Andrew Lloyd Webber | The Stars | Broadway: The American Musical | PBS Composers, Lyricists & Writers Andrew Lloyd Webber Sir Andrew Lloyd Webber has written some of the most commercially successful musicals of the last quarter of the 20th century. Among his most popular shows are “Joseph and the Amazing Technicolor Dreamcoat” (1967), “Jesus Christ Superstar” (1971), “Evita” (1974), “Cats” (1981), “The Phantom of the Opera” (1986), and “Sunset Boulevard” (1993). Lloyd Webber’s gift for melody has spawned such classic musical theater songs as “Memory” and “Music of the Night.” Lloyd Webber was born in London on March 22, 1948. His father was a faculty member at the Royal College of Music and his mother was a piano teacher. Andrew showed musical aptitude at a very young age, and, while still a youth, composed short musical entertainments for his family. His first musical was “Joseph and the Amazing Technicolor Dreamcoat” (1967).

With lyricist Tim Rice, Lloyd Webber created an eclectic score to accompany the Old Testament story of Joseph and his brothers. Musical numbers ranged in style from Elvis-style rock to calypso and soft rock ballads. Joseph’s two big songs, “Any Dream Will Do” and “Close Every Door,” became hit singles. “Jesus Christ Superstar” (1971), another collaboration with Rice, began life as a double album. Concert tours of the “rock opera” followed, and ultimately, a stage version emerged. “Superstar,” the story of the crucifixion of Jesus Christ as seen through the eyes of Pontius Pilate, garnered seven Tony Awards, including Best Musical and Best Score. Mary Magdalene’s song “I Don’t Know How to Love Him” became a pop standard. The 1973 film version starred Ted Neeley and Carl Anderson. Michael Crawford and Sarah Brightman in Webber's "The Phantom of the Opera." “Evita” (1974), based on the life of Eva Peron, also began as a concept album. Patti LuPone and Mandy Patinkin starred in the Broadway version.

The show received numerous Tony Awards, including Best Actress (LuPone). For the 1996 film which starred Madonna and Antonio Banderas, Lloyd Webber wrote a new song, “You Must Love Me.” The song earned an Academy Award for the composer. “Cats” (1981), based on T. S. Eliot’s Old Possum’s Book of Practical “Cats,” is Lloyd Webber’s longest-running show in both London’s West End and on Broadway. … Like “Joseph and the Amazing Technicolor Dreamcoat,” “Cats” contains songs written in a variety of musical styles. “Memory,” the show’s climactic number, is a sentimental ballad, which has been championed by singers Elaine Paige and Barbra Streisand, among others. “Song and Dance” (1982) consisted of two parts: “Tell Me on a Sunday,” a one-woman show, and “Variations,” a set of variations on Paganini’s famous caprice for cello and rock band. Variations was written for Andrew’s cello-playing brother Julian. “Starlight Express” (1984), a train epic with music, followed.

The cast of the high-tech fantasy dash around the ramp-enhanced theater on roller skates. Rock, blues, and country elements are apparent in the amplified score. A 90-minute version of “Starlight Express” opened in 1993 at the Las Vegas Hilton, the first major legitimate stage production to play in the famed gambling city. Andrew Lloyd Webber "Joseph and the Amazing Technicolor Dreamcoat" "The Phantom of the Opera" "Starlight Express" Ben Vereen Robin Wagner “The Phantom of the Opera” (1986) is perhaps Lloyd Webber’s best-known work. Based on Gaston Leroux’s novel, the musical included the songs “Music of the Night,” “All I Ask of You,” “The Phantom of the Opera,” and “Think of Me.” Michael Crawford and Sarah Brightman, then Lloyd Webber’s wife, starred in the original production. “Phantom” is indicative of a trend in the late 1980s toward a “sung-through” musical — one in which spoken dialogue is limited and often replaced by operatic recitative (speech-singing).

The lavish sets, impressive special effects, and hauntingly beautiful musical score have made the show one of the most popular musicals worldwide. His first musical was “Joseph and the Amazing Technicolor Dreamcoat. “Aspects of Love” (1989) launched the career of its male lead, Michael Ball. The sung-through musical was an adaptation of David Garnett’s tale of intergenerational love and included the ballad “Love Changes Everything.” The show played for over three years in London, but its 1990 Broadway run lasted only 377 performances. “Sunset Boulevard” (1993), based on the film of the same name, included some spectacularly romantic music. Two songs, “With One Look” and “As if We Never Said Goodbye,” both of which are sung by the lead character Norma Desmond, have entered the repertories of singers as diverse as Kiri TeKenawa and Barbra Streisand. As with “The Phantom of the Opera,” “Sunset Boulevard” includes elaborate and impressive sets. John Napier’s grandiose staircase is as much a character in the musical as are any of the humans.

The London production starred Patti LuPone, while the Los Angeles and New York productions featured Glenn Close. Betty Buckley succeeded both LuPone and Close in their respective runs. “Whistle Down the Wind” (1998), inspired by the film of the same name, is set in Louisiana in 1959. A collaboration with Jim Steinman, the score includes typically romantic love songs and explosive rock music. In addition to his musical theater works, Lloyd Webber has also written concert works. “Variations” also exists in a version for cello and orchestra. “Requiem” (1985), written for Lloyd Webber’s father, included the memorable duet “Pie Jesu.” With his impressive array of commercially and artistically successful shows, Lloyd Webber is one of the most important composers for the musical theater in the last decades of the 20th century. Both his innate gift for melody and his ability to create music, which live up to the dazzling special effects characteristic of so many of his shows, have contributed immensely to his worldwide success. Source: Excerpted from ST. JAMES ENCYCLOPEDIA OF POPULAR CULTURE. 5 VOLS., St.

James Press, © 2000 St. James Press. Reprinted by permission of The Gale Group. Photo credits: Photofest Aspects of Andrew Lloyd Webber by John Barrowman on iTunes John Barrowman - Star of Stage and now screen by CindyLou70 There's a reason John Barrowman is one of the most sought after stage actors in the UK. He has an amazing voice and an ability to mold it to the character he's portraying. The one disappointing note on this album was that the producers screwed up and added a track by another performer. "Close Every Door" is NOT John singing. Apparently they label lost the masters of him singing that selection. Still a wonderful album to listen to. Lovely by Alexandra Krycek John Barrowman has an excetional voice. Every track is great to listen too, though personally, Sunset Boulevard is my favorite on this album. If you like his other albums (Also worth picking up!) then you'll love this. Great Voice, Great Actor, Great Songs by jadziathewonderdog One of my favorite albums is John Barrowman Swings Cole Porter, and I was worried that Aspects of Andrew Lloyd Webber would pale in comparison.

I shouldn't have worried. John's got an amazing voice, and he can put so much emotion into a song it's scary. His version of Love Changes Everything is not only my favorite take on the song, it's probably in my top ten songs of all time. Fantastic job! Biography Born: March 11, 1967 in Glasgow, Scotland Genre: Pop Years Active: '90s, '00s, '10s John Barrowman was one of few musical theater personalities to make a successful foray into a recording career. Though many stage stars release an album at some point in their careers, seldom are they met with chart success and longevity. Barrowman was born in Glasgow but raised, from the age of nine, in Illinois. Throughout his high-school years, Barrowman performed in musicals, which set him on the path he followed in college and beyond. Throughout college he worked as a performer at Opryland in... Top Albums and Songs by John Barrowman 1.

Andrew Lloyd Webber - Biography - IMDb Andrew Lloyd Webber Jump to: Overview (2) | Mini Bio (1) | Spouse (3) | Trivia (29) | Personal Quotes (11) Overview (2) 5' 9¼" (1.76 m) Mini Bio (1) Andrew Lloyd Webber is arguably the most successful composer of our time. He is best known for stage and film adaptations of his musicals Jesus Christ Superstar (1973), Cats (1994), Evita (1996), and The Phantom of the Opera (2004). He was born on March 22, 1948, in South Kensington in London, England, the first of two sons of William Lloyd Webber, an organist and composer. His mother, Jean Johnstone, was a pianist and violinist. Young Andrew Lloyd Webber learned to play various musical instruments at home and began composing at an early age. He continued his music studies at Westminster School, where his father was an organist. At the age of 9, young Andrew was able to play the organ and assisted his father during performances.

In 1964 he went to Oxford University as a Queens Scholar of history. In 1965 he met lyricist Tim Rice and dropped out of school to compose musicals and pop songs. In 1968 he had his first success with the West End production of 'Joseph and the Amasing Techicolor Dreamcoat'. From the 1960s to 2000s Lloyd Webber has been constantly updating his style as an eclectic blend of musical genres ranging from classical to rock, pop, and jazz, and with inclusion of electro-acoustic music and choral-like numbers in his musicals. Andrew Lloyd Webber shot to fame in 1971 with the opening of his rock opera 'Jesus Christ Superstar'. His next successful collaboration with Tim Rice was the musical biopic 'Evita', based on the true story of Eva Peron of Argentina. Andrew Lloyd Webber has been constantly updating the genre of musical theatre. In 1981 he delivered 'Cats', based on Old Possum's Book of Practical Cats and other poems by T.S. Eliot .

It was produced at New London Theatre, where stage was designed as a giant junkyard with large-scale bottles and cans scattered around a huge tire representing a playground for cats dressed in exotic costumes who would come and go through the aisles. The record-breaking production of 'Cats' was on stage for 21 seasons, from 1981 - 2002, and became one of the most popular musicals of all time. It played the total of 8,949 performances in London and 7,485 in New York. In 1986 Andrew Lloyd Webber released his most successful musical, 'The Phantom of the Opera', based on the eponymous book by Gaston Leroux with the English lyrics by Charles Hart . 'The Phantom of the Opera' became the highest grossing entertainment event of all time, with total worldwide gross of 3,3 billion dollars and attendance of 80 million. It is also the longest running Broadway musical of all time and the most financially successful Broadway show in history.

'The Phantom of the Opera' was translated into several languages and was produced in more than twenty countries as "clones" of the original production, using similar staging, direction, costumes concept and sets design. He was knighted Sir Andrew Lloyd Webber in 1992, and was created an honorary life peer in 1997 as Baron Lloyd-Webber, of Syndmonton in the County of Hampshire. He won the 1996 Academy Award for Best Music, Original Song for Evita (1996), and received two more Oscar nominations. Among his other awards are seven Tonys and three Grammys, including his 1986 Grammy Award for Requiem in the category of best classical composition. In 2006 Andrew Lloyd Webber was Awarded Kennedy Center Honors. He owns seven London theatres, which he also restored. Outside of his entertainment career he developed a passion for collecting Pre-Raphaelite paintings and Victorian art. He was married three times and has five children. He is residing in England. Andrew Lloyd Webber is currently working on his new opera titled 'Master and Margarita' based on the eponymous novel by Mikhail A. Bulgakov .

- IMDb Mini Biography By: Steve Shelokhonov Spouse (3) ( 24 July 1972 - 14 November 1983) (divorced) (2 children) Trivia (29) He was awarded Knight Bachelor of the Order of the British Empire in the 1992 Queen's Honours List and awarded Life-Peerage in the 1997 Queen's New Years Honours List for his services to Music. Since 1997, he has been Lord Andrew Lloyd Webber and can sit in the House of Lords in Parliament in London, England. He sits on the Conservative Party benches and is a longstanding supporter of the party. Started playing the violin aged three. Had written nine musicals by the time he had left school. Has owned a race horse.

He was nominated for a Laurence Olivier Theatre Award in 2001 (2000 season) for Best New Musical for "The Beautiful Game." He was nominated for a 2004 Laurence Olivier Theatre Award for Outstanding Musical Production of 2003 for both "Joseph and the Amazing Technicolor Dreamcoat" and "Tell Me on A Sunday," both performed in London's West End. He was awarded the 2000 London Critics Circle Theatre Award for Best New Musical for "The Beautiful Game" with Ben Elton at the Cambridge Theatre. Shares birthday with legendary composer Stephen Sondheim . Has won Broadway's Tony Award three times: in 1980, as Best Score (Musical), his music with lyrics by Tim Rice , for "Evita;" in 1983, as Best Score, his music with lyrics by T.S.

Eliot , for "Cats;" and in 1995, as Best Original Musical Score, his music with lyrics by Don Black and Christopher Hampton , for "Sunset Boulevard." He was Tony-nominated eight other times: in 1972, as Best Score, him as Composer and Rice as Lyricist, for "Jesus Christ Superstar;" in 1982, as Best Score, his music with Rice's lyrics, for "Joseph and the Amazing Technicolor Dreamcoat;" in 1986, as Best Score, with collaborators Black and Richard Maltby Jr.

, for "Song & Dance;" in 1987, as Best Score, his music with lyrics by Richard Stilgoe for "Starlight Express;" in 1988, as Best Book (Musical) with collaborator Stilgoe and Best Score (Musical), with collaborators Stilgoe and Charles Hart for "The Phantom of the Opera;" and in 1990, as Best Score (Musical), his music with lyrics by Black and Hart, and Best Book (Musicl) for "Aspects of Love." Wrote song "It's Easy For You," recorded by Elvis Presley during his last session in October 29, 1976. It was released in Elvis' last album "Moody Blue" in 1977. Awarded Kennedy Center Honors in 2006, with Dolly Parton , Smokey Robinson , Steven Spielberg , and Zubin Mehta . Father, from his first marriage, of Nick Lloyd Webber and author Imogen Lloyd Webber .

Father, from his third marriage, of Alastair Adam (born May 3, 1992), William Richard (born August 24, 1993) and Isabella Aurora (born April 30, 1996). Has written the music for the two longest running Broadway shows in history, Cats and The Phantom of the Opera. Older brother of Julian Lloyd Webber . Inducted into the Songwriters Hall of Fame in 1995. Ranked #5 in the 2008 Telegraph's list "the 100 most powerful people in British culture". He was awarded a Star on the Hollywood Walk of Fame for Live Theatre at 6233 Hollywood Boulevard in Hollywood, California. Webber's 1986 musical "Phantom of the Opera" was inspired by Ken Hill 's 1976 musical version of the same name. Hill's version is credited as the first Phantom musical and was a success. Sarah Brightman , who later created the role of Christine in Webber's version, was famously asked to play the role of Christine in Hill's 1984 revival but turned down the offer.

Webber, who was then married to Brightman, had actually seen Hill's show and asked Hill to collaborate Phantom on a larger scale for the Victoria Palace Theatre in the West End; eventually Webber pursued the musical without Hill. Hill and Webber had previously worked together on a revival of "Joseph and the Amazing Technicolour Dreamcoat". The Sunday Times List estimated his net worth at $1.2 billion. [2009] His musical, "Joseph and the Amazing Technicolor Dreamcoat" at the Marriott Theatre in Chicago, Illinois was nominated for a 2009 Joseph Jefferson Award for Production of a Musical-Large. His musical, "Cats" at the Theo Ubique Cabaret Theatre in Chicago, Illinois was nominated for the 2011 Non-Equity Joseph Jefferson Award for Production of a Musical. His musical "Cats" was the West End's longest-running musical until "Les Misérables" broke its record in 2006. He was so nervous about the premiere of "The Phantom of the Opera" that he didn't attend the show. Producer Cameron Mackintosh had to find him and bring him back to the theater for the curtain calls.

He considers the crashing of the chandelier in "The Phantom of the Opera" to be the most theatrical moment he's ever conceived. Between 1980 and 1995, four of his musicals - "Evita", "Cats", "The Phantom of the Opera", and "Sunset Boulevard" - won the Tony Award for Best Musical. His musical, "Cats" at the Marriott Theatre in Chicago, Illinois was nominated for a 2003 Joseph Jefferson Equity Award for Musical Production. His musical, "Jesus Christ Superstar," at the Theo Ubique Cabaret Theatre Company in Chicago, Illinois was nominated for a 2015 Joseph Jefferson Non-Equity Award for Musical Production. Attended the wedding of media mogul Rupert Murdoch to former model Jerry Hall in 2016. "The Phantom of the Opera" at the Ahmanson Theatre in Los Angeles, California was awarded the 2004 Los Angeles Stage Alliance Ovation Award for Touring Production. Personal Quotes (11) There is a recommendation that schools spend a certain amount of time teaching music but it really depends on whether the teachers believe in it.

In some primary and secondary schools there is no musical provision at all but other well-resourced schools have plenty. In reference to singer/actress Emmy Rossum : "She is a wonderfully pure soprano, with an exceptional range. But more than this she also brings real character into the voice - so rare for her age." If you're a composer you do want to know how people are reacting to it but at the same time, of course, the performer is the most important thing. I'm a composer and therefore I know when I've written a good tune. When you've written a good song is when you know that the lyric is completely coalesced with the song. Sometimes I think I've written melodies that may have got a bit buried because maybe the lyric hasn't worked with the song. Sometimes, actually, it's the other way around. When you're writing for musical theatre the story comes first. If the story's right then the songs will probably come right. You're the luckiest person in the entire world if you know what you really want to do, which I was lucky enough to know when I was very young. And you're the luckiest person in the world if you can then make a living out of it.

I have lived and worked in Britain all my life. Not even in the dark days of penal Labour taxation in the Seventies did I have any intention of leaving the country of my birth. Despite a rumour put around some years back, I have never contemplated leaving Britain for tax reasons. More than ever before we need to keep high-flying professionals in the UK. We can't, as we have done in the past, dump on them through penal personal taxation. Of course we know that there have been some shocking excesses in the City of London. But for years we have also had drummed into us that the City of London proudly took over from manufacturing as the UK's main source of income. New Labour rejoiced in the fruits of the excesses of the bankers. Of course, with hindsight, their bonuses were obscene. But New Labour gratefully taxed them. The regrets in the theatre have always been the shows that you know ought to have worked, but for one reason of another haven't. I suppose if I had one regret it's that I would have loved to have had a long-term partner like Rodgers had with either Hart or Hammerstein.

I was really hoping that the Tim Rice relationship would have gone on, but I'm obsessed with theatre and for Tim it's something that he does enjoy doing, is very good at, but it isn't his whole life as it is with me. What strikes me is that there's a very fine line between success and failure. Just one ingredient can make the difference. A really good example of that is design and 'Love Never Lies'. The London production didn't have any consistency of style, so it would go from say, art nouveau to art deco, to straightforward, old-fashioned showbiz. The Australian production had its own language. It was at one with the piece. [on composing songs] I've sometimes found that they've taken a while, but then you get the ones where it's so obvious that you think 'that must have been done before', so you go through agonies and get musicologists and people to look at them. [observation, 2013] In the last few years, everything seems to have gone slightly away from music and more toward the comedy musicals, the 'Hairsprays' and 'The Book of Mormons'.

I just don't know if there's a public for something now which is much more serious and is old-fashioned, in the sense that it is melodic. See also Aspects of Love [Original Cast Recording] - Andrew Lloyd Webber,Michael Reed | Songs, Reviews, Credits | AllMusic Aspects of Love [Original Cast Recording] AllMusic Rating google+ AllMusic Review by Sarah Erlewine Originating in London in 1989, Andrew Lloyd Webber 's Aspects of Love was poorly received when it crossed the ocean to New York. Of course, compared to the success Webber had achieved with Phantom of the Opera, nearly any response would have seemed cold. Still, Aspects of Love is a hard sell: a young man falls for an actress who in turn falls for his older uncle who already has a mistress. The actress and uncle have a daughter, who then falls for the young man. The score contains the beautiful "Love Changes Everything," and Michael Ball (the original Marius in the London version of Les Misèrables) gives a wonderful performance. Aspects of Love is a bit of an acquired taste, but it does have some worthwhile moments.

Track Listing - Disc 1 Andrew Lloyd Webber Andrew Lloyd Webber 2. Early Years and Education – The First Work a) The First Biblical Shows – 1970s 4. Conclusion 5. Works Cited The glory of Broadway, or what little remained of it by 1980, was grabbed by the son of English church organist. Andrew Lloyd Webber’s musicals allied simple-minded pop songs to household themes. His unoriginal for­mula was unerringly commercial; whether it has lasting artistic merit needs to be judged work by work. By now, Lloyd Webber is among the richest men in showbiz and could have rested on gold-encrusted laurels. Thesis Controversial and outstanding musical compositions and theatrical performance based on unique vision of reality and new methods of expression, make Lloyd Webber one of the most popular composers of our time. He describes his personal belief: “It’s always difficult for people to realize that a composer, especially one who has been as lucky and as successful as I have been, can have many sides” (Polkow, n.d.). Andrew Lloyd Webber was born on 22 March 1948 inLondon.

His father was Royal College of Music pro­fessor and teacher. From early years, he played the piano, violin and French horn. The, he entered MagdalenCollege, Oxford, where he wrote “The Likes Of Us” with lyricist Tim Rice. He has admired such composers as Ligeti, Hindemith, and Penderecki, this first attempts in composition bore resemblance with pop styles of these figures and their works. In 1967 appeared ‘Joseph and The Amazing Ttechnocolor DreamCoat’, the reinterpretation of scriptures. In this composition, Lloyd Weber used musical methods from psychedelia and French chanson. Critics admit that “From his teens, he had a passion for Giacomo Puccini and Richard Rodgers and wanted to emulate his heroes by writing music for the theater” (Covency, n.d.). In the early 1970s, Lloyd Webber wrote for the stage and movies. First two films were ‘Gumshoe’ and ‘The Odessa File’. During this period of time, he worked in cooperation with his friend, Rice and produced the well-known “Jesus Christ Superstar”.

This theatrical work provoked a series of religious protests against modern interpretation of the Christ and moral decay. This work showed that music is a highly complex subject which has an impact on culture in three different ways: socialization, influences which shape behavior in a particular social setting, will determine individual orientations to life. Also, Lloyd Webber initiated a new musical vision of reality utilizing pop and rock elements through the lens of religious and social problems. Some critics comment that ‘Jesus Christ Superstar’ marked the “emergence of rock music culture” (Orlova, 1991, p. 66). The main actors of this musical work were vocalists Ian Gillan, Michael D’Abo, Yvonne Elliman and Paul Raven, accompanied by a symphony orchestra. Lloyd Weber comments: “With Superstar it was very clear where my own feelings as a composer lay, and the most successful music there in “pop” terms was the music sung by Judas” (Polkow, n.d.). The film version appeared in 1973, but it was not successful. Ideals of eternal love and forgiveness, inherited by popular singers, are nothing more than the main religious dogmas.

This impact is subconscious, but it exists in all forms in Lloyd Webber’s music. This period of time was marked by strong images coupled with many original compositions and unusual arrangements did much to spread the new theatrical style. For Lloyd Webber music was about peeling away the layers of artifice to get at what was. It might be ugly, it might be shameful, it might be beautiful, it might be revelatory, but all those things are true and part of the human experience. Since that time, Lloyd Webber is often called “the most commercially successful musical theatre composer of his generation” (LaChiusa, 2002, p. 64). The middle of 1970s was marked by failures and acute critic of his works. “Evita” (1978) was paraded as an opera and der­ided accordingly, though its title song was the most memorable Lloyd Webber would ever write. Its story of the madonna-like wife of a corrupt Argentine dictator was emotionally flat and intellectually suspect. It ended his partnership with writer Tim Rice. The next three shows dispensed with a storyline. Two described childish fancies, the third was mere contrivance.

“Cats” (1981) was a plotless song-and-dance show of T. S. Eliot felici­ties. “Starlight Express” (1984) had roller-skaters simu­lating railway trains in an ‘awesomely awful’ presentation that lacked the faintest hint of a strong musical or cerebral idea. “Song and Dance” (1982) exploited the brazenly banal Paganini Variations he had previously written for his brother Julian’s cello and rock ensemble, and sold as a theme for a long-running TV arts programme (LWT, South Bank Show). “Cats is the longest-running musical ever to play on Broadway, a record closely followed by his Phantom of the Opera” (LaChiusa, 2002, p. 64). Elaine Paige, previously the star of “Evita”, and substitut­ing for the injured Judi Dench in the feline role, of Grizabella, took the song into the UK Top 10. Subsequently, it became pop­ular for Barbra Streisand, amongst others.

With Song “And Dance” (1982), which consisted of an earlier piece, “Tell Me On Sunday”, and Variations composed on a theme by Paganini for his cellist brother, Julian, Lloyd Webber became the only theatrical composer to have three works performed simultaneously in both the West End and, Broadway. Two items from Song And Dance, ‘Take That Look Off Your Face1 and ‘Tell Me On Sunday1 became hit singles for one of its stars, Marti Webb. “Its colorful collage of musical images coheres largely because of the work’s persistent overall theme of death. This theme is treated from a variety of perspectives — confusion and resistance, anger and bitterness, mourning and sadness, and a simple but profound proclamation — “perpetua” (Polkow, n.d.). Produced by Cameron Mackintosh and Lloyd Webber’s Really Useful Company, it was joined two years later by “Starlight Express”, a train epic with music which was nicknamed ‘Squeals On Wheels’ because the cast dashed around on roller skates pretending to be locomo­tives.

Diversifying further into production, Lloyd Webber pre­sented the 1983 comedy “Daisy Pittts It Off”, followed by “The Hired Man”, “Lend Me A Tenor” and “Richard Rodgers and Lorenz Hart’s On Your Toes” atLondon’s Palace Theatre – of which he had become the new owner. New music reality created by Lloyd Webber has afforded us the opportunity to explore the sense of the national character and soul at its most profound center. Involved in that is a certain amount of risk and challenge, of tension and attention, a certain pres­ence that suggests how human beings might become as a people. “His method of working is a mixture of composing songs in a vacuum while striving to clamp them to the right dramatic moment” (Coveney, n.d). Even in rap and hip-hop, it si possible to find the influence of religious postulates on lyrics. Rock & Roll and rap are considered as a cultural phenomenon and social change agents brining novelty and new vision of cultural norms. They sing about angels and internal life, sufferings of a soul and forgiveness.

“His musicals have all the virtues of a bridge by Isambard Kingdom Brunel – immaculately constructed, awesome edifices, and reassuringly solid” (There is no magic here, 2003). Lloyd Webber indulged more person­al if lucrative artistic whims in such as “Requiem”, written for his father, which, along with Variations, became a best-selling album. A later set, “Premiere Collection”, went triple platinum. A spin-off from “Requiem”, “Pie Jesu” (1985), was a hit single for Paul Miles-Kington and Sarah “Brightman, the composer’s second wife. She received appraisal of critics with two numbers from Lloyd Webber’s “The Phantom Of The Opera” duetting with Steve Harley on the title theme, and later with Cliff Richard on ‘All I Ask Of You. The original ‘Phantom’, Michael Crawford, had great success with his recording of another song hit from the show, The Music Of The Night’, Controversy followed, wm Lloyd Webber’s battle to ensure that Brightman re-created her role of Christine in the Broadway production in 1988.

His investors capitulated, reasoning that future Lloyd Webber cre­ations were guaranteed box office smashes before their very conception. Following Greer (1999), it is possible to say that “the age demanded Lloyd Webber” (p. 98) and forced him to create outdating musical and theatrical performance unveiling social and moral decay of the society and separate individual. “Aspects Of Love” which also starred Brightman failed, but at the end of 1991 it ran for more than 300 performances. In general, Lloyd Webber music seemed to many people a template of change in an over-changing world and yet a repository of carefully conserved verities as old as the American promise of freedom. In clubs and on the concert stage, it has kept the message of liberation and freedom alive. New musicals culture involved not only low classes, but a lot of middle-class and high class families. “Lloyd Webber’s musicals are highly efficient cultural packages, theme park rides for grown-ups, and this exhibition suggests the same determination not just to have a few Victorian paintings but to put an entire age on display, with sound and smoke effects” (There is no magic here, 2003).

New success and stage in musical career came with “Sunset Boulevard”, a stage adaptation of Billy Wilder’s 1950Hollywood classic. “It opened in London on 12 July 1993 with Patti LuPone in the leading role of Norma Desmond, and had its American pre­miere in Los Angeles five months later, where Desmond was played by Glenn Close” (Hoagland, 1998, p. 55). This work can be considered as a cultural phenomenon and social change brining novelty and new vision of musical norms. Both of them created social movements changing the attitudes of all involved: musicians, managers, record companies executives, critics and magazine editors included. What drove him on was “a desire for serious recognition as a composer” (Hischak, 1993, p. 55), a frustration that embittered his lather, whose death he mourned in a Requiem that was derivative enough to sound like a synthesis of untraceable bars by Puccini and Faure. It was so sensually uninvolving as to raise questions about Lloyd Webber’s human feelings.

These he addressed in the autobiographical next show, “Phantom of the Opera” an ugly composer who falls in love with a comely singer. His much-publicized mar­riage to its star, Sarah Brightman, lasted six years. His last musical, “Aspects of Love” (1989), was the ultimate bid to write an opera: composed throughout, with genuine arias and set-pieces that still, somehow, sounded as secondhand as Puccini in “The Girl of the Golden West” – a man who knew what he could do and per­sisted in trying to do something else. Shortly after the opening, Lloyd Webber, aged 41, announced on live television that he was giving up writing musicals and would concentrate on making movies. It is possible to define Lloyd Webber as “He’s an entertainment juggernaut; he’s a schlockmeister. He’s the most popular musical-theater composer ever; he hasn’t had an unqualified hit in a dozen years” (Pressley, 1997, p. 36.). Lloyd Webber’s music has affected all aspects of culture, including television and movie industry.

Like “Cats” and “The Phantom of the Opera” before it, the show won several Ibny Awards, including best musical, score and book. Lloyd Webber was living up to his rating as the most powerful person in the American theatre. Among his other show honors are: Drama Desk, Grammy, Laurence Olivier, and Ivor Novello Awards. Cats, together with “Starlight Express” and “Jesus Christ Superstar”, gave Lloyd Webber the three longest-running musi­cals in British theatre history for a time, before the latter show was overtaken by “Les Miserables”. “He is also the first person to have a trio of musicals running inLondon andNew York” (Millard, 2003, p. 63). Lloyd Webber himself appeared embarrassed at his own imaginative freedom, prefacing his works with statements which sought to legitimize the seductive appeal of fiction by appealing to some external authority. His musical compositions seem to be hiding a number of constructors. Even though it looks almost impossible, he combines them in the same piece of music. She calls the concept of her musical creation spontaneous composition.

He transforms such elements into any other musical form, although this transformation is distinctly independent, as she carries it out with her own artistry, full of dissonance, quick passages, percussive sound storms and unexpected calms. He has not merely accommodated elements of previous styles into his compositions, but has used the language as the launching-pad from which he has developed his own, entirely personal and utterly distinctive music. He joins three elements: contemporary jazz, classical music and free improvisation, which make his music marvelous. At the end of 1990s, Lloyd Webber understood that the New Yorkand Londonproductions of “Sunset Boulevard” both failed. On the other hand, in January 1996 the West End production of his most enduring show, “Cats” took over from “A Chorus Line” as the longest-running musical of all time, and in June 1997, the show’s New York production replaced “A Chorus Line” as the longest-running show in Broadway history. In his music, the ensemble swings seamlessly between extended composition and free improvisation, touching on elements of rock, funk, classical music and modern theatre to achieve a remarkable synthesis between composition and improvisation.

All of those experiences help mold his unique approach based on World Music influences and drawing on the trance inducing and spirit calling focus Indigenous approaches to music and theater” (West End Theatres in Major Sell-off, 2005). In music Lloyd Webber joins techniques pulled from the traditions classical music to stimulate creativity and develop improvisational skills. He is interested in many musical subjects like The Art of Improvisation, Composition and Arranging, Meditation, Inner Listening, Being in the Moment, Music as a Force for Social Change. All the things mentioned above help him be outstanding and unique figure in musical theater. He shows his passionate and expression in the power of improvisation. New musical genres allow Lloyd Webber to express his nature and create wonderful masterpieces. “He plans to write books about architecture and his world-famous collection of Pre-Raphaelite paintings, and is planning at least two future musicals” (Covency, n.d.). It is possible to say that new ideas put into practice and applied to different theatrical performances create the understanding of theater and its genre. Through creativity, Lloyd Webber finds different methods and ways to apply elements of pop and rock to different fields of knowledge and performance.

In sum, Lloyd Webber is a unique personality and musician who embodies his cultural and social vision in musicals and other theatrical works. He is called a controversial composer of out time because of his creative realization of musical elements and methods. The creativity can be explained by their unique vision of ideas he applies into practice. His controversy is a way of thinking and ability to apply new solutions to new musical and theatrical environment. Lloyd Webber creates a powerful and true-to-life musical images and characters adapted to new world and reflected in new habits and personal values typical for post-modern society. In spite of its controversy, Lloyd Webber’s style creates new cultures and tastes, the sense of the modern human and soul at its most profound center. Involved in that is a certain amount of risk and challenge, of tension and attention, a certain pres­ence that suggests how human beings might become as a people. Works Cited Coveney, M. A Life’s Work. N.d. Available at: Greer, H. The Age Demanded Lloyd Webber. World and I, Vol. 14, Iss. 12, December 1999, p. 98. Hischak, Th. S.

Stage It with Music: An Encyclopedic Guide to the American Musical Theatre.Greenwood Press, 1993. Hoagland, M. M. Off-Bowery Theater Now. New England Review, Vol. 19, Iss. 3, 1998, p. 55. Lachiusa, M.J. Who’s Listening to Lloyd Webber?: Critical Disapproval Hasn’t Cooled the Ardor of a Vast, Adoring Public. American Theatre, Vol. 19, Iss. 2, February 2002, pp. 64-65. Polkow, D. n.d. Andrew Lloyd Webber: From Superstar to Requiem. Available at: Millard, R. Andrew Lloyd Webber Has Made Enough Money to Fill the RA with Art, but the Critics Can Still Hurt. New Statesman, Vol. 132, Iss. 4657, September 29, 2003, p. 63 Orlova, I.the Underground: The Emergence of Rock Music Culture. Journal of Communication, Vol. 41, Iss. 2, 1991, p. 66.

Pressley, N., Best of Times, Worst of Times: Musical Theater’s Andrew Lloyd Webber Is the Most Successful Composer Ever … or Is He? Insight on the News, Vol. 13, Iss. 28, August 4, 1997, p. 36. There is no magic here. 2003. The Guardian, Available at: West End Theatres in Major Sell-off; Lloyd Webber Talks to Bidder. The Evening Standard (London,England), January 17, 2005. p. 1. This is just a free sample of the research paper, or part of the research paper on the given topic you have found at ProfEssays.com. If you feel you need professional writing assistance contact us! We will help you to create perfect research paper on any topic. ProfEssays.com – Leading custom essay and dissertation writing company and we are 24/7 open to serve you writing needs!

Andrew Lloyd Webber - Successful Singing Andrew Lloyd Webber 0 Andrew Lloyd Webber Andrew Lloyd Webber has created some of the most recognisable Broadway music of all time—from Cats to Evita to The Phantom of the Opera —along the way collecting a variety of honours, including knighthood, seven Tony Awards, three Grammy Awards, an Academy Award and the Kennedy Center Honors Award. Songs from his musicals have gone on to wide popularity offstage as well, and his theatre production company, the Really Useful Group, is one of the largest operating in London.

Backing Tracks LOVE CHANGES EVERYTHING - ASPECTS OF LOVE £1.00 Love Changes Everything – Aspects Of Love CHANSON D'ENFANCE - ASPECTS OF LOVE £1.00 Chanson D’Enfance – Aspects Of Love Cats GUS THE THEATRE CAT - CATS £1.00 Gus The Theatre Cat – Cats MEMORY - CATS Memory – Cats, also covered by Elaine Paige, Susan Boyle MR MISTOFFELEES - CATS INVITATION TO THE JELLICLE BALL - CATS £1.00 Invitation to the Jellicle Ball – Cats MACAVITY THE MYSTERY CAT - CATS £1.00 Macavity The Mystery Cat – Cats MUNGO JERRIE AND DRUMPLETEASE - CATS £1.00 Mungo Jerrie And Drumpleteasze – Cats SKIMBLE SHANKS THE RAILWAY CAT - CATS £1.00 Skimble Shank The Railway Cat – Cats OLD DEUTERONOMY - CATS THE OLD GRUMBIE CAT - CATS £1.00 Another Suitcase In Another Hall - Evita £1.00 Another Suitcase In

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Til I Hear You Sing Phantom Of The Opera ANGEL OF MUSIC - PHANTOM OF THE OPERA £1.00 Angel Of Music – Phantom Of The Opera ALL I ASK OF YOU - PHANTOM OF THE OPERA £1.00 All I Ask Of You – Phantom Of The Opera MASQUERADE - PHANTOM OF THE OPERA £1.00 Masquerade – Phantom Of The Opera MUSIC OF THE NIGHT - PHANTOM OF THE OPERA £1.00 Music Of The Night – Phantom Of the Opera PAST THE POINT OF NO RETURN - PHANTOM OF THE OPERA £1.00 Past The Point Of No Return – Phantom Of The Opera PHANTOM OF THE OPERA - PHANTOM OF THE OPERA £1.00 PRIMA DONNA - PHANTOM OF THE OPERA £1.00 Prima Donna – Phantom Of The Opera THINK OF ME - PHANTOM OF THE OPERA £1.00 Think Of Me – Phantom Of The Opera WISHING YOU WERE SOMEHOW HERE AGAIN - PHANTOM OF THE OPERA £1.00 Wishing You Were Somehow Here Again – Phantom Of The Opera Requiem PIE J

ESU - ANDREW LLOYD WEBBER Price: £1.00 Press play to hear sample.

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 Pumping Iron – Starlight Express – Backing Tracks STARLIGHT EXPRESS - STARLIGHT EXPRESS Starlight Express – Starlight Express – Backing Tracks UNCOUPLED - STARLIGHT EXPRESS Uncoupled – Starlight Express – Backing Tracks Sunset Boulevard Andrew Lloyd Webber — Listen for free on Spotify Andrew Lloyd Webber Play on Spotify Andrew Lloyd Webber (b.

1948) is the most successful composer of musicals of his generation and also a breaker of molds for the type. His predecessors were, for the most part, American: New York-based songwriters steeped in Broadway tradition. Lloyd Webber saw his share of shows as a child, too, but he was born in London, the son of William Lloyd Webber, Director of the London College of Music, and was trained at the Royal Academy of Music, hardly the sort of place where you'd be likely to hear Oklahoma! Nevertheless, Lloyd Webber hooked up with lyricist Tim Rice, and the two began work on what would be a typical project for them, a musical based on the Biblical story of Joseph and his coat of many colors. Titled Joseph & the Amazing Technicolor Dreamcoat, it brought in a strong rock & roll influence. After writing a second unproduced musical, the two hit on the idea of writing a musical based on the life of Jesus Christ from the point of view of Judas (not the sort of idea likely to occur to a Broadway composer) and, again, imbued with rock.

Unable to finance a stage version, Lloyd Webber and Rice did manage to record their show, and Jesus Christ Superstar went on to sales in the millions all over the world. The hit musical version followed. Lloyd Webber and Rice then split, with the composer writing film scores and working on an abortive musical with playwright Alan Ayckbourne (Jeeves), after which Rice returned with another audacious idea: a musical based on the life of Argentine dictator (or dictator's wife, depending on how you look at it) Eva Peron. Evita (1976) repeated the pattern of Jesus Christ Superstar, with its hit record album followed by a successful theatrical run in the West End and then on Broadway. The Lloyd Webber-Rice partnership, having proved itself again, was severed (Rice went on to write Chess), and Lloyd Webber next wrote a musical revue based on T.S. Eliot's whimsical poems about Cats (1981). This time, the show came before the album, and it's still running. By this time, Lloyd Webber had largely abandoned the rock elements of his work in favor of what critics found a pastiche style that borrowed from classical and opera sources.

He had also become a brand name (and a corporation, the Really Useful Company) that assured at least a modest success for subsequent shows, though critics were often unimpressed with his efforts. Downgrading the status of his lyricists, Lloyd Webber went on to a series of successful shows (Song and Dance, Starlight Express) before scoring another long- (and still-) running hit in 1987 (1988 in New York) with a musical adaptation of The Phantom of the Opera. Aspects of Love (1989-1990) was less successful, however. Lloyd Webber debuted a musical adaptation of the Billy Wilder film Sunset Boulevard in the early '90s, and it proved to be one of his rare disappointments, failing to earn either good reviews or healthy ticket sales. In 1996, Alan Parker adapted Evita for the screen; Lloyd Webber and Tim Rice contributed a new song, "You Must Love Me," to the production, which starred Madonna . "You Must Love Me" won the Best Original Song award at the 1997 Academy Awards. ~ William Ruhlmann, Rovi Read More Show less

Question: Aspects of what was a success by Andrew Lloyd Webber?
Answer: Love