In a recent interview, we explored the latest recording of “Carousel” by John Wilson and the Sinfonia of London, following their highly praised rendition of “Oklahoma!” last year. This new album features an exceptional cast and encompasses the complete score, providing listeners with a generous dose of music that surpasses the original cast recording.
The journey of “Carousel” began when Hungarian playwright Ferenc Molnár, initially hesitant, turned down adaptations from prominent composers like Puccini and Weill before finally granting Rodgers and Hammerstein the rights to his play “Liliom.” This pivotal collaboration gave birth to “Carousel,” which is celebrated for its operatic essence.
The cast truly shines, with Nathaniel Hackmann taking on the role of the fiery Billy and Mikaela Bennett delivering a stunning performance as Julie. Francesca Chiejina adds her powerful operatic voice in the role of Nettie Fowler, creating a well-rounded ensemble. However, it is John Wilson’s elegant conducting and the orchestra’s rich, harmonious sound that truly elevate this recording.
While the numerous brief musical cues can result in a somewhat fragmented listening experience, the absence of staging allows the poignant themes of domestic violence in “Carousel” to feel somewhat disjointed. Some might even argue for the removal of certain lines—such as the emotionally charged exchange between Julie and her daughter about the complexities of physical harm—so as to preserve the music’s integrity. Still, as a comprehensive record of the “Carousel” score and a treasure trove of its most significant moments, this interpretation stands out as exceptionally fulfilling.
