The Best CAMELOT Recording?



So you want to get a copy of Alan Jay Lerner and Frederick Loewe’s classic Broadway musical Camelot on CD and don’t no where to begin? Well, I’d like to tell you to look no further, but things are not as simple as that.

The show has several recordings: some are cast recordings from productions around the world; others feature studio casts put together for the sake of creating an album. Internet searches will reveal that up to 25 different recordings of the show exist, but the field is whittled down considerably when one takes a look only at those that are available on CD. This leaves us with a selection of 3 recordings: the 1960 Original Broadway Cast Recording, the 1967 Film Soundtrack and the 1982 London Cast Recording.

Even with that limited selection there is no clear forerunner. Revisions to the score over time mean that one of the two latter recordings is essential, but the Original Broadway Cast recording offers a more rounded cast and some numbers that are essential to the score that for reasons only known to Lerner had disappeared by the time of the 1982 production in London and its equivalent Broadway production.

Perhaps the best place to start is with performances. When it comes to Arthurs, it seems that personal preference comes into play quite strongly. Richard Burton (1960) offers an understated, but moving performance: by turns boyish and mature, playing Arthur as both the person he might have been and the king he became, he transforms the into something approximating a tragic hero of Shakespearean proportions. Richard Harris appears on both other recordings and delivers a performance that is more busy vocally in terms of how he “indicates” what Burton makes appear natural. It’s clear then whom I prefer, but if you’re going for Harris, go for the earlier recording. When one can listen to his performance there free of the visuals of his ridiculously overstated make-up, an Arthur emerges that is credible. In the 1982 recording, the interpretation is still clear, but the voice is tired on the edges and he sounds more like Arthur’s grandfather on his wedding night than the boy himself.



Three Gueneveres appear across the three recordings. Perhaps it is easiest to write off Fiona Fullerton (1982) right at the outset: she simply doesn’t cut it in terms of vocals or insofar as her interpretation of the role is concerned. Let me put it this way: her Guenevere sounds as it it is being played by Dulcie in a production of the show at Madame Dubonnet’s School for Young Ladies. Julie Andrews (1960) gives us the songs as they were meant to be sung: girlish, but not cloyingly coy, at first – her dry wit saves us from any missteps here – with a quiet maturity characterising the songs in the second act. Vanessa Redgrave (1967) acts the role beautifully, but doesn’t have the vocal range to carry off what the score demands. So again, while the Original Cast Recording is essential here, the film trumps the revival in terms of giving us a compelling Guenevere.

The best Lancelot is easy to pick: Robert Goulet of the original cast, in his first Broadway role, sounds like the godly hero that Lerner and Loewe created – for better of worse – for their version of the Arthurian legends. Franco Nero stole many a heart in his film performance, but there’s something about his performance that seems unduly comical to me. I can’t figure it out, but this is a case where I do prefer the London revival’s Robert Meadmore to his film counterpart.

Mordred’s song (“The Seven Deadly Virtues”) is cut from the film and the role seems to be interpreted very differently in the other two recordings. Roddy McDowall is sinuous and scheming, while Michael Howe brings a more carefree feel to the role – he’s more of a man’s man than an intellectual. That’s all very well, and the song plays all right on its own, but it doesn’t make for a great enough contrast between Mordred and, respectively, Arthur and Lancelot.

With the main performances considered, the differences between the scores is another factor that complicates choosing one recording over another. The Original Cast Recording gives a fairly good overview of the score as it stood back then, with only “The Jousts” missing completely. Other numbers are truncated, but it is “Guenevere” and the “Finale” that suffer the most from cuts. Sometimes the tempos seem a little fast, particularly ballads such as “I Loved You Once in Silence”, but this perhaps allowed for as much material to be included onto the record as possible.



The two latter recordings offer Lerner’s revised version of the show, the primary strength of which is the inclusion of a prologue that goes a long way toward focusing the score, especially as an audio experience. Other numbers are cut, as mentioned above in regard to “The Seven Deadly Virtues”, which goes missing in the film, as well as – unforgivably – “Take Me to the Fair”, which disappears from the revival.

So what’s the verdict here? One really needs two recordings. For me, the 1960 recording is indispensable and the 1967 film soundtrack trumps the 1982 revival overall, although that recording is not without its virtues. So get them in chronological order; that would be my advice – at least until we get a completely definitive version of the show with a cast that gives us the best of all of the performers showcased across the albums we have available to us at this point in time.

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17 Responses to The Best CAMELOT Recording?

  1. Beagle on Stage says:

    1960 with Richard Burton. I can appreciate all the others, but I think as a whole, this is the unbeatable cast. It’s a ménage à trois of lead roles, and Burton, Andrews and Goulet share it perfectly. It’s legendary. And you also get treated to a young Roddy McDowell as Mordred. I also have a tendency to be biased in the direction of the original cast albums. Being the closest to the licensed version ninety percent of the time, they are a reference material just as much as they are a collection of music and a record of the production. I must admit, however, that (shame on me) I do not own the 1982 recording, so my opinion might not be completely informed. But I am inclined to say that any version would really have to bring it to outdo the Burton recording in my eyes.

  2. Dawn says:

    The 1982 revival has a better Arthur (Harris), a better Guenevere (Fullerton), the most complete recording of the score and it has all of Lerner’s changes which greatly improve the show.

  3. David Fick says:

    Dawn wrote:
    The 1982 revival has a… better Guenevere (Fullerton)…

    Fullerton isn’t a patch on Andrews. I could think of less polite things to say about her performance, but I’ll restrain myself for the time being.

    • Barry Lane says:

      What you have said about Fiona is true enough, but she is the most sensual, or flat out sexually appealing if that matters, and for Jenny, it does.

  4. Elliott Folds says:

    I’ve been meaning to get into this show. What’s a good song to check out?

  5. Tom Lokensgard says:

    I only know the original with Richard Burton. I do, however, have the HBO broadcast. On another note, I found that my school has the vocal score and it is missing “You May Take Me To the Fair” and “Fie on Goodness” and I have no idea why. It leaves in “The Persuasion.”

  6. Daniel Jordan says:

    While I prefer Richard Harris and Meg Bussert in the roles, the 1960 OBC is the best recording for me. Fullerton kinda ruined the 1982 recording (despite having Harris on it). I thought she was a mess as Guenevere, plus she has thin, squeaky vocals.

  7. Nic Barilar says:

    I love the 1982 recording. Although Meg Bussert from the Broadway version of that production is my favorite Jenny, I like Fullerton. I’m sorry but I just am not convinced in the recording that Andrews is all but ready to cheat on her husband. It’s just not like her and I find it a tad awkward. I like Burton but I adore Harris. Goulet… meh.

  8. Beagle on Stage says:

    True, but I don’t think Guenevere’s music is really about that. That aspect of her character happens mostly in the book, not the score – and even then, it isn’t that she wants to commit adultery. Describing it as “cheating on her husband” suggests that she has a sinister undertone about it. I would say that she “takes a lover.” Splitting hairs, I know, but the connotations make a difference.

  9. Dawn says:

    I agree the finest cast to ever perform Camelot was the 1981-1982 Harris revival on Broadway. It’s a shame they never did a cast recording. Bussert is indeed the epitome of Guenevere. Richard Munez’s Lancelot is perfection, and James Valentine and Barry Ingham are easily the finest Merlin and Pellinore ever set to stage.

  10. Nellie the Nurse says:

    I hate this show. Guevenere was such a hussy.

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