Rose-Marie is the cast recording of the operetta-style musical of the same name, starring Julie Andrews and Giorgio Tozzi. Produced by RCA Victor in 1958, this recording captures the melodies and romantic storyline of the 1924 Broadway musical, which is notable for being the first Broadway musical set in Canada and the first to play at London's Drury Lane Theatre.[2][3] The story, set in the Canadian Rockies, follows Rose-Marie, a young woman who falls in love with a Mountie, and features iconic songs such as "Indian Love Call", Rose Marie and "Totem Tom-Tom".[2][4] The recording was made in London, with Lehman Engel directing the Michael Sammes Singers and the New Symphony Orchestra, and it benefits from the advancements in stereophonic sound technology of the time.[3][5] The stereo LP was the most complete recording of the musical to date.[6]
Julie Andrews takes on the role of Rose-Marie, bringing her signature to the performance. While she does not adopt the pidgin English originally used by the character, her vocal delivery is praised for its "charm" and "precision".[4] Giorgio Tozzi, an accomplished opera singer, provides a counterpoint to Andrews' lighter, more lyrical voice. Their duets, particularly "Indian Love Call", are highlights of the recording, showcasing the chemistry between the two performers.[7][5] The recording has been well-received for its high production values and strong vocal performances. It appeals to both older listeners who may have fond memories of the original performances and younger generations discovering the musical for the first time.[3][2]
In 1966, when the artist was at the peak of her career after her film productions Mary Poppins and The Sound of Music, RCA of Australia declared "May Is Julie Andrews Month" and launched a promotional campaign featuring four albums by the beloved star: The Lass with the Delicate Air, Rose Marie, The Boy Friend, and Julie Andrews Sings.[8]
The cast recording of Rose-Marie received generally positive reviews from critics, who praised the performances of Julie Andrews and Giorgio Tozzi, as well as the quality of the production. However, there were some differences in how critics viewed the recording. In comparison, while most critics agreed on the high quality of the vocal performances and production, some, like The Montreal Gazette, pointed out that Tozzi's voice overshadowed Andrews'.[9] Others, such as The Sun and The Sunday Sun, focused more on the nostalgic and historical appeal of the recording.[3][7]
Walter Christopherson from The Montreal Gazette while noted the surprising choice to record the old musical in stereo, it acknowledged the overall quality of the production, even if Giorgio Tozzi's vocal performance was seen as overshadowing Julie Andrews'.[9] Similarly, The Sun and The Sunday Sun praised the stereo recording, emphasizing the historical significance of the musical and its nostalgic charm, particularly highlighting the chemistry between Andrews and Tozzi in their duet "Indian Love Call".[3][7] Meanwhile, Art Walls from the Saskatoon Star-Phoenix journal reflected on the timeless nature of the musical's melodies and the strong performances of the leads, while also recalling its record-breaking run at London's Drury Lane.[2]
On the other hand, Claude Hammerston from Ottawa Citizen focused on the universal appeal of the music and the brilliance of the orchestral arrangements, praising the vocal performances and overall production quality.[5] The French journal L'Action Catholique echoed this sentiment, commending the recording for its completeness and lively touch, and highly recommending the album.[10]Cash Box briefly mentioned the collaboration between Andrews and Tozzi, as well as Lehman Engel's involvement, without delving deeply into the recording's details, but conclude: "A fine, faithful revival of the melodic work. Staple for the show-music shelf".[11] Finally, William Ruhlmann from AllMusic website while reviewing the 2009 edition, Selections from Rose Marie, provided a more nuanced critique, noting the lack of character realism in Andrews' portrayal but praising the vocal performances and the inclusion of historical recordings, offering a comprehensive look at the album's place in the history of Rose-Marie recordings. He rated the album three and a half out of five stars.
CD releases
In 2009, the Sepia Records released the 1958 studio cast recording along with additional historical material such as tracks from the original 1925 London cast and performances by Jeanette MacDonald and Nelson Eddy from the 1936 film.[12] This unauthorized edition was possible because the original recording had entered the public domain in Europe, reflecting the different copyright laws for older works. According to AllMusic's music critic William Ruhlmann, while not an authorized release, the Sepia version offers a unique comparative perspective on the musical's enduring legacy, showcasing how different artists have interpreted its score over the decades.[4] The CD was rated three out of five stars by Stage on Disc website.[12] Another CD by Flare Record (also unauthorized thanks to European public domain) was released the same year. It was titled Rose-Marie • Show Boat, and includes all the songs from both cast recording original albums. It received no stars (out of five) from Cast Albums Reviews website.[13]
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