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Andrea Marcovicci | Andrea Marcovicci Sings Rodgers & Hart

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Andrea Marcovicci Sings Rodgers & Hart

by Andrea Marcovicci

A celebration of one of America’s most accomplished songwriting duos. The brilliant lyrics of Lorenz Hart, (shimmering with wit and poignancy), are perfectly set along the sculpted lines of Richard Rodgers' gorgeous melodies.
Genre: Easy Listening: Cabaret
Release Date: 

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  Song Share Time Download
1. Where or When / Jupiter Forbid
5:26 album only
2. Sing For Your Supper
2:14 album only
3. A Little Birdie Told Me So
3:08 album only
4. If I Were You
1:47 album only
5. He Was Too Good To Me
3:00 album only
6. What's The Use? / Why Can't I?
2:31 album only
7. My Heart Stood Still / I Didn't Know What Time It Was
3:00 album only
8. This Can't Be Love / Thou Swell / I Could Write A Book
3:37 album only
9. Falling in Love With / It Never Entered My Mind / Little Girl Bl
6:10 album only
10. Everything I've Got
2:58 album only
11. Bewitched (Bothered and Bewildered)
2:55 album only
12. To Keep My Love Alive
3:16 album only
13. Can't You Do A Friend A Favor ?
3:13 album only
14. My Funny Valentine
2:38 album only


Album Notes

April 2008
by Christopher Loudon

Sings Rodgers & Hart (Andreasong)

She evokes a cultured elegance reminiscent of Ivor Novello or Noel Coward. Her disciplined professionalism, coupled with an innate theatricality, places her in the same supreme league as Barbara Cook. As a storyteller with a sparkling, winking way with a saucy lyric, she rivals the irrepressible Julie Wilson. So, it’s hard to imagine anyone better suited to an extended foray—part romp, part waltz, part shimmy—through the Rodgers and Hart songbook than Andrea Marcovicci. Thanks to several cleverly crafted medleys, Marcovicci manages to shoehorn 21 of the illustrious team’s best, ranging from platinum-edged classics to delightful rarities, into this 14-track mélange. Like every great cabaret performer, Marcovicci is a lyricist’s best friend. (Hart, of course, reciprocates by providing some of the finest wordplay in the history of popular song). Navigating any of Hart’s rich narrative veins—the coyly risqué (“Sing for Your Supper,” “A Little Bird Told Me So”), the archly witty (“To Keep My Love Alive,” “Everything I’ve Got”), the wistfully woeful (“He Was Too Good to Me,” “It Never Entered My Mind,” “Little Girl Blue”) or the stunningly romantic (“My Heart Stood Still,” “Where or When,” “My Funny Valentine,” “Bewitched”)—she handles each word, each phrase, like the gem it is, often increasing the overall value by unearthing seldom-heard intros and extras verses.

February 1, 2008
by Craig Smith

ANDREA MARCOVICCI, "Andrea Marcovicci Sings Rodgers & Hart" (Andreasong). A really good show tune has enough creative elasticity and inner truth to work both in and out of context.  These treasures by Richard Rodgers and Lorenz Hart certainly do, and they fly especially high thanks to cabaret queen Marcovicci’s individual way with and obvious affection for each number.  She tastes the words as well as sings them, smoothly uncoils her rich voice at every pitch and dynamic, and is now cool, now hot, now detached, now obsessed as needed. 

And with the phenomenal pianist-arranger Shelly Markham and gifted bassist Kevin Axt backing her, she has just the right kind of full-hearted collaboration to form an artistic trio that can’t be beat.  Just listen to one tiny moment, and you’ll know what I mean.  In “A Little Birdie Told Me So” from the now-forgotten "Peggy-Ann", Marcovicci notes about a naughty suitor, “He will use poetic words that no one understands, and illustrate the meaning with his hands.”  The voice, bass, and piano combine to deliver a perfect and perfectly damning take on the unseen gent.  All the other songs get the same top-notch treatment, including “Where or When,” Sing for Your Supper,” “Thou Swell” and the inimitable “My Funny Valentine.”  If you can’t make it to San Francisco to catch Marcovicci’s regular work, this is the next best thing.

February 28, 2008

"Andrea Marcovicci Sings Rodgers & Hart" (Andreasong Recordings)
It takes a little maturity (as in: a divorce or two, a couple of near-fatal broken hearts, more than one story of unrequited love) to relish the rue of cabaret. These little nightclub islands of civility celebrate saloon songs with a vengeance. More than a blues bar, less than Alcoholics Anonymous, the cabarets we remember are filled with anonymity.

Nobody has a last name. The bartender never assumes anything, never judges anybody. Drinks are always a bit stronger than you remembered them.
But for some poorly understood reason, cabaret thrives only in big cities with a modicum of sophistication. Tucson is getting there. The Baked Apple has long been famous as a place to give life a second chance. Let a few more people lose a few more fortunes. That should do it.

Then book a few singers like Andrea Marcovicci, applauded by the International Herald Tribune as "the greatest cabaret star of her generation." Her exploration of bittersweet happiness in this collection is a great place to start appreciating the lifestyle. Listen to the words of the revenge anthem, "To Keep My Love Alive." Enjoy the sly sensuality of "Bewitched (Bothered and Bewildered)." Hear the hope in "Little Girl Blue."

Marcovicci's voice has an operatic veneer with a huskier steeliness underneath. Polite enough to make your mother smile, but also promising more earthly delights.

Grade: A
Genre: cabaret

What the critics said about the live show when it debuted in San Francisco:

“A fascinating glimpse into the heyday of early 20th century musical theater. A silky “He Was Too Good to Me,” emerges as a potent mini-drama; poignant performances of “Falling In Love with Love” and “It Never Entered My Mind” support Marcovicci’s description of Hart as 'the greatest-ever writer of the unrequited love song.' She evokes the emotional atmosphere of each song with a deft touch; nothing is overstated... The decidedly un-romantic “To Keep My Love Alive,” about a woman who bumps off a string of husbands, offers a wickedly funny counterpoint to the tender moments. With Marcovicci as an advocate, the pair never had it so good.”
The Examiner

“Her beautifully trained voice carefully adds a wonderful touch of drama to her musical presentation.. it's the best evening of cabaret that you can ever imagine -- pure entertainment.”
KGO Entertainment

"Andrea Marcovicci has an incandescent enthusiasm and a masterly balance between poignancy and wit." Stephen Holden, The New York Times

Andrea Marcovicci, a champion of the American Popular Songbook, has created full-cast variety shows and over forty solo cabaret shows. Her many recordings reflect her deep devotion not only to classic songwriters of the past (like Irving Berlin, Cole Porter, and Rodgers & Hart) but her encouragement of new voices composing in that same tradition. Andrea began her career with appearances on The Today Show and The Merv Griffin show, subsequently appearing at the legendary New York nightclub Reno Sweeny, and eventually mounting a solo concert at Carnegie Hall with guest, Michael Feinstein.

Her many awards and honors include a MAC, BISTRO, and MABEL. Andrea was inducted into The Cabaret Hall of Fame in 2016. She holds the record – an unprecedented 25 seasons – at the legendary Oak Room of the Algonquin Hotel, and was the final performer ever to grace that stage.

In a career spanning over five decades, the singer and actress, has co-starred with Danny DeVito, Sir Michael Caine, Tom Selleck, Sam Waterston and many others. Her film debut in “The Front” brought her a Golden Globe nomination. She’s played Broadway, the White House, and sold-out the esteemed LICEU Opera House in Barcelona and Town Hall in NYC. Andrea ushered in the millennium with the Chicago Symphony. “Ten Cents a Dance,” her tribute to Ruth Etting, aired on PBS. Andrea has guest starred on Garrison Keillor’s Prairie Home Companion and read poetry, and stories, for NPR.



to write a review

Willard Knox

I saw Ms. Marcovicci perform this album at the Algonquin's Oak Room. She's a marvelous performer, and always compelling. This album's power lies both in its unadorned musicality, and in Ms. Marcovicci's ability to get to the heart of any song she's singing.

carolyn okeefe

rodgers and hart
This is really growing on me. I love AM's theatricality and I'll bet this would have been great as a live CD. I began liking AM with What is Love and this was my second cd after that. There is about a decade in between and there are differences in her voice now which I need to get used to. Now, AM's voice or phrasing isn't as crisp and relies on the higher notes more which makes her sometimes sound a bit like Celeste Holm. I've got to get used to that. Love Jupiter Forbid and He Was too Good to Me. I liked What is Love for the little poems interspersed which made me like AM as a person. That context colors all my listenings and moves me to listen several times to each CD before deciding: do I like this? With each new listening, I find there's no AM recording I don't like. You can't go wrong with this one, even though I prefer What Is Love and New Words.

Michael Dowd

Can't help myself.
Ms. Marcovicci continues to be wonderful. Her style, which I suspect reflects her training as an actress, respects Larry Hart's beautiful, often witty, very often sad lyric.

Her voice carries Rogers music.

But she is an amazing performer, which is maybe a different thing as well.

Back up is wonderfully professional musicians.

I think I'll book a ticket to NYC, hit the Algonquin again, and pack my tuxedo.


Sean Minnig

Andrea Marcovicci Sings Rodgers & Hart
We saw Ms. Marcovicci perform her Rodgers & Hart show at the Plush Room in San Francisco and it was just wonderful. Her marvelous, period-style interpretation of these classics is what the American Songbook is all about. The CD is a perfect representation of her style and musicianship.