“Of all the musicals I ever worked on that didn’t quite succeed, ALLEGRO is one I think most worthy of a second chance.” Richard Rodgers

ALLEGRO, Rodgers & Hammerstein’s fourth work together, debuted in 1947 preceded by the Broadway musicals Oklahoma! and Carousel, and the film State Fair. A somewhat controversial work, the show ran for a season and earned rave reviews, but nevertheless was their first musical to be less than a blockbuster hit. Allegro divided critics and challenged audiences with an unusual style of storytelling, and a groundbreaking approach to musical staging. In the words of Stephen Sondheim, the production marked “the first really good experimental show.”

An original musical, Allegro tells the story of the life of earnest country doctor, Joseph Taylor, Jr. His journey, both literal and moral, spans from small town to big city, and back. The score is unconventional: fragments of song move in and out of the action like passing thoughts; melodies flit by in one scene only to take hold and blossom in the next. Major songs are given to minor characters, while the central character has comparatively little solo work. A chorus provides spoken commentary and sings aloud inner thoughts. Original director/choreographer Agnes de Mille’s extended ballet sequences are reflected in intriguing orchestral pieces.

“Along with the innovations of the original production, Allegro’s score has its own innovative qualities” says Ted Chapin, President of The Rodgers & Hammerstein Organization. He continues, “To do justice to the show that Rodgers and Hammerstein created, I have long wanted to capture the score in a way that explains to us all how the musical tapestry of Allegro was conceived. It is almost through-composed, using elements of songs in distinct, dramatic ways, which has led people to assume -- incorrectly -- that it is a lesser work. To the contrary: Allegro is extraordinary, landing chronologically between Carousel and South Pacific, when the team was at its zenith. My hope is that this recording will introduce this compelling work to musical theatre lovers in the best way possible – and I am thrilled that we have been able to attract such a stellar group of artists to join us.”

“It has taken a very long time to give the score of Allegro the full attention it deserved,” concludes Chapin, “We’ve taken a lot of care to make it sound as close as possible to the way Messrs. Rodgers and Hammerstein intended it to over sixty years ago.”