Streisand: Live in Concert 2006 (2007)
- 88697 01922 2
- 88697 08449 2-BG (Target)
- 88697 09440 2-BC (Barnes & Noble)
Act I (Disc One)
- Funny Girl Broadway Overture [4:47]
- Starting Here, Starting Now [2:58]
(D. Shire / R. Maltby Jr.)
- Opening Remarks [1:34]
- Down With Love [3:58]
(H. Arlen / E.Y. Harburg)
- The Way We Were [3:49]
(M. Hamlisch / A. Bergman / M. Bergman)
- Songwriting (dialogue) [1:54]
- Ma Premiere Chanson [2:38]
(B. Streisand / E. Marnay)
- Evergreen (with Il Divo) [4:06]
(B. Streisand / P. Williams)
- Come Rain Or Come Shine [3:10]
(H. Arlen / J. Mercer)
- Funny Girl (dialogue) [:53]
- Funny Girl [2:33]
(J. Styne / B. Merrill)
- The Music That Makes Me Dance [1:38]
(J. Styne / B. Merrill)
- My Man [3:29]
(M. Yvain / C. Pollack / A. Willemetz / J. Charles)
- People (dialogue) [:30]
- People [5:09]
(J. Styne / B. Merrill)
Act II (Disc Two)
- Entr'acte [3:37]
- The Music Of The Night (with Il Divo) [4:17]
(A. Lloyd Webber / C. Hart)
- Jason's Theme [1:15]
- Carefully Taught/Children Will Listen [3:30]
(R. Rodgers & O. Hammerstein II / S. Sondheim)
- Unusual Way [3:34]
- What Are You Doing The Rest Of Your Life? [3:59]
(M. Legrand / M. & A. Bergman)
- Happy Days Are Here Again [2:32]
(M. Ager / J. Yellen)
- (Have I Stayed) Too Long At The Fair? [4:46]
- William Saroyan (dialogue) [1:41]
- The Time Of Your Life [1:00]
- A Cockeyed Optimist [2:29]
(R. Rodgers / O. Hammerstein II)
- Somewhere (dialogue) [1:14]
- Somewhere (with Il Divo) [3:35]
(L. Bernstein / S. Sondheim)
- My Shining Hour [4:32]
(H. Arlen / J. Mercer)
- Don't Rain On My Parade (reprise) [3:31]
(J. Styne / B. Merrill)
- Smile [4:24]
(C. Chaplin / J. Turner & G. Parsons)
- Stoney End *
- Don't Rain On My Parade *
- When The Sun Comes Out †
* Target stores only
† Barnes & Noble stores only
About the Album
- Release Date: May 8, 2007
- Produced by: Barbra Streisand & Jay Landers
- Arranged & Conducted by: William Ross
- Recorded & Mixed by: David Reitzas
- Recorded at:
- Madison Square Garden, NY - Oct. 9th & 11th, 2006
- Verizon Center, Washington, DC - Oct. 13th, 2006
- Bank Atlantic Center, Ft. Lauderdale, FL - Oct. 28th & 30th, 2006
- Art Direction & Design: Mary Maurer @2310 Design
- Photography: Kevin Mazur
Live In Concert 2006 is a record of the Streisand's historic 2006 concert tour, sequenced according to the concert set list with individual tracks culled from performances recorded at New York's Madison Square Garden (October 9 and 11); Washington DC's Verizon Center (October 13); and Fort Lauderdale, Florida's Bank Atlantic Center (October 28 and 30).
On the tour, Streisand reinterpreted some of her best-loved standards while revisiting some rarely performed musical treasures from her celebrated back-catalog. Live In Concert 2006 included songs Barbra had rarely, if ever, performed live including "Unusual Way" (from the Broadway musical, Nine).
Fifteen of the album's songs have never appeared previously on one of the artist's live albums with four of those — "Carefully Taught," "Unusual Way," "A Cockeyed Optimist," and "My Shining Hour" — making their appearance on Live In Concert 2006 for the very first time on any Barbra Streisand recording.
IF NOT NOW, WHEN?
That was the operative phrase,which helped guide Barbra as she began choosing songs
for her spectacularly successful 2006 concert tour. Creatively, she saw the shows as an
opportunity to revisit some of her rarely performed, celebrated back-catalog and a chance
to discover new ways of interpreting her well-known standards. She wanted to challenge
herself by selecting material she'd never performed live before like “Unusual Way” from
the Broadway musical “Nine” (with a sublime arrangement by Peter Matz) or the vocally
demanding “Starting Here, Starting Now,” a song she'd previously considered for 1994's
“Barbra:The Concert” and 2000's millennium “Timeless” concerts, but had elected not to
do then. This time however, she would open the show with it ... a declaration of new
beginnings. If not now, when?
Ahead of all other considerations, Barbra agreed to undertake the tour as a way to raise
money and awareness for the important causes her Streisand Foundation has supported
for years. Just as she'd done two decades before, she wanted to lend her “One Voice” to
shine a spotlight on the very things she cared most about. Again, if not now, when?
When she was ready to move forward. she gathered her creative team — long time
manager Marty Erlichman, co-director Richard Jay-Alexander, arranger/conductor
extraordinaire Bill Ross and yours truly, Jay Landers, her A&R man (and occasional
scrivener). For many weeks, we made the coastline drive to her home overlooking the
Pacific. Day after day ... and usually night after night (fueled by Renata's ingenious low-cal
recipes) we'd listen to her recordings (released and unreleased) — evaluating, debating
and compiling our lists. “l only want to sing what I love” was Barbra's mantra and she
never deviated from it. When she rehearsed certain songs from the '60s, album favorites
she hadn't touched in thirty years or more, she'd tilt her head back and out would pour
“Nobody's Heart Belongs To Me,” “Spring Can Really Hang You Up The Most,” “l'll Tell The
Man In The Street,” “Any Place l Hang My Hat ls Home” and “(Have I Stayed) Too Long
At The Fair?” A tiny glint would sneak from the corner of Marty's eyes, as he'd time-travel back to those early gold-tinged New York days.
On a big sound stage in Culver City, Barbra and Richard Jay finally put the show on its
feet with full orchestra, sound and lights ... everything but an audience. It was the first time
Barbra had performed on a 360° stage — and that was another challenge. Reality set in
when the show she'd been thinking about for months suddenly turned from the theoretical
to the theatrical. Ten days later, when she did her first full run-through, surrounded on either side by 58 wonderful musicians (culled from New York City and Broadway‘s ﬁnest, augmented with her favorite L.A. sidemen — Randy, J.R., Neil and Ralph) it was a set that looked as impressive as it sounded. It was also here that Barbra rehearsed her duets with special guests ll Divo.The orchestra and crew's best kept secret was her very special guest, “President George W. Bush” as uncannily essayed by comedian Steve Bridges (see the DVD!)
At last it was show time in Philadelphia, the ﬁrst stop on the tour. When the house lights dimmed and the thrilling original Broadway overture to “Funny Girl” began to unfurl under Bill Ross’ baton, the audience instantly knew they were in for a special kind of evening. Many believed they'd never see her perform like this again, but there she stood, and the applause was deafening. On that first night, and every night after, they rewarded Barbra with countless standing ovations and waves of pure adoration. The newspaper and TV critics all noted her relaxed, even playful demeanor and the suppleness of her eternally classic voice.
The shows were also a success in another important way. Quite unexpectedly, Barbra began to feel a new appreciation for her audience. For years they'd unabashedly showered her with love, but now it was affecting her in a rather profound way. As a result, each night she returned their love with her own. This recording is meant to capture that magical relationship.
As a long time observer of Barbra's work, I think it was during these concerts that the lyrics she’d made so famous near the start of her career, fully resonated with her. They are of course, “People who need people are the luckiest people in the world.” For at least two hours each night, the woes of the world seemed somehow at bay, and the truth of those words was in reach for the artist and the audience...listen for yourself...
— JAY LANDERS 2007
Barbra's liner notes explain that “A Cockeyed Optimist” paid tribute to the late Peter Matz:
“My personal thanks to Marilyn Lovell Matz for sharing a very special piece of music with me. Marilyn combined and arranged William Saroyan's foreward to his play The Time of Your Life with Rodgers & Hammerstein's ‘A Cockeyed Optimist’ from South Pacific, orchestrated by her late husband Peter Matz. Peter was a gifted composer and arranger who was so important to my musical career ... and to me.”
Some more background on this: Marilyn Lovell Matz was a performer, too, married to Peter Matz, who arranged many of Streisand's early albums, as well as The Broadway Album in 1985. Peter died in 2002, and at his memorial, Marilyn sang Peter’s arrangement of “A Cockeyed Optimist.”
Marilyn was L.A.'s leading therapist for AIDs patients, all the while fighting her own battle with multiple sclerosis for more than 30 years. In the 1980s and 1990s she and Peter Matz performed their act in living rooms and concert halls to raise money for AIDs.
Versions & Videos
Sony/BMG created different versions of Live in Concert 2006 , based on “exclusive deals” with three U.S. stores.
Target stores sold the album with two bonus tracks. To confuse matters, Target also stocked the regular CD—without bonus tracks. Fans who weren't paying attention to the "Target Exclusive!" sticker ended up buying the CD without the bonus tracks. [Note: THIS CD IS NO LONGER AVAILABLE]
Barnes & Noble sold the CD with one bonus track: “When the Sun Comes Out.” [Note: THIS CD IS NO LONGER AVAILABLE]
And Borders Books offered a free 4-song DVD which included videos of "Happy Days" (from ONE VOICE) , "Alfie" (from TIMELESS) , "Can't Help Lovin' That Man" (from THE CONCERT) , and "What Are You Doing The Rest of Your Life?" (from the forthcoming DVD of Barbra's 2006 concert).
Collectors will want to check ebay or other 'used CD' sites in order to find these exclusive releases that are no longer in print.
Online videos from the DVD special (filmed in Florida in 2006) were used to publicize the album and were streamed by Amazon, Borders, and MSN.
The Billboard 200 is a ranking of the 200 highest-selling music albums in the United States, published weekly by Billboard magazine.
- Debut Chart Date: 5-26-07
- No. Weeks on Billboard 200 Albums Chart: 6
- Peak Chart Position: #7
- Gold/Platinum: none awarded
Note: The record company must submit an album to the Recording Industry Association of America (RIAA) where it undergoes a certification process to become eligible for an award. The process entails an independent sales audit, which calculates the quantity of singles or albums shipped for sale, net after returns. The audit surveys shipments to the entire music marketplace, including retail, record clubs, television sales, Internet orders and other ancillary markets. Based on the certification of these shipments, a title is awarded Gold, Platinum, Multi-Platinum or Diamond status. The data here comes directly from official sources, mainly the RIAA online database.
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