Average Rating: 
Rating:  - Now - There is No Reason to Buy This Recording!
Although I much prefer the London version of Chess, I always felt the Broadway version offered much better orchestrations. The story, however, was entirely ruined when they changed it for Broadway. It totally lost it's beauty, it's passion, and it's heart. They paid the price for the change as it flopped.Now a new recording of Chess has been released. The 2001/2002 Complete Danish Cast Recording, which is sung in English. There are many reason's why I like it better than the London Cast. I won't even compare it with the Broadway version, because it's incomparable, due to the awful book of the Broadway version. There are three big reasons why the Danish recording is superior to the London version. And for you Broadway fans, your great orchestrations are better here, and you also get "Someone Else's Story and a whole slew of songs that are not on the Broadway recording. 1: Orchestrations: The orchestrations on this recording are incredibly superior to those of the London Cast. That is the problem you run into with a "concept" recording. "Concept" recordings are never the final version to hit the stage, and seem like stripped down versions of the stage version. "One Night in Bangkok" is fierce on this recordings and the orchestrations (although subtile) make all the difference. "The Arbiter" is also so much more enjoyable here. "The Story of Chess" opens the show, where it makes much more sense than at the end. The orchestrations across the board are truly wonderful. 2: Completeness: You get so much more music in the new recording. About 50 minutes of new music that wasn't on the incomplete Concept. It follows the original London (stage) production, and has numbers such as "Someone Else's Story," "The Soviet Machine," "Der Kleine Franz," many other songs that are not on the London concept or Broadway cast. "The Soviet Machine" is entirely awesome. Such a showstopper. "Pity the Child" is also in the 1st Act, which makes much more sense than the 2nd Act. You also get the beautifully touching finale, which is very powerful - not on the London Concept. The story is so much easier to follow here, and truly shows what a great musical Chess is. 3. Cast - Believe it or not, I prefer this cast to the incredible London Cast. I'm not denying their brilliance, but there's no denying the brilliance on this new recording either. Although there are performers from five countries, the diction here is wonderful. Molokov (Simon Clark) has a very believable Russian accent, which makes all the difference. He is amazing in "The Soviet Machine." The two leading men are incredible, providing for a riveting "Pity the Child," by the American - Zubin Varla, who entirely blows Murray Head out of the water here. I never thought I would say that. You also get a gorgeous "Anthem." - by the Russian - Stig Rossen, which knocks you out. The two ladies are also wonderful. Emma Kershaw is impressive as Florence and gives a knock out performance throughout, but especially in her big numbers, such as "Heaven Help My Heart." She is triumphant in "Nobody's Side" which completely BLOWS the London Concept version out of the water. WOW! Gunilla Backman, as Svetlana, tears your heart out in "Someone Else's Story." The supporting cast is wonderful, and the choral numbers just rock. ...Chess lovers - especially those of the Superior London version - this new recording is a must.
Rating:  - Unrated, Unappreciated with the Finest Cast....
I had been a big fan of the Elaine Paige "Chess" but this Broadway version, to me, far surpasses it. Perhaps it's because I had the good fortune to see it on Broadway and then in a Carnegie Hall concert performance with this original cast. Judy Kuhn confirms her spot as Broadway's finest singing actress with her brilliant performance here -- who else can move from a tender soprano to a belting chest voice? The late David Carroll is superb, as is the rest of the cast. Despite the shortcomings of the book and staging on Broadway -- who cares? This score is simply wonderful, with the new "Someone Else's Story" sung with such heartbreak by Kuhn. Carroll's "Anthem" is definitive. And there are many who can no longer listen to the final "You and I," simply because they know they'll never stop crying. And I'll never forget seeing the original cast sing the "Quintet" to "bravos" and "bravas" in a scanty Saturday matinee audience. This musical is MUCH underrated and I can't recommend this cast album enough.
Rating: - A great female lead with many mediocre men
This ABBA and Tim Rice musical, the music is really the star with mediocre lyrics, was a box office flop on Broadway after a successful run in London. It had also been rewritten and re-staged before hitting Broadway. Dull staging and uninteresting male leads were the downfall of the show. Judy Kuhn, who played the lead Florence, was the absolute best part of the show. This recording shows off Judy Kuhn in the best way possible, her voice is forceful and vulnerable. I can not imagine a better Florence, I know Elaine Page fans will disagree but Kuhn has a better belt; every solo seems hand picked for Kuhn and she make the men look bad. In comparison, Anatoly (former the Russian in the London recording) is nasal and Freddy (the American) is just average. The changes to the titles help you know what the song is called; the changes to the plot make Anatoly much more sympathetic and even Freddy to a certain degree. The absolute best changes happen at the beginning of the show and the end. In the London, the story of Chess is tacked into The End Game and just make too long, on this recording The Story of Chess gives the story a prologue as well as an initial introduction to Florence's father, who is important in the improved plot. The changing of the plot weakens the character of Svetlana, her part is again more sympathetic, but much smaller.
Overall the Broadway is a better reading because of one person, Judy Kuhn.
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