More than a year into Bon Soir, Streisand is the sort of performer who would joke to an audience: Well, here’s the standard’ and kicks off ‘Who’s Afraid of the Big Bad Wolf’ in the Impossible Featherweight World Tired. Her singing range is more than just an octave. It’s the diversity of characters whose voices can be found in one song. In “The Big Bad Wolf”, the story features her time and operetta, Big Mama Thornton and Ethel Merman. “Lover, Come Back to Me” is Ella’s Fitzgerald equivalent, who can play songs from botanical gardens to boxing her matches, especially in concert. That performance certainly ranks among the best interpretations of Streisand: by age 20, she had mastered nearly everything, and by 1962 she was playing standard grandma music.
Of course, that was what made the suit tense, a repertoire that included Tin Pan Alley and Shaw tunes, terrifying ballads and jazz. Oscar Hammerstein, Harold Arlen, Fats WallerWhere were the big pop songs? Modern ones. “surfing usa“The”Walk Like A Man” “please” “fingertip” “it’s my party”
When Erlichman took her to live auditions for Capitol, RCA and Columbia, “everybody said the same thing,” he recalls. “‘She’s got a nice voice,'” (he said, if he ever wrote a book, he’d call it “Good Closing on Wednesday.”) Clearly, she “She wasn’t singing commercial songs,” Erlichman said. And “Management is afraid to break new ground.”
But Streisand was able to appreciate the beauty of old things. “I was always buying antique clothes,” she said. She admired the craftsmanship. 1890s craftsmanship.
“On opening night, I wore a black high-necked velvet beaded top.” I didn’t know that when you sing in a nightclub, you should wear a gown made of fine silk or satin or something elegant.” At one point in “The Bon Soir,” she can be heard telling the audience that she is wearing her boyfriend’s suit. “Male and feminine were comfortable for me,” she said.
Her admiration for well-made things apparently extends to The Great American Songbook: Superior Craftsmanship. Its hundreds of dynamic, malleable songs rely on characters, stories, wordplay, and variations on themes. For a singer, understanding them is like doing math or crosswords or architecture. They also say it was an opportunity to act, which Streisand said was the first thing she wanted to do: During the run of Bon Soir, she spent her days between nightclubs and Broadway. Secretary Miss Mermelstein In “I can wholesale it for you”.