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Track List
01) Opening Title
02) No Place Like London
03) The Worst Pies in London
04) Poor Thing
05) My Friends
06) Green Finch and Linnet Bird
07) Johanna
08) Pirelli's Miracle Elixir
09) The Contest
10) Wait
11) Pretty Women
12) Epiphany
13) A Little Priest
14) Johanna
15) God, That's Good!
16) By the Sea
17) Not While I'm Around
01) Opening Title
02) No Place Like London
03) The Worst Pies in London
04) Poor Thing
05) My Friends
06) Green Finch and Linnet Bird
07) Johanna
08) Pirelli's Miracle Elixir
09) The Contest
10) Wait
11) Pretty Women
12) Epiphany
13) A Little Priest
14) Johanna
15) God, That's Good!
16) By the Sea
17) Not While I'm Around
3:30
4:25
2:21
2:46
3:48
2:16
1:57
2:01
2:05
2:38
4:07
3:14
4:51
5:42
2:47
2:17
3:38
Data Complete
60%
Total Rating
60%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2007
Classical
Provocative
Musicals
---
Medium
Album
0 copies
Album Description
Available in:
is the second film in Burton's directing career not to include music composed by Danny Elfman (the first being Ed Wood). Burton wanted to avoid the traditional approach of patches of dialogue interrupted by song.
He cut the show's famous opening number, "The Ballad of Sweeney Todd", explaining, "Why have a chorus singing about 'attending the tale of Sweeney Todd' when you could just go ahead and attend it?" Sondheim acknowledged that, in adapting a musical to film, the plot has to be kept moving, and was sent MP3 files of his shortened songs by Mike Higham, the film's music producer, for approval. Several other songs were also cut, and Sondheim noted that there were "many changes, additions and deletions... ... if you just go along with it, I think you'll have a spectacular time." To create a larger, more cinematic feel, the score was reorchestrated by the stage musical's original orchestrator, Jonathan Tunick, who increased the orchestra from twenty-seven musicians to seventy-eight.
The Sweeney Todd: The Demon Barber of Fleet Street Deluxe Complete Edition soundtrack was released on December 18, 2007. Johnny Depp's singing was described by a New York Times reviewer as "harsh and thin, but amazingly forceful". Another critic adds that, though Depp's voice "does not have much heft or power", "his ear is obviously excellent, because his pitch is dead-on accurate... Beyond his good pitch and phrasing, the expressive colorings of his singing are crucial to the portrayal. Beneath this Sweeney's vacant, sullen exterior is a man consumed with a murderous rage that threatens to burst forth every time he slowly takes a breath and is poised to speak. Yet when he sings, his voice crackles and breaks with sadness."
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Available in:
is the second film in Burton's directing career not to include music composed by Danny Elfman (the first being Ed Wood). Burton wanted to avoid the traditional approach of patches of dialogue interrupted by song.
He cut the show's famous opening number, "The Ballad of Sweeney Todd", explaining, "Why have a chorus singing about 'attending the tale of Sweeney Todd' when you could just go ahead and attend it?" Sondheim acknowledged that, in adapting a musical to film, the plot has to be kept moving, and was sent MP3 files of his shortened songs by Mike Higham, the film's music producer, for approval. Several other songs were also cut, and Sondheim noted that there were "many changes, additions and deletions... ... if you just go along with it, I think you'll have a spectacular time." To create a larger, more cinematic feel, the score was reorchestrated by the stage musical's original orchestrator, Jonathan Tunick, who increased the orchestra from twenty-seven musicians to seventy-eight.
The Sweeney Todd: The Demon Barber of Fleet Street Deluxe Complete Edition soundtrack was released on December 18, 2007. Johnny Depp's singing was described by a New York Times reviewer as "harsh and thin, but amazingly forceful". Another critic adds that, though Depp's voice "does not have much heft or power", "his ear is obviously excellent, because his pitch is dead-on accurate... Beyond his good pitch and phrasing, the expressive colorings of his singing are crucial to the portrayal. Beneath this Sweeney's vacant, sullen exterior is a man consumed with a murderous rage that threatens to burst forth every time he slowly takes a breath and is poised to speak. Yet when he sings, his voice crackles and breaks with sadness."
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