re: Best Note on Broadway Ever

[Paul W. Thompson]

So, what's the best note ever sung in a Broadway musical? That is, a single note sung by the cast eight times a week. Opera people talk about this all the time, and musical theater people almost do, but not quite. And our casts make it happen night after night. So, let's bring it into the light!

Here, in chronological order, are a baker's dozen nominees, but let me know what you think! (And correct me if my facts, opinions or pitches are wrong.........I know you will!)

"Girl Crazy:" Ethel Merman's long B flat "Ah" during the repeat of the chorus of "I've Got Rhythm." Legendary, star-making.

"South Pacific:" Ezio Pinza's floaty high E at the end of "Some Enchanted Evening." Makes your hair stand straight up.

"Candide:" Barbara Cook's high E flat near the end of "Glitter and Be Gay." Eight times a week, people!

"The Sound of Music:" Mary Martin's low C at the end of "Do Re Mi." I mean, come on. She was a woman, right?

"Hello, Dolly!" The last note by Carol Channing and the waiters at the end of the title song. That's "Broadway!"

"Company:" Elaine Strith's screamed "I'll" at the end of the second to last chorus of "The Ladies Who Lunch." What the hell was she thinking! And who let her do it? Oh, yeah, Hal Prince.

"A Chorus Line:" Kay Cole's high E as Maggie at the climactic moment of "At the Ballet." Simply makes people cry.

"Annie:" Andrea McArdle's high C at the end of "Tomorrow." How not to sing a diphthong.

"Dreamgirls:" Jennifer Holiday's big, long G at the end of "And I Am Telling You I'm Not Going." But does it need the visual?

"The Mystery of Edwin Drood:" Betty Buckley's a capella high E near the end of "The Writing On the Wall." Oh, my God.

"The Phantom of the Opera:" Sarah Brightman's super-high E at the end of the title song. Or is it Memorex?

"Rent:" Gwen Stewart's ad libbed, swooped high D before the last chorus of "Seasons of Love." Steals the show from all of Puccini's characters.

"Wicked:" Idina Menzel's last high D flat at the end of "Defying Gravity." You go, grrl!

So, those are my picks. At this point, I can't rank them. And I'm sure there's some I forgot. Help me out, people! Let's get some opinions on this.

[notyourmomma]

Probably a B double flat, you know, just in general.

[sondheimgeek]

Florence Lacy singing 'I Belong Here' from 'The Grand Tour'. During the last time she sings the phrase "I belong here", she holds out the note incredibly. I'm tempted to say the note is an A, but I'm not positive.

[Paul W. Thompson]

LOL

[Schmerg_The_Impaler]

In Les Miserables, when Enjolras sings, "Let other RIIIISE to take our place, until the earth is free!" It's not even a particularly high note, but something about that note always makes an impact. Every time I hear that line, my breath catches in my throat on 'rise.'

[vfd88]

I've got two from Patti LuPone in Evita:

-The string of high notes that she sings in "A New Argentina". She repeats it I think three times, and then sings an even higher note on "is one of you". Amazing.

-In Rainbow High, there is a key change towards the end of the song ("I'm their savior"). Her "savior" is breathtaking.

[Patash]

As soon as I started reading, all I could think of was Ethel Merman in Girl Crazy. How funny that was your first one!

[Schmerg_The_Impaler]

Oh yeah, I was going to bring up the "is one of you" on "A New Argentina" as well. That song even pushed Patti LuPone's range. I can see why they had to tone down the range of the songs so much in the film version.

[Paul W. Thompson]

I'm loving the nominees. Keep 'em coming. I can't say I disagree with anything so far.

And yes, Merman's Gershwin "note" is not only well-remembered almost 80 years later (!), but was sung without microphones, and must have been the inspiration for the Rodgers and Hart song "Poor Johnny One Note."

But if we're talking about Patti in "Evita," don't forget that weird low note (maybe an E?) at the end of "What's New, Buenos Aires?" Nice contrast to all that high stuff!

[choked_on_tittup]

In the spelling bee Logainne sings a C at the end of her reprise and it is soooooo pretty! :)

[Paul W. Thompson]

You know, among his other accomplishments, Mandy Patinkin has sung two good duet notes. The first is at the climax of "Move On" from "Sunday......" with Bernadette, and the second is at the end of "Lily's Eyes" from "The Secret Garden" with Howard McGillin. Both are great lessons in moving from straight tone to vibrato.

[Schmerg_The_Impaler]

Paul-- you mean when she sings 'star qualityyyy?' Frankly, I always thought it sounded a little bit preternaturally creepy. But it definitely is a notable note. (When we listened to the soundtrack in chorus last year, the entire class was trying to imitate that note.)

[Paul W. Thompson]

That's the one, Schmerg. I think she finds the center of the pitch just before the cut-off.

But I know you didn't just say, "soundtrack!" lol

[sondheimgeek]

Ah, you just said "soundtrack"! My heart just stopped!

[thevolleyballer]

I suppose the critical note in "On My Own" from LES MIS is pretty well-known, though far from the best. But it's definitely something people expect going into the show.

I agree with "Girl Crazy," and that was immediately what came to mind for me as well!

[The White Half-Mask]

I've always loved when The Phantom sings "Let your soul take you where you long to BEEE!!!" in "The Music of the Night". I believe it's an A-Flat note, but someone correct me if I'm wrong, as I know next to nothing about music. I love hearing how different actors sing it & put their own spin on it. It's my favourite part of my favourite song of my favourite show.

[Schmerg_The_Impaler]

No, I meant the soundrack! From the rather slipshod film adaptation with Madonna (which I still enjoyed a lot anyway). We watched the film in chorus because our drama teacher was thinking about doing it for our spring show.

If we listened to the real cast recording with Patti, I'd say recording. But y'all have keen eyes.

And White Half Mask-- yes! How that one slipped my mind, I have no idea.

[bwaylvsong]

Ragtime: The last "back" in "Back to Before"
Company: The last "being" in "Being Alive"
Phantom: The floated "love" in the phrase "no thoughts within her head but thoughts of love" at the beginning of the Don Juan sequence.
Also, the first "hell" in "Down Once More"
Aida: The last note in "Dance of the Robe"
BatB: The last "and I" in "A Change in Me"
DRS: The last note in "Here I Am"
Piazza: The first note in the phrase "Someone could be looking for a someone" at the end of "The Beauty Is"
ALNM: The high notes in "Later"
MolMancha: The last "same" in "It's All the Same"
MFL: The last note in "Show Me"
Showboat: The low Gs in "Old Man River"

[Paul W. Thompson]

Good point about different casts. Dare I suggest that a replacement cast member sang something better than the more familiar original? AH!

Anyone for George Hearn at the end of Sweeney's "Epiphany?"

"And I'm full of JOYYYYYYYYYYYYY"

[Someday]

Paul, I think that was Robert Westenberg singing "Lily's Eyes" with Mandy in The Secret Garden – at least in the original cast and on the recording. Totally agree about the quality of the performance.

[Paul W. Thompson]

Oh, dear. I stand corrected. I never could tell those two guys apart. Great looking, great voices, can't dance..... lol

I also agree that Marin Mazzie hit the nail on the head with that "back." That sends shivers, doesn't it?

Ah, Joan Diener. God bless her. If you never live another day, get the French cast album of "La Mancha" and listen to Jacques Brel's "The Quest" and Joan Diener singing her numbers in French. It's quite something.

[BNN]

- The final note of Losing My Mind (An E flat I believe) from Follies
- The final two notes of Mein Herr from Cabaret
- The final "dance" before the whole dance sequence starts in Music and the Mirror from A Chorus Line

[Actor2]

In Les Miserables, when Enjolras sings, "Let other RIIIISE to take our place, until the earth is free!" It's not even a particularly high note, but something about that note always makes an impact. Every time I hear that line, my breath catches in my throat on 'rise.'

- I agree, but that note is rather high. I believe its an Ab.

[The Distinctive Baritone]

Interesting to hear people's thoughts. It really is a matter of personal taste, but some of my favorites:

The high F sung by George Hearn at the end of "Epiphany" (of course!)
The high F sharp sung by George Hearn in "The Greatest Star of All" (I like George Hearn, can you tell?)
The high A sung by Patrick Wilson at the end of "Man"
"EV'rywhere" sung by Kelli O'Hara in "The Light in the Piazza"
"LiAHHHke you" sung by Norbert Leo Butz at the end of "Shiksa Goddess" (Off-Broadway, but whatever. And maybe more like a riff than a single note)
"AWAAAAY!" sung by Hunter Foster in "Run Freedom Run"
Victor Garber's "Let them CRY..." F sharp in "The Ballad of Booth" (again, Off-Broadway)
Audra McDonald's high note in "I buried my heart in the ground" in "Your Daddy's Son"

And whenever a good tenor sings either the high G or the optional B flat in "Maria", or a the high G in "Anthem." I'm a bass-baritone with slight tenor envy.

[The Distinctive Baritone]

Actor2--sorry to be annoying, but it's actually a G.

[Schmerg_The_Impaler]

Well, yeah the Enjolras note is high, but I meant it's not one of the freakishly high notes like "2460-WAAAAAAAAAN!" (another good one), or the earsplitting notes that Tituss Burgess hits in "Under the Sea" on 'hot Crustacean band,' the last phrase, and other places in there.

Now, is 'riiiise' higher or lower than when he sings "They will come when we CAAAAAALL?" Because I'm not a very good judge of these things (obviously), and I've noticed a lot of Enjolri crack on that note.