Added: 3 years ago
From: Chriswren9
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  • Trivia note: the original line was "I don't give a damn what he does". Not "darn". Dammit.

    Apparently it was censored for this broadcast version.

  • The best version of the Soliloquy, ever. That final note... !!

  • Ok Ladies and gentlemen, on this matter of Raitt being a Tenor or a Baritone. I just watched an interview with Raitt where he called himself a "high Lyric Baritone" which is an operatic term. I've heard Baritones hit high B Sherrill Milnes (on his recording of Verdi's Rigoletto). Point is you can be a baritone with high notes. Hell, that's what a baritone is! It's the middle ground between Tenor and Bass and anything is admissible! So Raitt was a Baritone!

  • The fantastic thing about this performance is that it's not legit opera. He finds a way to create a mixed tone, especially at the end that's gorgeous, real and accessible without it sounding like typical musical theatre or opera. It's something in between and it's fantastic.

  • man, when I was watching this I was all like "this is really nice. He's a good singer. Great voice, better than that other version I saw-OH MY GOODNESS THAT LAST NOTE!"

    I'd never heard it done that way before.  I love this performance :)

  • Wow, he blew that out of the water. In the film version I always loved Gordon MacRae, though he was cuter too :) But what a voice!

  • More John Raitt fans should check out his rendition of Figaro's Aria from The Barber of Seville.

  • Comment removed

  • Ahhhh old Broadway voices. I miss them. The Old B-way voices were actually trained, unlike todays broadway singers. These singers just didn't have the volume and girth for Opera but still trained and you can hear it (like the great Gordon Macrae). Now we have crapola on the majority of Broadway stages. Just listen to the placement of the high G on "take it," at the end. That is the most impressive. The Bb is ok, but the placement of that G on that vowel...WOW

  • even on this old kinescope, his presence, charisma, and expressivity are electric.

    and what a singer! in the theater it must have been overwhelming.

  • sp) often..

  • My father died a week ago Sunday. He was a fan of John Raitt and when I was a child he used to sing the second half of this song about having a daughter to me.. I can hear him singing along with a pretty good voice. Just hearing this song brings back such wonderful memories of how much he loved me, I will come back and listen to it oftern.

  • Fantastic!!

  • No voices like this today. Seamlessly matched top to bottom.

  • RESPECT. Wow.

  • I love the fact that these clips have survived and we are able to see these legends in their prime and to refer to their performances as inspirations for the upcoming stage stars who will take up their mantles and perpetuate the rich legacy of American Theater.

  • john was a true broadway baritone, or as some might call him a bari-tenor. and i mean that with all respect. he was not an opera singer but a real legitimate broadway voice with power and emotion and all that is needed to sing this kind of rep. this is a gone era unfortunately. you can hand out all the mics you want but they just make the sound louder not good. him, mcrea and goulet were in a class of their own and set high mark. saw them all in person and miss this kind of artist today

  • Gorgeous, honest, manly, and such humility. I still remember the impression he made on me as a kid watching The Pajama Game.  Definitive.

  • That man was a monster. He killed it every damn day.

  • OH MY GOD THE END. HOW DID HE DO IT?

  • Afterthought: My Dad more than likely did the sound on this show!

  • I am so thrilled to find this posted. It has been my favorite song from "Carousel" since I was a young girl. My Dad (as Chief Sound Technician for CBS at the time), worked with John Raitt in live radio and TV. He thought much of him as a singer with a magnificent voice and respected him as a performer and a person of integrity. Thank you so much for this rare video! ~0:-)

  • for those wondering he was a baritone

  • This is higher than the original key

    Bra-fucking-o, man!

  • Why is everyone trying to pigeonhole singers into specific vocal ranges? Bass, baritone. tenor etc etc,if you like what you hear,who gives a crap?John was a fantastic singer ,coupled with great performance skills.As far as vocal dexterity is concerned the throat and larinx are muscles which after long practise can be made to do exdraodinary things.Richard Tauber would sing in the Bath,in a Restauraunt,having a crap,having a shave. Making love!! Its passion that makes a great singer,

  • is it me or does he look like Dr Cox from scrubs?

  • Absolutely the best single performance of this difficult song. Raitt truly was peerless and shows his chops here. At this time he appeared in a Broadway show called "Three Wishes for Jamie." He was a tour de force in that show and that is a must-hear for any of his fans. it's available on cd.

  • Back when musical leads required singing

  • BRAVO!!!!!!!!!!!!!!

  • from 7:02 on...Money!!!

  • What in hell HAPPENED to our musical theater? Why are singers with thin, nasal instruments like Jackman and Wilson taken seriously in these roles, which clearly call for voices as rich and strong as Raitt's? Or Alfred Drake's? Or Howard Keel's? Or Robert Goulet's? Or Richard Kiley's? Or (jumping ahead two-three decades:)) Brian Stokes Mitchell's?

  • @stevevandien

    or Gordon McRae--but I agree withyou 100%--let's get real; Jackman is a handsome charismatic movie star so he is very popular in the role but he cannot hang with the men you mentioned.

  • @RPenta Didn't mean to imply that Jackman and Wilson are not good PEFORMERS. I like them both. But good heavens, their singing could hardly be compared to MacRae's (thanks for mentioning him; don't know why I forgot to:)), Raitt's, Keel's, etc. Best, Steve

  • @stevevandien

    Thank you for your comments; an espec. mentioning the often forgotten Robert Goulet; even the kids on American idol could benefit from watching these videos although I am not sure that American Idol ever had a show dedicated to the American Musical Theater--many of those songs--not just the legendarily challenging Solioquy may be beyond those beginners. 

  • John Raitt sang for my father in 1960 in Seattle at the Green Lake Aqua Theatre. He may have been 55 or 60 then but what a voice and he was the real guy. Sat around my father playing piano at my in laws place on a relaxing day and he sang and sang and sang just for the hell of it. Memories.....No microphones or amplification either.

    Michel Stern

  • perfection is heard and displayed in this man

  • gchs1965 makes a very astute point about the differences between performing on television and in the theater that is easy to forget as viewers.

  • So glad this is still on YouTube Chriswren9; nobody can sing it like John.

  • OMG. How is that control possible? Not to mention memory.

  • i love this song!!! xxx

  • The beginning is up a whole step from the score.

  • a great voice and terrific delivery,thanks for the memory

  • Hugh Jackman is terrific in the movies. But in this role or as Curly? He can't carry Raitt's or MacRae's jock. In the old days, you reallyhad to be able to sing. They all had some real classical training. Now it's all mikes and tinny, reedy, nasal voices.

  • Nice to see he includes the "When I have a daughter..." verse. It was cut from the score but Rodgers allowed Raitt to include it on Decca's cast album. Until I saw this video that is the only place I have ever heard the verse.

  • Thank you for posting this incredible document - from one of the greatest of all singing actors.

    Hugh Jackman, and others who wish to do the role, should study this; and decide whether they are equal to the task!

  • Not completely off subject , but a bit of trivia: Mr Raitt played opposite to Doris Day in the movie version of the Pajama game as Sid a role he originally played on Broadway and he was also the proud papa of legendary singer and blues rock guitarist Bonnie Raitt and former father-in-law to MIchael O'Keefe (Danny Noonan from Caddyshack amongst other roles)...

  • how is this guy a baritone. the F's and the end are sung wide open. and the Bb sounds like that of a ly

  • Someone else, in our current day, is Anthony Warlow. He can be whatever he wants to be. Depending on the repertoire and song he can change where he turns through his passagio and this absolutely blows me away. He can keep an open throat up to an Ab or maybe an A. I can keep an open throat up to a G. Anthony can also add the weight into the voice and turn through the normal baritone Bb/B - E/F passagio. It blows me away.

  • If you check out the first section of this number he raises it 1/2 step and then takes the end down to the original key. He handles his passagio like a baritone. Notice where he turns and what he keeps open. That high Bb is glorious and really sounds like a tenor high Bb. Mine and many other baritones have a huskier color up there with not as much spin and brilliance.

  • I have debated this over the years and have come down on the side of John was both baritone and tenor. Hear me out.

    Voice type is NOT about range but voice color and tesitura. John was not an operatic tenor nor an operatic baritone. I don't think he could have had a career doing either. What he WAS was a broadway baritone. His voice lies higher than a traditional baritone by 1/2 or 1 step.

  • @aedb15t but it is apparent that he uses an operatic technique, which is apparent in the high lying parts in the end. So why shouldn't he have been able to sing opera too?

  • @aedb15t listen... baritones do not have ringing high b flats.. Most have High A flats.. Those that can sing higher, could have gone either way with their voices.. but chose to train as baritones..

  • @kgarmaker123 Hi. Thanks for commenting. I can point to many many baritones who have ringing high Bb and some with high C's. A guy from my area has a nice high A in The National Anthem.

    As I said, voice type is about color and not range. I have a high Bb and am as baritone as they come. If you analyze where John R works his pasagio lies you can tell that he is most probably a high/lyric baritone.

    That being said..... He is great no matter.

  • @aedb15t You know I do not agree. In Broadway, roles are not written for a voice range perse, but in opera they are.. and if you look at those roles, the ones written for tenors, many do not exceed High B flats( does that mean that baritones sing them? NO. they don';t and roles for mezzo's.. seldom have High C's in them, a frequently lie low.. Some Mezzos transition to soprano and they sound just like that.. reaching for high notes that are not comfortable for them..

  • @aedb15t Well said...some people on youtube don't understand how the voice works...I've been trying to explain what you just wrote to people for years and they dont get it...its nice to know someone knows what they are talking about

  • @kgarmaker123 watch?v=Nz2avg-D7xo

  • How?

  • @stevevandien Listen

  • @796824

    thats absurd

  • I think he sings it the best of everyone on youtube... however, I think he could perhaps it more. Its not he sings it too cleanly, he just lacks emotion at some points.

    The Ending is Incredible, though...

  • Geez...I'm a trained singer, and I MARVEL at this man's voice. I wish I had high notes like that!

  • I have this song with great, great pleasure -- and by Raitt, too. But this one is Mount Rushmore, the Eiffel Tower, the great Pyramid.

    Thank you!

  • The man had courage. It was one thing to do this in a theatre. It was another to sing on live television. If you made a mistake millions of people saw it. After singing for over 7 minutes you expected him to sing the final note as the 5th of the scale as written. In this case it would have been a high F. But no; he went for the high Bb and nailed it. Ive seen one or two other performances by Raitt from the same time period and he never fails to make the high note. Godlike!

  • You know George Abbott (while working with him on Pajama game) Called him the most consistent actor he had ever worked with, so he had a record for being "on" all the time. This man worked!

  • @gchs1965 great voice, but not a baritone.. he is a tenor.. so High B flats are not a problem for him.

  • @kgarmaker123 definitely a baritone, if you analyze his voice an his register changes you can tell they are that of a baritone...just b/c he has a Bb doesnt make him a tenor....i am a very much so a tenor yet have a low G, that doesnt mean i am a baritone though....

  • I don't know whether he was a tenor or a baritone and I don't even want to post an opinion on the subject. One thing seems indisputable, though: John Raitt was the real deal. (I wonder what he'd think of the current practice of miking the leads and allowing them to sound like American Idol finalists - cf. the current revival of West Side Story and its Tony.)

  • Sir you could not be more correct! I'm almost sure he would not be pleased with these weak amplified voices of what are 'now' called leading men. As in his day the leading men could break our leading men in half over there KNEES!

    Although I do feel there are some exceptions like Brian Stoke Mitchell!

  • @Chriswren9 Brian Stoke Mitchell, has to breath between every word...

  • @Chriswren9 I would also give an exception to Paulo Szot in South Pacific :)

  • @popertop Well Paulo Szot was an opera singer for years. I wish there were more quality crossover artists like him! He has a great balance between the opera and musical theatre styles

  • I think Raitt was a tenor, but Billy Bigelow is a baritone role. If that makes any sense. Raitt's other roles (mainly Sid Sorokin in The Pajama Game) are considered tenor roles, and now it's mostly baritones that sing this. Also, an operatic baritone would probably have a B-flat on a good day, but wouldn't go around singing them as often and consistently as Raitt.

  • Katherine: You're exactly right. Raitt was a tenor and a damned good one. I'm an operatic baritone and can sing a B-flat most any day, as MANY baritones can. What I can't do is sing a B-flat after singing for 6 or 7 minutes up in a high tessitura like this one. MacRae, Drake, Goulet... those guys were definitely baritones. But Raitt was a tenor.

  • @robertholliston  high baritone or lyric baritone he had a gorgeous upper range like in the song "hey there"

  • @robertholliston He was very much a tenor!

  • It´s a B flat^^ and a big one. no question, he´s a tenor.

  • No, he's a high baritone or what they call in the Broadway world baritenor. He trained to be an opera singer. Most tenors couldn't handle the low notes in "If I loved you" and during other parts of ths show. The bottom of his voice is amazingly rich. I have a friend of mine who is a baritone with a Bb.

  • I knew John Raitt...I worked with John Raitt, and sir...there are no John Raitts. to end the discussion on is he bari or tenor...John himself would tell you that he was a lyric tenor, but the money back then was as a baritone.

  • You said it! I find it interesting that back awhile, baritones were more famous than tenors/basses. I have a recording of William Warfield singing "Ol' Man RIver" from 1962, and I was shocked to find out he was a "baritone". No "baritone" I know of has a voice that can reach an Ab1 and have a classic basso-profondo sound at the same time!

  • I would disagree about hitting an Ab....I know bass baritones that have a solid Ab...it's the timber and ease that John Raitt hit it that made him a lyric tenor

  • A flat? I thought it was B flat.

  • You know how people say that if a woman plays Mama Rose, then they have hit the height of their career, the same is with guys and if they can belt out "Soliloquy" like John Raitt, they have hit the highlight of their career. It's a role I am dying to play!

  • Baritone, tenor - who cares? The point is John Raitt had Big lungs and Bigger balls - and wasn't afraid to use 'em - and knew EXACTLY what he was doing.. Absolutely Masterful! God Bless him!

  • Damn. To think we had talent like this and nowadays people are impressed with Adam Lambert. Those musical theatre types should really do their homework.

  • Re: the ending - HOLY SHIT.

  • John Raitt is a Baritone, he may have the range of a tenor, although true baritone's should have up to a Bflat....anyways, whether or not he could sing a high C, his timbre is that of a Baritone, EX: covering his sound starting at an Eflat

  • This totally blew me away. He has one of the greatest tenor voices I've ever heard!  If he were around today, he'd be a star at the MET, let alone the musical theatre stage. He doesn't have to "do" much: he just IS Billy Bigelow in his attitude and makes his effects with his pronunciation. A lesson in acting and singing to every student of musical theatre - or opera! Thank you so much for this clip.

  • I quite agree that the timbre of his voice is much more akin to that of a tenor, replete with his splendid b-flat at the end of this aria.

  • One of the best b'way's ever seen! Impeccable technique! I'm so jealous!!!

  • Thats how it's done

  • perfection. Sigh.

  • "Thats how it's done" indeed~!

  • I have always loved Gordon McCrae's version of this wonderful song, but John Raitt's finale is just superb.

    Oh to have a voice like that!

  • Remember that Gordan was called in at the last minute when Frank Sinatra walked off set...that's why he was a bit out of shape...a little thick around the middle

  • He is amazing! Loved him in the Pajama Game.

  • I saw John Raitt in "Shenandoah". What a show.

  • That is such an amazing vocal exercise. And that Bb at the end?! Is that even mixed? It sounds so natural! What a voice.

  • Def not in mixed voice. That's full chest voice right there. He is absolutely a tenor not a baritone as most say.

  • I hear ya! I NEVER understand how people refer to him as a baritone. In my opinion he's the greatest tenor in the history of the american musical stage!

  • You are correct sir! Raitt was Great!!!!!!

  • As good as it gets. God bless John Raitt:) --

  • YIPPEE always wanted to see this!

  • Words would diminish what impact this video had on me! The best performance I have ever seen of one of the best songs ever written. When the violin comes in, when he thinks it may be a girl...I got such chills. Thank you so much for posting this!!

  • Fantastic. Gave me chills. Thank you for posting!

  • Absolutely breathtaking!

  • This song is such a ballbuster and he doesn't ever let it flag.

  • To me, John sets a standard here and gives us the example by which all other "Soliloquy's" are compared and measured. It's absolutely magnificent singing and communicating. I'm just blown away. Thanks a million for posting!

  • I've listened to this performance for 50 years - but this is the first time I've ever seen it. It's stunning - I don't know how else to put it. There was never a finer male lead on stage.

    BTW if I read the index at the bottom this was filmed in June 22, 1952.

  • that's one pool where bonnie raitt got her talent from, huh ;-)

  • They wrote it FOR him?

    Man, too good.

  • You are right....after hearing John audition for Oklahoma to replace Alfred Drake, they got the idea for the Solioquy. John after flying to NY from LA, asked to warm up before he auditioned and he did an aria...I believe it was from The Barber of Seville.

  • Is this a half-step higher than the film version with Gordon Macrae?

  • Couldn't tell ya But I know Mr. MacRae did have it keyed up by one key from the published music at the time of the film. BUT Mr. Raitt most likely keyed it up as well.

  • this is in A to start. I don't know what key Gordon did it in, but it's normally in G, so it's a whole step up

  • At first, it's a whole step higher than the original. For the final section, "I gotta get ready", he modulates back down to the original key.

  • Odd how people hear things differently. To me he has a crystal clear, "bell-like" quality that I associate with Irish tenors (and a young Sinatra).

    Really a powerful performance, even with lousy TV sound.

  • his strength as a singer and as an actor and the power of the story make this very operatic-like. the blend of this talent will never be seen again.

  • John was legit, but you always understood his lyrics and his transition was seemless into his upper register

  • This is pretty unbeatable. For me, John's interpretation is the standard by which I measure all others. Thanks so much for posting this gem! A lesson unto itself!

  • If you can get the cast recording of Carousel, you must hear Raitt sing The Highest Judge Of All (it was not in the movie). It will take your breath away. I'm guessing you all know MacRae replaced Sinatra in the film. Frank walked when he found out Cinemascope required two takes of each scene. Some of that early footage was good; He would have been good in the role of Billy. But, then, I think MacRae was great.

  • He sounds tinny like an Irish tenor even though he was a baritone. I also have the original cast recording and to be fair, this TV sound doesn't do John justice. But his elocution is too precise as if Billy himself had studied voice. Mac was more naturalistic with more variety is his phrasing,range,tone and color. John does go up nicely on that last note. I never saw the original broadway production but then I never saw Mac in Cinemascope 55 and stereophonic sound. Two different media.

  • I also hear more of a tenor color to his voice than baritone. However, "tinny" is not the word I would use to describe his voice, especially when compared to bwy tenors of today.

  • He beats the shit out of Gordon Macrae with this one. The best! God only knows why he didn't play Billy in the movie. The original, the best. The last note practically brings me to tears.

  • so good.. there is no man on Broadway like that now.

  • so good. there is no one like man on broadway like that now.

  • His last note still sends chills down my spine.

  • Just the best! I mean, truly.

  • Great,so underrated....Pajama Game

  • Oh, I don't think Raitt is underrated -- I've never read a critic who didn't rate him among the all-time best leading men of the Broadway musical theatre --

  • He was great

  • Rogers and Hammerstein wrote this for John Raitt after hearing his audition; Carousel was their favorite show and John Raitt was my favorite singer.

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