as Sister Margaretta
##Portia Nelson as Sister Berthe
##Ben Wright as Herr Zeller
##Daniel Truhitte as Rolfe, a telegram delivery boy
##Norma Varden as Frau Schmidt, the housekeeper
##Gil Stuart as Franz, the butler
##Marni Nixon as Sister Sophia
##Evadne Baker as Sister Bernice
##Doris Lloyd as Baronness Ebberfeld, a guest at the Captain's ball
Background[edit]









Composers Richard Rodgers and Oscar Hammerstein II
The Sound of Music story is based on Maria von Trapp's memoir, The Story of the Trapp Family Singers, published in 1949 to help promote her family's singing group following the death of her husband Georg in 1947.[4] Hollywood producers expressed interest in purchasing the title only, but Maria refused, wanting her entire story to be told.[4] In 1956, German producer Wolfgang Liebeneiner purchased the film rights for $9,000 (equivalent to $78,070 in 2015), hired George Hurdalek and Herbert Reinecker to write the screenplay, and Franz Grothe to supervise the soundtrack, which consisted of traditional Austrian folk songs.[5] The Trapp Family was released in West Germany on October 9, 1956 and became a major success.[4] Two years later, Liebeneiner directed a sequel, The Trapp Family in America, and the two pictures became the most successful films in West Germany during the post-war years.[4] Their popularity extended throughout Europe and South America.[4]
In 1956, Paramount Pictures purchased the United States film rights, intending to produce an English-language version with Audrey Hepburn as Maria.[4] The studio eventually dropped its option, but one of its directors, Vincent J. Donehue, proposed the story as a stage musical for Mary Martin.[4] Producers Richard Halliday and Leland Heyward secured the rights and hired playwrights Howard Lindsay and Russel Crouse, who had won the Pulitzer Prize for State of the Union.[5] They approached Richard Rodgers and Oscar Hammerstein II to compose one song for the musical, but the composers felt the two styles—traditional Austrian folk songs and their composition—would not work together.[5] They offered to write a complete new score for the entire production if the producers were willing to wait while they completed work on Flower Drum Song.[6] The producers quickly responded that they would wait as long as necessary.[6] The Sound of Music stage musical opened on November 16, 1959 at the Lunt-Fontanne Theatre in New York City and ran on Broadway for 1,443 performances, winning six Tony Awards, including Best Musical.[7] In June 1960, Twentieth Century Fox purchased the film adaptation rights to the stage musical for $1.25 million (equivalent to $9,964,848 in 2015) against ten percent of the gross.[8][Note 1]
Production[edit]
Screenplay and pre-production[edit]

Robert Wise smiling

 Robert Wise, 1990
In December 1962, 20th Century Fox president Richard D. Zanuck hired Ernest Lehman to write the screenplay for the film adaptation of the stage musical.[9] Lehman reviewed the original script for the stage musical, rearranged the sequence of songs, and began transforming a work designed for the stage into a film that could use the camera to emphasize action and mood, and open the story up to the beautiful locations of Salzburg and the Austrian Alps.[10] The "Do-Re-Mi" sequence in the play, for example, was originally a stagnant number; Lehman transformed it into a lively montage showing some of the beautiful sites of Salzburg, as well as showing Maria and the children growing closer over time.[10] Lehman also eliminated two songs, "How Can Love Survive?" and "No Way to Stop It", sung by the characters of Elsa and Max.[10] In January 1963, he saw the Fox English-dubbed version of the two German films, was not especially impressed, and decided to use the stage musical and Maria's memoir for most of his source material.[11] While Lehman was developing the screenplay, he and Zanuck began looking for a director. Their first choice was Robert Wise, with whom Lehman had worked on the film adaptation of West Side Story, but Wise was busy preparing work for another film, The Sand Pebbles.[12] Other directors were approached and turned down the offer, including Stanley Donen, Vincent J. Donehue, George Roy Hill, and Gene Kelly.[13]
In January 1963, Lehman invited one of his favorite directors, William Wyler, to travel to New York with him to see the Broadway musical. After seeing the show, Wyler said he hated it, but after two weeks of Lehman's persuasion, Wyler reluctantly agreed to direct and produce the film.[14] After hiring musical supervisor Roger Edens, Wyler, Lehman, and Edens traveled to Salzburg to scout filming locations.[15] In two weeks they managed to see approximately seventy-five locations—an experience that helped Lehman conceptualize several important sequences.[16] During that trip, Lehman began to have reservations about Wyler's commitment to the project, and communicated this to Zanuck, who instructed the writer to finalize the first draft of the screenplay as quickly as possible.[17] Lehman completed the first draft on September 10, 1963 and sent it to Wyler, who had no suggestions or changes.[17] At that time, Lehman also secretly gave a copy of the script to the agent of Robert Wise, whom Lehman still wanted as the director.[17] Later that month, Wyler's agent approached Zanuck asking that production on the film be delayed so Wyler could direct The Collector. Zanuck told him to tell Wyler to make the other film, and that they would move ahead on schedule with another director, ending Wyler's participation.[17]
Meanwhile, Wise, whose film The Sand Pebbles had been postponed, read Lehman's first draft, was impressed by what he read, and agreed to direct the film.[18] Wise joined the picture in October 1963,[19] and flew to Salzburg with associate producer Saul Chaplin and members of his production team to scout filming locations, including many that Wyler had identified.[20] When he returned, Wise began working on the script. Wise shared Lehman's vision of the film being centered on the music, and the changes he made were consistent with the writer's approach—mainly reducing the amount of sweetness and sentimentality found in the stage musical.[19] He had reservations about Lehman's opening aerial sequence because they'd used a similar opening in West Side Story, but decided to keep it.[19] Other changes included replacing "An Ordinary Couple" with a more romantic number, and a new song for Maria's departure from the abbey—Rodgers provided "Something Good" and "I Have Confidence" especially for the film.[21] Lehman completed the second draft on December 20, 1963,[22] but additional changes would be made based on input from Maria von Trapp and Christopher Plummer about the character of the Captain. Plummer especially helped transform a character lacking substance into a stronger, more forceful complex figure with a wry sense of humor and a darker edge.[23] Lehman completed his final draft on March 20, 1964.[24]
Casting and rehearsals[edit]

Portrait photo of Julie Andrews smiling

 Julie Andrews, 1965
Lehman's first and only choice for Maria was Julie Andrews.[25] When Wise joined the project, he made a list of his choices for the role, which included Andrews as his first choice, Grace Kelly, and Shirley Jones.[26] Wise and Lehman went to Disney Studios to view footage from Mary Poppins, which was not yet released. A few minutes into the film, Wise told Lehman, "Let's go sign this girl before somebody else sees this film and grabs her!"[25] Andrews had some reservations—mainly about the amount of sweetness in the theatrical version—but when she learned that her concerns were shared by Wise and Lehman and what their vision was, she signed a contract with Fox to star in The Sound of Music and one other film for $225,000 (equivalent to $1,710,917 in 2015).[27] Wise had a more difficult time casting the role of the Captain. A number of actors were considered for the part, including Bing Crosby, Yul Brynner, Sean Connery, and Richard Burton.[28] Wise had seen Christopher Plummer on Broadway and wanted him for the role, but the stage actor turned down the offer several times. Wise flew to London to meet with Plummer and explained his concept of the film; the actor accepted after being assured that he could work with Lehman to improve the character.[29]

Christopher Plummer and Julie Andrews

 Christopher Plummer and Julie Andrews on location in Salzburg, 1964
Wise also spent considerable time and effort on casting the secondary characters. For the role of Max Detweiler, Wise initially considered Victor Borge, Noël Coward, and Hal Holbrook among others before deciding on Richard Haydn.[29] For the character of Baroness Elsa Schraeder, Wise looked for a "name" actress—Andrews and Plummer were not yet widely known to film audiences—and decided on Eleanor Parker.[30] The casting of the children characters began in November 1963 and involved over two hundred interviews and auditions throughout the United States and England.[31] Some of the child-actors interviewed or tested and were not selected included Mia Farrow, Patty Duke, Lesley Ann Warren, Geraldine Chaplin, Shelley Fabares, Teri Garr, Kurt Russell, and The Osmonds.[32] Most of the actors selected had some acting, singing, or dancing experience. Charmian Carr, however, was a model who worked part-time in a doctor's office and had no ambition to pursue a career as an actress.[33] After a friend sent her photo to Wise's office, she was asked to interview. Wise later recalled, "She was so pretty and had such poise and charm that we liked her immediately."[33] The last person to be cast was Dan Truhitte in the role of Rolf.[33]
Rehearsals for the singing and dance sequences began on February 10, 1964.[34] The husband-and-wife team of Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out the choreography with Saul Chaplin on piano—the arrangements could not be altered under Rodgers and Hammerstein's contract.[35] The stage choreography was not used because it was too restrictive.[36] Breaux and Wood worked out all new choreography better suited for film that incorporated many of the Salzburg locations and settings.[36] They even choreographed the newly added puppet dance sequence for "The Lonely Goatherd".[37] The choreography for the Ländler strictly followed the traditional Austrian folk dance.[36] The musical arranger Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming.[38] Kostal used seven children and five adults to record the children's voices; the only scene where the child-actors actually sing is when they sing "The Sound of Music" on their own after Maria leaves.[39] The voices of some of the adult actors also had voice doubles, including Peggy Wood and Christopher Plummer.[40]
Filming and post-production[edit]

Photo of the city of Salzburg

 Salzburg, Austria, where many of the external scenes were filmed
Principal photography began on March 26, 1964 at 20th Century Fox studios in Los Angeles, where scenes from Maria's bedroom and the abbey cloister and graveyard were filmed.[41] The company then flew to Salzburg where filming resumed on April 23 at Mondsee Abbey for the wedding scenes.[42] From April 25 through May 22, scenes were filmed at the Felsenreitschule (festival concert), Nonnberg Abbey, Mirabell Palace Gardens, Residence Fountain, and various street locations throughout the Altstadt (Old Town) area of the city.[42] On days when it rained—a constant challenge for the company[43]—Wise arranged for scenes to be shot at St. Margarethen Chapel and Dürer Studios (Reverend Mother's office).[44] From May 23 to June 7, the company worked at Schloss Leopoldskron and an adjacent property called Bertelsmann for scenes representing the lakeside terrace and gardens of the von Trapp villa.[45] From June 9 to 19, scenes were shot at Frohnburg Palace which represented the front and back façades of the villa.[45] The "Do-Re-Mi" picnic scene in the mountains was filmed above the town of Werfen in the Salzach River valley on June 25 and 27.[45] The opening sequence of Maria on her mountain was filmed from June 28 to July 2 at Mehlweg mountain near the town of Marktschellenberg in Bavaria.[46][Note 2] The final scene of the von Trapp family escaping over the mountains was filmed on the Obersalzberg in the Bavarian Alps.[47]

Photo of a gazebo

The Sound of Music gazebo at Hellbrunn Palace in Salzburg was moved here from its original location at Schloss Leopoldskron.
The cast and crew flew back to Los Angeles and resumed filming at Fox studios on July 6 for all remaining scenes, including those in the villa dining room, ballroom, terrace, living room, and gazebo.[48] Following the last two scenes shot in the gazebo—for the songs "Something Good" and "You Are Sixteen"—principal photography concluded on September 1, 1964.[48] A total of eighty-three scenes were filmed in just over five months.[49] Post-production work began on August 25 with three weeks of dialogue dubbing to correct lines that were ruined by various street noises and rain.[50] In October, Christopher Plummer's singing voice was dubbed by veteran Disney playback singer Bill Lee.[51] The film was then edited by Wise and film editor William Reynolds.[52] Once the film was edited, Irwin Kostel, who orchestrated the musical numbers, underscored the film with background music consisting of variations on Rodgers and Hammerstein's original songs to amplify or add nuances to the visual images.[51][52] When dubbing, editing, and scoring were complete, Wise arranged for two sneak-preview showings—the first one held in Minneapolis on Friday January 15, 1965[53] at the Mann Theater, and the second one held the following night in Tulsa.[54] Despite the "sensational" responses from the preview audiences, Wise made a few final editing changes before completing the film.[54] According to the original print information for the film, the running time for the theatrical release version was 174 minutes.[1] The film was eventually given a G rating by the Motion Picture Association of America.[1]

Photo of Schloss Leopoldskron

 Schloss Leopoldskron, where scenes representing the lakefront terrace and gardens of the von Trapp villa were filmed
The Sound of Music was filmed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing.[55] Aerial footage was photographed with an MCS-70 camera.[55] The sound was recorded on 70 mm six-track using a Westrex recording system.[1][55] The sets used for the film were based on the storyboards of sketch artist Maurice Zuberano,[56] who accompanied Wise to Austria to scout filming locations in November 1963.[57] Wise met with the artist over a ten-week period and explained his objective for each scene—the feeling he wanted to convey and the visual images he wanted to use.[56] When Zuberano was finished, he provided Wise with a complete set of storyboards that illustrated each scene and set—storyboards the director used as guidance during filming.[56] Zuberano's storyboards and location photos were also used by art director Boris Leven to design and construct all of the original interior sets at Fox studios, as well as some external sets in Salzburg.[58] The von Trapp villa, for example, was actually filmed in several locations: the front and back façades of the villa were filmed at Frohnburg Palace, the lakeside terrace and gardens were a set constructed on a property adjacent to Schloss Leopoldskron called Bertelsmann, and the interior was a constructed set at Fox studios.[59] The gazebo scenes for "Something Good" and "Sixteen Going on Seventeen" were filmed on a larger reconstructed set at Fox studios, while some shots of the original gazebo were filmed on the grounds at Schloss Leopoldskron in Salzburg.[60][61][Note 3]
Release[edit]
Marketing[edit]
Robert Wise hired Mike Kaplan to direct the publicity campaign for the film.[62] After reading the script, Kaplan decided on the ad line "The Happiest Sound in All the World", which would appear on promotional material and artwork.[62] Kaplan also brought in outside agencies to work with the studio's advertising department to develop the promotional artwork, eventually selecting a painting by Howard Terpning of Andrews on an alpine meadow with her carpetbag and guitar case in hand with the children and Plummer in the background.[63][64][Note 4] In February 1964, Kaplan began placing ads in the trade papers Daily Variety, Weekly Variety, and The Hollywood Reporter to attract future exhibitor interest in the project.[62] The studio intended the film to have an initial roadshow theatrical release in select large cities in theaters that could accommodate the 70-mm screenings and six-track stereophonic sound.[65] The roadshow concept involved two showings a day with reserved seating and an intermission similar to Broadway musicals.[65] Kaplan identified forty key cities that would likely be included in the roadshow release and developed a promotional strategy targeting the major newspapers of those cities.[63] During the Salzburg production phase, 20th Century Fox organized press junkets for America journalists to interview Wise and his team and the cast members.[63]
Critical response[edit]



"No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion. This has always been a major element in the theatre, and it's my conviction that anyone who can't, on occasion, be sentimental about children, home or nature is sadly maladjusted."[66]
Richard Rodgers
The film had its opening premiere on March 2, 1965 at the Rivoli Theater in New York City.[67][68] Initial reviews were not positive.[69] Bosley Crowther, in The New York Times, criticized the film's "romantic nonsense and sentiment", the children's "artificial roles", and Robert Wise's "cosy-cum-corny" direction.[70] Judith Crist, in a biting review in the New York Herald Tribune, dismissed the movie as "icky sticky" and designed for "the five to seven set and their mommies".[67][Note 5] Wise later recalled, "The East Coast, intellectual papers and magazines destroyed us, but the local papers and the trades gave us great reviews."[65] Indeed, reviewers such as Philip K. Scheuer of the Los Angeles Times described the film as "three hours of visual and vocal brilliance",[65] and Daily Variety called it "a warmly-pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast".[65] The "wildly mixed film reviews" reflected the critical response to the stage musical, according to The Oxford Companion to the American Musical.[73] After its Los Angeles premier on March 10, The Sound of Music opened in 131 theaters in the United States, including a limited number of roadshow events.[65] After four weeks, the film became the number one box office movie in the country, and held that position for thirty out of the next forty-three weeks in 1965.[74] The original theatrical release of the film in America lasted four and a half years.[74]
A few months after its United States release, The Sound of Music opened in 261 theaters overseas—the first American movie to be completely dubbed in a foreign language, both dialogue and music.[75] The German, French, Italian, and Spanish versions were completely dubbed, and other versions were released with foreign subtitles. The film was a popular success in every country it opened, except the two countries where the story originated, Austria and Germany.[76] In these countries, the film had to compete with the much-loved Die Trapp-Familie (1956), which provided the original inspiration for the Broadway musical, and its sequel Die Trapp-Familie in Amerika (1958)—both films still widely popular in German-speaking Europe and considered the authoritative von Trapp story.[76] Austrians took exception to the liberties taken by the filmmakers with regard to the costumes, which did not reflect traditional style, and the replacement of traditional Austrian folk songs with Broadway show tunes.[76] The film's Nazi theme was especially unpopular in Germany, where the Munich branch manager for 20th Century Fox approved the unauthorized cutting of the entire third act of the film following the wedding sequence—the scenes showing Salzburg following the Anschluss. Robert Wise and the studio intervened, the original film was restored, and the branch manager was fired.[77] The Sound of Music has never been popular in Austria and Germany.[78]
Box office[edit]
The Sound of Music is one of the most commercially successful films of all time.[79] Four weeks after its theatrical release, it became the number one box office movie in the United States, from revenue generated by twenty-five theaters, each screening only ten roadshow performances per week.[74] It held the number one position for thirty of the next forty-three weeks,[74] and ended up the highest-grossing film of 1965.[80] One contributing factor in the film's early commercial success was the repeat business of many filmgoers.[75] In some cities in the United States, the number of tickets sold exceeded the total population.[75][Note 6] By January 1966, the film had earned $20 million in distributor rentals from just 140 roadshow engagements in the United States and Canada.[81] Overseas, The Sound of Music broke previous box-office records in twenty-nine countries,[82] including the United Kingdom, where the film earned £4 million in rentals and grossed £6 million—more than twice as much as any other film had ever taken in.[82] By November 1966, The Sound of Music became the highest-grossing film of all-time,[82] surpassing Gone with the Wind, which held that distinction for twenty-four years.[83][Note 7]
In November 1969, The Sound of Music completed its initial four-and-a-half year theatrical release run in the United States, having earned $68,313,000 in North American rentals and $44,168,000 in foreign rentals, for a worldwide total of $112,481,000 in gross returns.[84] It was the first film to gross over $100 million.[85] The film was re-released in 1973,[86][87] and increased its North American rentals to $78.4 million.[88] By the end of the 1970s, it was ranked seventh in all time North American rentals, having earned $79 million.[89] The film's re-release in 1990[87] increased the total North American admissions to 142,415,400—the third highest number of tickets sold behind Gone with the Wind and Star Wars—and about 283.3 million admissions worldwide.[90][91] The Sound of Music eventually earned a total domestic gross of $163,214,076, and a total worldwide gross of $286,214,076.[92] Adjusted for inflation, the film earned about $2.366 billion at 2014 prices—the fifth highest grossing film of all time.[90][93]
Historical accuracy[edit]
The Sound of Music film, like the stage musical, presents a history of the von Trapp family that is not completely accurate. The following are examples of the dramatic license taken by the filmmakers:

Portrait photo of Georg Ludwig von Trapp in his naval uniform

 Georg Ludwig von Trapp##Georg Ludwig von Trapp was indeed an anti-Nazi opposed to the Anschluss, and lived with his family in a villa in a district of Salzburg called Aigen. Their lifestyle depicted in the film, however, greatly exaggerated their standard of living. The actual family villa, located at Traunstraße 34, Aigen 5026, was large and comfortable but nowhere near as grand as the palace depicted in the film. The house was also not their ancestral home, as depicted in the film. The family had previously lived in homes in Zell Am See and Klosterneuburg after being forced to abandon their actual ancestral home in Pola following World War I. Georg moved the family to the Salzburg villa shortly after the death of his first wife in 1922.[94]
##The von Trapp family lost most of its wealth during the worldwide depression of the early 1930s, when the Austrian national bank folded.[94] In order to survive, the family dismissed the servants and began taking in boarders. They also started singing onstage to earn money—a fact that caused the proud Georg much embarrassment.[95]
##Maria Augusta Kutschera had indeed been a novice at Nonnberg Abbey in Salzburg and had been hired by the von Trapp family. However, she was hired only to be a tutor to young Maria Franziska ("Louisa" in the movie), who had come down with scarlet fever and needed her lessons at home, not to be a governess for all of the children.[94]
##Maria and Georg married for practical reasons, rather than love and affection for each other. Georg needed a mother for his children, and Maria needed the security of a husband and family once she decided to leave the abbey. "I really and truly was not in love," Maria wrote in her memoir, "I liked him but didn't love him. However, I loved the children, so in a way I really married the children." They were married in 1927, not in 1938 as depicted in the film, and the couple had been married for over a decade by the time of the Anschluss and had two of their three children together by that time. Maria later acknowledged that she grew to love Georg over time and enjoyed a happy marriage.[94]
##Georg is referred to as "Baron" in the film, but his actual family title was "Ritter" (German for "knight"), a hereditary knighthood. Austrian nobility, moreover, was legally abolished in 1919 and the nobiliary particle von was proscribed after World War I, so he was legally "Georg Trapp". Both the title and the von particle, however, continued to be widely used unofficially as a matter of courtesy.[94]
##In the film, Georg is depicted as a humorless, emotionally distant father. In reality, third child Maria von Trapp (called "Louisa" in the film) described her father as a doting parent who made handmade gifts for the children in his woodshop and who would often lead family musicales on his violin. She has a different recollection of her stepmother, who she described as moody and prone to outbursts of rage. In a 2003 interview, Maria remembered, "[She] had a terrible temper ... And from one moment to the next, you didn't know what hit her. We were not used to this. But we took it like a thunderstorm that would pass, because the next minute she could be very nice."[96]
##Georg was offered a position in the Kriegsmarine, but this occurred before the Anschluss. He was heavily recruited by the Nazis because he had extensive experience with submarines, and Germany was looking to expand its fleet of U-boats. With his family in desperate financial straits, and having no other marketable skills other than his training as a naval officer, he seriously considered the offer before deciding he could not serve a Nazi regime. Rather than threaten arrest, the Nazis actually continued to woo him.[94]
##The character Max Detweiler, the scheming family music director, is fictional. The von Trapps family priest, the Reverend Franz Wasner, was their musical director for over twenty years and accompanied them when they left Austria.[94]
##In the film, the von Trapp family hike over the Alps from Austria to Switzerland to escape the Nazis, which would not have been possible; Salzburg is over two hundred miles from Switzerland. The von Trapp villa, however, was only a few kilometers from the Austria–Germany border, and the final scene shows the family hiking on the Obersalzberg near the German town of Berchtesgaden, within sight of Adolf Hitler's Kehlsteinhaus Eagle's Nest retreat. In reality, the family simply walked to the local train station and boarded a train to Italy. Although Georg was an ethnic German-Austrian, he was also an Italian citizen, having been born in the Dalmatian city of Zadar, which at that time was part of the Austro-Hungarian Empire, and later fell into Italian territory after World War I. From Italy, they traveled to London and ultimately the United States.[94]
##The character of Friedrich (the second oldest child in the film version) was based on Rupert, the oldest of the real von Trapp children. Liesl (the oldest child in the film) was based on Agathe von Trapp, the second oldest in the real family. The names and ages of the children were changed, in part because the third child (who would be portrayed as "Louisa") was also named Maria, and producers thought that it would be confusing to have two characters called Maria in the film.[94]
The von Trapp family had no control over how they were depicted in the film and stage musical, having given up the rights to their story to a German producer in the 1950s who then sold the rights to American producers.[94] Robert Wise met with Maria von Trapp and made it clear, according to a memo to Richard Zanuck, that he was not making a "documentary or realistic movie" about her family, and that he would make the film with "complete dramatic freedom" in order to produce a "fine and moving film"—one they could all be proud of.[97]
Soundtrack[edit]
Main article: The Sound of Music (soundtrack)
The soundtrack to The Sound of Music was written by Richard Rodgers and Oscar Hammerstein II, and arranged and conducted by Irwin Kostal, who also adapted the instrumental underscore passages. The soundtrack album was released on the RCA Victor label in 1965, and reached the number one position on the Billboard 200 that year in the United States.[98][99] The album has been reissued several times, including a 30th Anniversary Edition in 1995, a 35th Anniversary Edition in 2000, a 40th Anniversary Edition in 2005, and a 45th Anniversary Edition, which reached the number one position on the Billboard 200 in 2010 and again in 2013.[98][99] A 50th Anniversary Edition was released in 2015, which reached the number five position on the Top Soundtracks chart.[98][99] The Sound of Music soundtrack album was the biggest-selling album in the United Kingdom in 1965, 1966, and 1968 and the second biggest-selling of the entire decade. The Sound of Music also stayed 73 weeks on the Norwegian charts, becoming the seventh best-charting album of all time in that country.[100]
All songs written and composed by Richard Rodgers and Oscar Hammerstein II, except where noted.

No.
Title
Writer(s)
Sung by
Length

1. "Prelude and The Sound of Music" (0:01:15[Note 8])   Maria 2:44
2. "Overture and Preludium (Dixit Dominus)" (0:04:55) Traditional Nuns 3:14
3. "Morning Hymn and Alleluia" (0:08:07) Traditional Nuns 2:02
4. "Maria" (0:11:00)   Nuns 3:16
5. "I Have Confidence" (0:18:51) Richard Rodgers Maria 3:26
6. "Sixteen Going on Seventeen" (0:38:58)   Rolfe and Liesl 3:17
7. "My Favorite Things" (0:49:40)   Maria 2:16
8. "Salzburg Montage" (Instrumental underscore, 0:54:25)      
9. "Do-Re-Mi" (0:57:15)   Maria and children 5:32
10. "The Sound of Music" (Reprise, 1:14:37)     2:10
11. "The Lonely Goatherd" (1:18:48)   Maria and children 3:09
12. "Edelweiss" (1:24:55)   Captain 1:49
13. "The Grand Waltz" (Instrumental underscore based on "My Favorite Things", 1:28:01)      
14. "Ländler" (Instrumental, 1:30:11)     2:26
15. "So Long, Farewell" (1:33:28)   Children 2:53
16. "Processional Waltz" (Instrumental underscore, 1:36:27)      
17. "Goodbye Maria Waltz" (Instrumental underscore, incorporating "Edelweiss" and "How Can Love Survive?", 1:40:03)      
18. "Entr'acte" (Instrumental, "I Have Confidence", "So Long, Farewell", "Do-Re-Mi", "Something Good", and "The Sound of Music", 1:42:43)     2:06
19. "The Sound of Music" (Reprise, 1:46:49)   Children  
20. "Climb Ev'ry Mountain" (1:55:23)   Mother Abbess 2:13
21. "My Favorite Things" (Reprise, 2:00:10)   Maria and children 1:15
22. "Something Good" (2:11:44) Richard Rodgers Maria and the Captain 3:17
23. "Processional and Maria" (Instrumental, 2:15:54)     2:26
24. "Sixteen Going on Seventeen" (Reprise, 2:26:18)   Maria and Liesl 3:04
25. "Do-Re-Mi" (Reprise, 2:34:37)   Family 1:19
26. "Edelweiss" (Reprise, 2:36:22)   Captain, family, and audience 1:49
27. "So Long, Farewell" (Reprise, 2:39:36)   Family 1:57
28. "Climb Ev'ry Mountain" (Reprise, 2:52:34)     1:20
29. "Finale" (Instrumental, based on "The Sound of Music", 2:53:52)     0:38
Accolades[edit]
Awards and nominations[edit]

Award
Category
Nominee
Result

Academy Awards[102] Best Picture Robert Wise Won
Best Actress in a Leading Role Julie Andrews Nominated
Best Actress in a Supporting Role Peggy Wood
Best Director Robert Wise Won
Best Cinematography – Color Ted D. McCord Nominated
Best Art Direction – Set Decoration – Color Boris Leven (art direction);
Walter M. Scott and
Ruby R. Levitt (set decoration)
Best Costume Design – Color Dorothy Jeakins
Best Sound Mixing James Corcoran and Fred Hynes;
 20th Century Fox Sound Department Won
Best Film Editing William H. Reynolds
Best Music, Scoring of Music – Adaptation or Treatment Irwin Kostal
American Cinema Editors Awards 1966 Best Edited Feature Film William H. Reynolds
BAFTA Awards Best British Actress Julie Andrews Nominated
David di Donatello Awards Best Foreign Actress
Directors Guild of America[102] Outstanding Directorial Achievement in Motion Pictures Robert Wise Won
Golden Globe Awards[102] Best Motion Picture – Musical or Comedy The Sound of Music
Best Motion Picture Actress – Musical or Comedy Julie Andrews
Best Supporting Actress – Motion Picture Peggy Wood Nominated
Best Director – Motion Picture Robert Wise
Laurel Awards General Entertainment The Sound of Music Won
Musical Performance, Female Julie Andrews
National Board of Review[102] Top Ten Films of 1965 The Sound of Music
New York Film Critics Circle Best Actress Julie Andrews 2nd place
Writers Guild of America Best Written American Musical Ernest Lehman Won

AFI recognition[edit]
The Sound of Music has been included in numerous top film lists from the American Film Institute.
##AFI's 100 Years...100 Movies – No. 55[103]
##AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 40[104]
##AFI's 100 Years...100 Cheers – No. 41[105]
##AFI's 100 Years...100 Heroes & Villains: Maria Von Trapp (hero) – Nominated[106]
##AFI's 100 Years of Musicals – No. 4[107]
##AFI's 100 Years...100 Passions – No. 27[108]
##AFI's 100 Years...100 Songs: "The Sound of Music" – No. 10[109]
##AFI's 100 Years...100 Songs: "My Favorite Things" – No. 64[109]
##AFI's 100 Years...100 Songs: "Do-Re-Mi" – No. 88[109]
Legacy[edit]
##In 1966, American Express created the first Sound of Music guided tour in Salzburg.[110] Since 1972, Panorama Tours has been the leading Sound of Music bus tour company in the city, taking approximately 50,000 tourists a year to various film locations in Salzburg and the surrounding region.[110]
##Sing-a-long Sound of Music revival screenings began in London in 1999, leading to a successful run at the Prince Charles Cinema.[111] During the screenings, audience members were encouraged to sing along to lyrics superimposed on the screen.[111] In July 2000, Sing-a-long Sound of Music shows opened in Boston and Austin, Texas.[111] Some audience members dressed up as cast members and interracted with the action shown on the screen.[111] The film began a successful run at the Ziegfeld Theatre in New York City in September 2000, with the opening attended by cast members Charmian Carr (Liesl), Daniel Truhitte (Rolf), and Kym Karath (Gretl).[112] Sing-a-long Sound of Music screenings have since become an international phenomenon.[113]
##In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".[79]
##As of March 2015, The Sound of Music holds an 85% critical approval rating on the Rotten Tomatoes website.[114]
Television and home media[edit]
The first American television transmission of The Sound of Music was on February 29, 1976 on ABC, which paid $15 million for a one-time only broadcast that became one of the top-rated films ever shown on television to that point.[115] The movie was not shown again until NBC acquired the broadcast rights and telecast the film on February 11, 1979.[116] NBC continued to air the film annually for twenty years.[115] During most of its run on NBC, the film was heavily edited to fit a three-hour time slot—approximately 140 minutes without commercials. The thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolf's dialogue preceding "Sixteen Going on Seventeen", Liesl's verse of "Edelweiss" sung with the Captain, the Captain and Baroness waltzing at the party, and minor dialogue cuts within existing scenes.
In 1995, the film aired in its uncut form (minus the entr'acte) on April 9, 1995 on NBC. Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its television ratings, NBC let their contract lapse in 2001. That year, the film was broadcast one time on the Fox network, in its heavily edited 140-minute version. Since 2002, the film has aired on ABC, generally during Christmas week, and has been broadcast on its sister cable network, ABC Family, periodically around Easter and other holidays. Most of its more recent runs have been the full version in a four-hour time slot, complete with the entr'acte. ABC first broadcast an HD resolution version on December 28, 2008. ABC's December 22, 2013 airing of the film attracted 6.5 million viewers—its highest ratings since 2007. The increased viewership was credited to NBC's broadcast of a live adaptation of the musical based on the Broadway version earlier that month.[117]
The film has been released on VHS, LaserDisc, and DVD numerous times. The first DVD version was released on August 29, 2000 to commemorate the 35th anniversary of the film's release.[118] The film is often included in box sets with other Rodgers & Hammerstein film adaptations.[118] A 40th anniversary DVD, with "making of" documentaries and special features, was released on November 15, 2005.[118] The film made its debut issue on Blu-ray Disc on November 2, 2010, for its 45th anniversary.[118][119][120] For the Blu-ray release, the original 70 mm negatives were rescanned at 8K resolution, then restored and remastered at 4K resolution for the transfer to Blu-ray, giving the most detailed copy of the film seen thus far. On March 10, 2015, Fox Home Entertainment released The Sound of Music 50th Anniversary Ultimate Collector's Edition—a five-disc set featuring thirteen hours of bonus features, including a new documentary, The Sound of a City: Julie Andrews Returns to Salzburg.[118][121] A March 2015 episode of ABC's 20/20 entitled The Untold Story of the Sound of Music featured a preview of the documentary and interviews by Diane Sawyer.[122]
References[edit]
Notes[edit]
1.Jump up ^ Twentieth Century Fox also purchased the rights to the two German films for distribution in the United States. Fox combined the two films, Die Trapp-Familie and Die Trapp-Familie in Amerika, dubbed them in English, and released them as a single 106-minute film titled The Trapp Family, which was released on April 19, 1961.[8]
2.Jump up ^ Maria's morning run back to Nonnberg Abbey would have been about 11 miles (18 km).
3.Jump up ^ At the conclusion of filming at Schloss Leopoldskron, 20th Century Fox left behind the original gazebo as a gift to the city. The film's later popularity, however, led many fans to trespass onto the private and secluded lakefront property. To provide fans easier access to the famous structure, the city moved it to its present location at Hellbrunn Palace Park.[60]
4.Jump up ^ Terpning also created the poster artwork for Lawrence of Arabia, Doctor Zhivago, The Sand Pebbles, The Guns of Navarone, and the 1967 theatrical re-release of Gone with the Wind.[64] He is also known for his numerous magazine covers and his paintings of the American West and the Plains Indians.[64]
5.Jump up ^ In her review for McCall's magazine, Pauline Kael called the film "the sugar-coated lie people seem to want to eat", and that audiences have "turned into emotional and aesthetic imbeciles when we hear ourselves humming the sickly, goody-goody songs".[71] This review generated significant negative response from readers and contributed to Kael's dismissal from the magazine.[71][72]
6.Jump up ^ In Salt Lake City, Utah (population 199,300), for example, 309,000 tickets were sold in forty weeks.[75] In Albany, New York (population 156,000), 176,536 tickets were sold in twenty-seven weeks.[75] In Orlando, Florida (population 88,135), 105,181 tickets were sold in thirty-five weeks.[75]
7.Jump up ^ The Sound of Music remained the highest-grossing film of all time for five years until 1971, when Gone with the Wind recaptured the crown following its successful 1967 widescreen rerelease.
8.Jump up ^ The start times are based on the 45th Anniversary DVD version of the film. The track lengths refer to the 2005 reissue of the original soundtrack album on CD.[101]
Citations[edit]
1.^ Jump up to: a b c d "The Sound of Music (1965): Original Print Information". Turner Classic Movies. Retrieved January 26, 2015.
2.^ Jump up to: a b "The Sound of Music". The Numbers. Retrieved April 26, 2011.
3.Jump up ^ Solomon 1989, p. 254.
4.^ Jump up to: a b c d e f g Hirsch 1993, p. 4.
5.^ Jump up to: a b c Hirsch 1993, p. 6.
6.^ Jump up to: a b Santopietro 2015, p. 27.
7.Jump up ^ Hirsch 1993, pp. 7–8.
8.^ Jump up to: a b Hirsch 1993, p. 8.
9.Jump up ^ Hirsch 1993, p. 11.
10.^ Jump up to: a b c Hirsch 1993, pp. 23–25.
11.Jump up ^ Hirsch 1993, p. 28.
12.Jump up ^ Hirsch 1993, p. 13.
13.Jump up ^ Baer 2008, p. 113.
14.Jump up ^ Hirsch 1993, pp. 13–14.
15.Jump up ^ Hirsch 1993, p. 15.
16.Jump up ^ Hirsch 1993, p. 31.
17.^ Jump up to: a b c d Hirsch 1993, p. 16.
18.Jump up ^ Hirsch 1993, p. 17.
19.^ Jump up to: a b c Hirsch 1993, p. 34.
20.Jump up ^ Hirsch 1993, p. 75, 78.
21.Jump up ^ Hirsch 1993, pp. 34–37.
22.Jump up ^ Hirsch 1993, p. 38.
23.Jump up ^ Hirsch 1993, pp. 38–42.
24.Jump up ^ Hirsch 1993, p. 42.
25.^ Jump up to: a b Hirsch 1993, p. 49.
26.Jump up ^ Hirsch 1993, p. 50.
27.Jump up ^ Hirsch 1993, p. 51.
28.Jump up ^ Hirsch 1993, pp. 51–53.
29.^ Jump up to: a b Hirsch 1993, pp. 53–54.
30.Jump up ^ Hirsch 1993, pp. 54–55.
31.Jump up ^ Hirsch 1993, p. 61.
32.Jump up ^ Hirsch 1993, pp. 61–63.
33.^ Jump up to: a b c Hirsch 1993, pp. 66–67.
34.Jump up ^ Hirsch 1993, p. 92.
35.Jump up ^ Hirsch 1993, pp. 92–93.
36.^ Jump up to: a b c Hirsch 1993, p. 93.
37.Jump up ^ Hirsch 1993, p. 95.
38.Jump up ^ Hirsch 1993, pp. 100–101.
39.Jump up ^ Hirsch 1993, p. 103.
40.Jump up ^ Hirsch 1993, pp. 101–104.
41.Jump up ^ Hirsch 1993, pp. 105–106.
42.^ Jump up to: a b Hirsch 1993, pp. 106–108.
43.Jump up ^ Maslon 2015, p. 118.
44.Jump up ^ Hirsch 1993, p. 123.
45.^ Jump up to: a b c Hirsch 1993, pp. 109–110.
46.Jump up ^ Hirsch 1993, p. 111.
47.Jump up ^ Hirsch 1993, p. 86.
48.^ Jump up to: a b Hirsch 1993, pp. 111–113.
49.Jump up ^ Hirsch 1993, pp. 105–113.
50.Jump up ^ Hirsch 1993, p. 159.
51.^ Jump up to: a b Hirsch 1993, p. 160.
52.^ Jump up to: a b Hirsch 1993, p. 162.
53.Jump up ^ Santopietro 2015, p. 160.
54.^ Jump up to: a b Hirsch 1993, pp. 162–163.
55.^ Jump up to: a b c "The Sound of Music Physical Properties". American Film Institute. Retrieved January 24, 2015.
56.^ Jump up to: a b c Hirsch 1993, p. 70.
57.Jump up ^ Hirsch 1993, pp. 75, 77.
58.Jump up ^ Hirsch 1993, p. 76.
59.Jump up ^ Hirsch 1993, pp. 79–82.
60.^ Jump up to: a b Santopietro 2015, p. 255.
61.Jump up ^ Hirsch 1993, pp. 155–157.
62.^ Jump up to: a b c Hirsch 1993, p. 188.
63.^ Jump up to: a b c Hirsch 1993, p. 189.
64.^ Jump up to: a b c Boehm, Mike (May 17, 2012). "Howard Terpning's paintings keep Old West alive". Los Angeles Times. Retrieved March 15, 2015.
65.^ Jump up to: a b c d e f Hirsch 1993, p. 175.
66.Jump up ^ Rodgers 1975, p. 300.
67.^ Jump up to: a b Hirsch 1993, p. 174.
68.Jump up ^ "The Sound of Music". American Film Institute. Retrieved August 4, 2014.
69.Jump up ^ Fallon, Kevin (March 2, 2015). "Everyone Hated ‘The Sound of Music’". The Daily Beast. Retrieved March 11, 2015.
70.Jump up ^ Crowther, Bosley (March 3, 1965). "The Sound of Music Opens at Rivoli". The New York Times. Retrieved February 27, 2015.
71.^ Jump up to: a b Tucker, Ken. "A Gift for Effrontery". Salon. Retrieved January 18, 2015.
72.Jump up ^ Purdum, Todd (June 1, 2005). "The Sound of Music:40 years of unstoppable success". International Herald Tribune. Retrieved January 18, 2015.
73.Jump up ^ Hischak 2008, p. 697.
74.^ Jump up to: a b c d Hirsch 1993, p. 176.
75.^ Jump up to: a b c d e f Hirsch 1993, p. 179.
76.^ Jump up to: a b c Hirsch 1993, p. 181.
77.Jump up ^ Hirsch 1993, pp. 181–183.
78.Jump up ^ Dassanowsky, Robert Von (2003). "An Unclaimed Country: The Austrian Image in American Film and the Sociopolitics of The Sound of Music". Bright Lights Film Journal 41. Retrieved January 18, 2015.
79.^ Jump up to: a b Santopietro 2015, p. 253.
80.Jump up ^ "Movie Index". The Numbers. Retrieved March 22, 2015.
81.Jump up ^ Thomas, Bob (January 8, 1966). "Variety Celebrates 60 Years". Saskatoon Star-Phoenix. Retrieved March 22, 2015.
82.^ Jump up to: a b c Barthel, Joan (November 20, 1966). "The Sound of Music: Biggest Money-Naking Movie of All Time". The New York Times. Retrieved March 22, 2015.
83.Jump up ^ Berkowitz 2010, p. 160.
84.Jump up ^ Thomas, Bob (November 24, 1969). "'Sound of Music' Sound Finance". Pittsburgh Post-Gazette. p. 22. Retrieved January 27, 2015.
85.Jump up ^ "The Sound of Music 1965". American Film Institute. Retrieved March 22, 2015.
86.Jump up ^ "Big Rental Films of 1973". Variety. January 9, 1974. p. 19.
87.^ Jump up to: a b Block and Wilson 2010, p. 474.
88.Jump up ^ "'Exorcist' No. 3". Deseret News. September 22, 1976. p. A19. Retrieved March 22, 2015.
89.Jump up ^ Anderson, George (January 21, 1980). "Buffs Give Damn About 'Wind' Change". Pittsburgh Post-Gazette. p. 23. Retrieved March 22, 2015.
90.^ Jump up to: a b Glenday 2015, p. 164.
91.Jump up ^ "The Sound of Music: Domestic Grosses". Box Office Mojo. Retrieved March 22, 2015.
92.Jump up ^ "The Sound of Music". BoxOffice Media. Retrieved March 22, 2015.
93.Jump up ^ "All Time Box Office Adjusted For Ticket Price Inflation". Box Office Mojo. Retrieved January 27, 2015.
94.^ Jump up to: a b c d e f g h i j Gearin, Joan (Winter 2005). "Movie vs. Reality: The Real Story of the von Trapp Family". National Archives 37 (4). Retrieved February 17, 2013.
95.Jump up ^ Hirsch 1993, pp. 201–202.
96.Jump up ^ "The Story of My Family". Trapp Family Lodge. Retrieved January 18, 2015.
97.Jump up ^ Hirsch 1993, p. 40.
98.^ Jump up to: a b c "The Sound of Music (Original Motion Picture Soundtrack): Awards". AllMusic. Retrieved February 21, 2015.
99.^ Jump up to: a b c "The Sound of Music (Original Motion Picture Soundtrack): Releases". AllMusic. Retrieved February 21, 2015.
100.Jump up ^ "Best of All Time: Albums". VG-lista. Hung Medien. Retrieved June 22, 2012.
101.Jump up ^ "The Sound Of Music (An Original Soundtrack Recording)". Discogs. 2005. Retrieved January 24, 2015.
102.^ Jump up to: a b c d "The Sound of Music (1965): Awards". The New York Times. Retrieved January 24, 2015.
103.Jump up ^ "AFI's 100 Years ... 100 Movies". American Film Institute. Retrieved February 20, 2013.
104.Jump up ^ "AFI's 100 Years ... 100 Movies, 10th Anniversary Edition". American Film Institute. Retrieved January 18, 2015.
105.Jump up ^ "AFI's 100 Years ... 100 Cheers". American Film Institute. Retrieved January 18, 2015.
106.Jump up ^ "AFI's 100 Years, 100 Heroes and Villains" (PDF). American Film Institute. Retrieved January 18, 2015.
107.Jump up ^ "AFI's 100 Years ... 100 Musicals". American Film Institute. Retrieved January 18, 2015.
108.Jump up ^ "AFI's 100 Years ... 100 Passions". American Film Institute. Retrieved January 18, 2015.
109.^ Jump up to: a b c "AFI's 100 Years ... 100 Songs". American Film Institute. Retrieved January 18, 2015.
110.^ Jump up to: a b Maslon 2015, p. 172.
111.^ Jump up to: a b c d Vinciguerra, Thomas (August 20, 2000). "Do You Really Call That Sound Music?". The New York Times. Retrieved January 27, 2015.
112.Jump up ^ Asch, Amy; Ehren, Christina (September 7, 2000). "Crowds Turn Out for Opening of 'Sing-a-Long Sound of Music' in NYC". Playbill. Retrieved January 27, 2015.
113.Jump up ^ Maslon 2015, pp. 157–158.
114.Jump up ^ "The Sound of Music". Rotten Tomatoes. Retrieved January 18, 2015.
115.^ Jump up to: a b Hirsch 1993, p. 209.
116.Jump up ^ "Chaos in Television". Time. March 12, 1979. Retrieved April 2, 2008.
117.Jump up ^ "'The Sound of Music' Continues to Echo Across the Ratings Landscape". Deadline Hollywood. Retrieved December 24, 2013.
118.^ Jump up to: a b c d e "The Sound of Music: Releases". AllMovie. Retrieved March 26, 2015.
119.Jump up ^ Calogne, Juan (August 31, 2010). "The Sound of Music Blu-ray announced". Blu-ray.com. Retrieved November 16, 2010.
120.Jump up ^ Smotroff, Mark. "HomeTechTell Review: The Sound of Music 45th Anniversary Blu-ray". Hometechtell. technologytell.com. Retrieved March 29, 2012.
121.Jump up ^ Head, Stephen Slaughter (January 20, 2015). "'The Sound of Music' 50th Anniversary ...". Post-Movie. Retrieved March 2, 2015.
122.Jump up ^ Sawyer, Diane (March 2015). "The Untold Story of The Sound of Music". ABC. Retrieved March 31, 2015.
Bibliography[edit]
##Baer, William (2008). Classic American Films: Conversations with the Screenwriters. Westport: Praeger Publishers. ISBN 978-0-313-34898-3.
##Bawden, Liz-Anne (1976). The Oxford Companion to Film. New York: Oxford University Press. ISBN 978-0-192-11541-6.
##Berkowitz, Edward D. (2010). Mass Appeal: The Formative Age of the Movies, Radio, and TV. Cambridge Essential Histories. New York: Cambridge University Press. ISBN 978-0-521-88908-7.
##Block, Alex Ben; Wilson, Autrey, eds. (2010). George Lucas's Blockbusting: A Decade-By-Decade Survey of Timeless Movies ... New York: HarperCollins. ISBN 978-0-061-77889-6.
##Glenday, Craig, ed. (2015). Guinness World Records 2015. New York: Bantam. ISBN 978-1-101-88380-8.
##Herman, Jan (1995). A Talent for Trouble. New York: G. P. Putnam's Sons. ISBN 978-0-399-14012-9.
##Hirsch, Julia Antopol (1993). The Sound of Music: The Making of America's Favorite Movie. Chicago: Contemporary Books. ISBN 978-0-809-23837-8.
##Hischak, Thomas (2008). The Oxford Companion to the American Musical. New York: Oxford University Press. ISBN 978-0-195-33533-0.
##Maslon, Laurence (2015). The Sound of Music Companion. New York: Universe. ISBN 978-0-789-32935-6.
##Rodgers, Richard (1975). Musical Stages: An Autobiography. New York: Random House. ISBN 978-0-394-47596-7.
##Santopietro, Tom (2015). The Sound of Music Story. New York: St. Martin's Press. ISBN 978-1-250-06446-2.
##Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press. ISBN 978-0-810-84244-1.
External links[edit]
 Wikiquote has quotations related to: The Sound of Music (film)
##The Sound of Music at the Internet Movie Database
##The Sound of Music at the TCM Movie Database
##The Sound of Music at AllMovie
##The Sound of Music at Box Office Mojo
##The Sound of Music at Rotten Tomatoes


[hide]
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 e
 
Maria von Trapp's The Story of the Trapp Family Singers


Films
The Trapp Family (1956) ·
 The Trapp Family in America (1958) ·
 The Sound of Music (1965)
 

Other Adaptations
The Sound of Music (1959 musical) ·
 Trapp Family Story (1991 anime) ·
 The Sound of Music Live! (2013)
 

Songs
"The Sound of Music" ·
 "Maria" ·
 "My Favorite Things" ·
 "Do-Re-Mi" ·
 "Sixteen Going on Seventeen" ·
 "The Lonely Goatherd" ·
 "Climb Ev'ry Mountain" ·
 "No Way to Stop It" ·
 "Edelweiss" ·
 "Something Good"
 

Albums
The Groovy Sound of Music (1964) ·
 The Sound of Music (1965 soundtrack) ·
 The Sound of Music: Music from the NBC Television Event (2013)
 

Legacy
The von Trapps (formerly The von Trapp Children), a musical group made up of 4 grandchildren of Werner von Trapp
 



[show] 
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Categories: 1965 films
English-language films
1960s biographical films
1960s drama films
1960s musical films
20th Century Fox films
American biographical films
American films
American musical drama films
American romantic musical films
Best Musical or Comedy Picture Golden Globe winners
Best Picture Academy Award winners
Films about Roman Catholicism
Films about music and musicians
Films based on biographies
Films based on musicals
Films directed by Robert Wise
Films featuring a Best Musical or Comedy Actress Golden Globe winning performance
Films featuring puppetry
Films set in Austria
Films set in country houses
Films set in the 1930s
Films shot in Austria
Films that won the Best Sound Mixing Academy Award
Films whose director won the Best Director Academy Award
Films whose editor won the Best Film Editing Academy Award
Films that won the Best Original Score Academy Award
Musical films based on actual events
Musicals by Rodgers and Hammerstein
Nuns in fiction
Salzburg
The Sound of Music
Trapp family
United States National Film Registry films
World War II films based on actual events







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 http://en.wikipedia.org/wiki/The_Sound_of_Music_(film)