Kristina at Carnegie Hall CD tracklist

 Disc: 1
  1. Overture
  2. Path Of Leaves And Needles
  3. Where You Go I Go With You
  4. Stone Kingdom
  5. Down To The Sea
  6. A Bad Harvest
  7. No!
  8. He’s Our Pilot
  9. Never
  10.  Golden Wheat Fields
  11.  All Who Are Grieving
  12.  We Open Up The Gateways
  13.  Peasants At Sea
  14.  Lice
  15.  In The Dead Of Darkness
  16.  A Sunday In Battery Park
  17.  Home
  18.  American Man
  19.  Dreams Of Gold
  20.  Summer Rose
Disc: 2
  1. Emperors And Kings
  2. Twilight Images Calling
  3. Queen Of The Prairie
  4. Wild Grass
  5. Gold Can Turn To Sand
  6. Wildcat Money
  7. To The Sea
  8. Miracle Of God
  9. Down To The Waterside
  10.  Miscarriage
  11.  You Have To Be There
  12.  Here I Am Again
  13.  With Child Again
  14.  Rising From Myth And Legend
  15.  I’ll Be Waiting There



  • Can’t wait.

    Don’t know whether to buy the CD and listen to it before RAH or wait till after the concert. Decisions, decisions…….

  • Have i missed a previous release or have we yet to get a studio recording in English?

  • @Russell – This release is the first ever English language version of the show. There is no studio recording at the moment.

  • I seem to remember that they had Carnegie Hall for a ‘third night’ and didn’t they make a recording then too? I guess it’s still ‘live’ but not in front of an audience.

    If I were going to the RAH (which I am not) I would still get the CD ASAP – after all you would then have time to ‘learn the lines’ from the lyrics in the booklet!


  • Thanks Ice.

  • @Lee – Yes, recording also took place at Carnegie Hall on the night before the two public performances last September.

  • I dont believe you need to know the "lines" to enjoy the show (although they are very moving) it is after all not a mamma mia style sing-a-long!. I have for many years been passionate about Kristina without speaking Swedish. If you know the story (or at least synopsis), and are familiar with the characters then the rest falls into place. It is so wonderfully put together that you somehow just seem to understand.
    English or Swedish? Live or Studio? Full Production or Concert Version? Each equally brilliant so enjoy them all!

  • same here Anne. have loved Kristina for years without knowing what the words meant, just the outline of the story.

    You’re right – you just seem to understand (although for a long time I thought that perhaps "Astrakhan" was the name of one of Kristina’s kids!)

  • Ok, my comment was meant to be a little ‘tongue in cheek’ (I wonder how that translates to Swedish!). Of course the Swedish KFD is the best thing ever written and performed by anyone, ever … and I too love the Swedish version. Some people may have been putting off getting to know this Opus until it was translated.

    Roll on the next two weeks …


  • It’s great to see that it’s the full concert, and not cut down at all 🙂

  • My good friend Tony has encouraged me to read all four of the Vilhelm Moberg books and I’m now part way through the third part, ‘The Settlers’ and will complete the final part before April 14. There’s not much time get through all four parts before the concert if you only start now, but I can strongly recommend trying to do so, as it will infinitely enhance your enjoyment of the concert. Even if you don’t finish before 14th then reading the books will make listening to the CDs so much more meaningful afterwards. Reading the books shows just what an amazing job Bjorn and Benny have done in creating ‘Kristina’ (as if we don’t already know that!), they’ve really captured the spirit of the story and the heart and soul of each of the characters and you’ll find your head becomes filled with their wonderful music and lyrics as you read certain parts, discovering the inspiration for each part of their creation. Trust me, it’s worth it.

    On that note, I thought it would be fun to use the details in the stories as a sort of count down to the concert, especially considering that April 14, 2006 is 160 years to the day that Kristina, Karl Oskar, their children and their fellow travellers set sail from Karlshamn en route to America (as someone else so cleverly noted in an earlier thread).

    So, according to Moberg’s narrative, on this day (March 28) 160 years ago in 1850, Karl Oskar of Korpamoen went to see Dean Brusander and requested extract from the parish register for himself and his household for emigration to North America.

    Over the next couple of weeks, leading up to the concert and the anniversary of setting sail, I’ll post further notes on specific days that recall events that took place in the lives of Kristina and Karl Oskar leading up to their emigration.

    (I realise this thread isn’t necessarily the most obvious one for this sort of information, but it’s the only Kristina-related item still listed on the home page (except the amazing comp, but that thread isn’t taking comments), so if anyone can suggest a better alternative thread then please do so. Thanks.)


  • Will ‘I Am Reconciled To My End’ be included on the cast recording? It’s such a moving, powerful piece. I know that they have cut some songs, and will be upset if this one isnt included.

  • Elaine Paige played Gold Can Turn to Sand from the live album on her programme this afternoon. You can listen at: for the next 7 days.
    Shame she said it was sung by Russell Watson.
    Gave the show a good plug regardless.

  • Andy, I would imagine that ‘I am Reconciled’ has been included with ‘Gold can turn’ as it was not separately stated on the Carnegie Hall concert list if I remember right. This also leads me to thinking that now we have the songs in English, was there any website that ever recorded/translated the spoken dialogue? I remember reading something last September where they had interviewed the gentleman who had conducted the translation of those spoken parts only for the English version.

  • I’ve heard Kevin Oderkirk state that there were only two recording sessions made–as far as knew–one during each performance.

  • Thank you Martin, so the song was deffinitely performed? If thats so, then I’m sure it will be on the Gold can turn to sand track.

  • This is the ‘danger’ of having a ‘different’ version of the work that we are used to. We know it is shorter and that some songs/instrumentals have been cut and others reduced (eg Sunday in Battery Park).

    Looking at the track listing it seems to me that in addition to a few songs being removed, some have been split into two ‘new ones’.

    @Andy, My stance on this is simply to wait and see and hear the full recording before making any judgement – we never know, the changes may be for the better. And we always have the original to return to. I have 4 versions of Chess and love things from all of them.

    It’s going to be great!!!


  • @Andy
    Yes, at Carnegie Hall ‘I’m Reconciled to Fate’ was not listed separately in the Playbill, as Martin pointed out, but it was definitely performed as part of the ‘Gold Can Turn to Sand’ scene – the Playbill lists Robert, Kristina and Marta as the performers of that scene. However, I’m sorry to day that I seem to remember the ‘I’m Reconciled to Fate’ section was shortened by at least two verses.

  • @ Glenn: at a meeting with fans on the afternoon before the first concert Kevin mentioned that the previous night’s rehearsal was recorded.

  • Great. This was the first and only concert I have ever been at that was recorded.

    Every instinct tells me the proposed trimmed-down show in Finland is to see how it works if brought in under three hours.

    It may seem presumptious but I would ditch the Lice number. There’s an axiom on Broadway you don’t get points for being totally loyal to the source. There may be cultural and national implications, however.

    I’d also make Kristina’s Uncle a widower from the outset. If Anna has to die, why not from ship’s fever? Kristina’s motivation for leaving Sweden could be that as a close relative of her uncle who is considered a heretic like his father, it’s only a matter of time before the authorities put her away leaving the children without a mother.

    If you need a confrontation between Ulrica and Kristina you don’t need lice which doesn’t sit well–and didn’t play well–at Carnegie Hall. Why not have Ulrika accuse Robert of dishonorable intentions toward her daughter. That would give Kristina the motivation to tell Ulrika she should be the last one to accuse another person of that sort of thing.


    Kristina could be carrying a child as they head for Minnesota, the delivery could be a difficult one but Ulrika could serve as a midwife who saves mother and child. The stage is set for a friendship between the two.

    The thing you want to avoid, I think, is Kristina having too many kids and’or miscarriages. The death of Anna at sea would make the point and it would not be a difficult thing in ACt II (as it was so beautifully done in "Gone WithThe Wind" with Melanie) that Kristina could take sick and be told the birth of her last child was so difficult, another pregnancy could be catastrophic.

    The body count in "Les Miserables" was pretty high–Fantine, Eponine, the students, Gavroache, Javert, and Jean Valjean so in ACT II why make Kristina the only causualty?

    Here’s the big question: Does Kristina have to die? In the original play "Liliom" which became "Carousel" Molner had a very dark ending: Billy Biugelow blew his second chance to connect with his daughter and make things right. Rogers and Hammerstein gave the audience and uplifting ending and, voila! A classic.

    As much as I love the song, does Robert really have to die? Wouldn’t it be more ironic and show character development if he, the dreamer, survived his ordeal but Karl the pragmatist died, let’s say, in an attack by
    the Sioux–or…he enlisted in the army to fight in the Civil War as an act of gratitude for what America had given him and was killed–or missing in action to show up late in Act II. It happened in the war–in all wars.

    The bottom line is, the music of "Kristina" is the best to hit the stage in many years but Benny and Bjorn are right. It may be two grim for American audiences–even those who made a homicidal barber a folk hero.

    Think also about "West Side Story". It was an obvious adaptation of "Romeo and Juliet" but Arthur Laurents did not kill off both Romeo and Juliet. He had the brass to change the ending of one of the greatest love stories ever written. A masterpiece.

    I’ve been talking to a guy who has been an investor in some shows and we were rethinking "Kristina". Unless the quartet of novels is more sacrosanct in Sweden then Shakespeare is in the U.K. and England, there’s no reason to stay absolutely faithful to the source material.

  • Actually Glenn, pretty much everything you mention in the first half of your post *did* happen in the books and have been trimmed out of the musical. Some scenes have been moved around in the story, many storylines and characters have not been included already.

  • Hi there, what about meeting after the concert on 14th April at the Roof Gardens or somewhere around? Any ideas? I think it would be lovely!
    Bye and hope to see you there

  • Ian, thanks for the response. I suppose I should have simply said that if Benny and Bjorn are concerned about the tone of the piece being too grim for Broadway audiences they might have to make a tough call: take the route Bernstein did with "West Side Story" and R & H did with "Carousel" and make major changes in the original material–particularly in the need to kill off Kristina. As I said, in WSS, "Romeo" and "Juliet" both didn’t die. Maria was left to go on without Tony.

    Kristina is such a heroic woman, I think it would be "brighten" the piece a lot if she was left to go on without Karl rather than Karl without her.

    Just a thought.

    I’m interested in your opinion about one thing: I’ve heard more than a few people say their empathy for Kristina was blunted by an almost self-destructive need or recklessness to risk another pregnancy. I think they have a point. In "Gone With the Wind" Melanie ultimately died after the complications of ONE pregnancy. We are lead to believe that happened despite following the Doc’s advice. "Kristina" was told in no uncertain terms that sex meant death and even after her anthem to doubt ("You must be there") she still has a roll in the proverbial hay with Karl believing God will watch over her and make the sex safe. There’s kind of a disconnect there, I think. What do you think?

  • Glenn, some interesting discussion going on here 🙂

    I don’t agree with the comparisons with West Side Story, etc. Those were based on or inspired by other source material, whereas Kristina is an adaption.

    I’ve never heard anyone saying anything about having a lack of empathy for Kristina. She has a lot of love for her husband and yes, depsite the doctor’s warning, still they have sex and she ends up pregnant again. That doesn’t seem reckless to me, though perhaps her belief that God would not allow any harm to come to her was a bit of a disconnect for me.

    Personally I had a lot of trouble with Kristina’s deep religious conviction and her belief that everything in her life was guided by God. But that was another country and another time.

  • I have just had an e-mail from HMV: Your order?s in the post and should be with you soon. If you?ve pre?ordered, we’ll aim to get it to you on the day of release (UK deliveries only).

    BRILL 🙂

  • I was in HMV today (was going to persuade them tolet me have it – have managed before) But they checked on their system and it said it had been postponed! noooooooooooo.

  • After seeing the comment by Graeme, I ordered from HMV on Thursday and it has arrived this morning!

    Yay. All I can say at the moment is that is very well packaged. Have to go out now, will listen to it properly later… though it might find itself going in the car with me 🙂


  • Yeahhh!!!! My copy arrived this morning too.

    Ordered from HMV last Tuesday for my birthday. I’ve listened to it all the way through and it bought back some amazing memories from Carnegie Hall. Roll on Wednesday!

  • I think the fact that Kristina sleeps with her husband even though it could end her life is one of the loveliest moments in the show. It shows how much she loves him, how she simply can’t believe that it can be wrong to do so and even if it is, to live without that closeness to the man she loves would be a life not worth living. It’s not rational and it can be seen as foolish, but she is in love and it’s that which drives her to do what she does. Even at the end she knows / believes that they will be together again in heaven and she is at piece with what she decided to do. Beautiful!

    I have to say I haven’t really got into the English lyrics. They don’t seem to carry the story as perfectly as the music does. Like people have said you almost don’t need to know what the Swedish words mean to get the story – the music does this for you (at least it sets so perfectly the emotions and feeling of each scene) and if you know the basic details of the scene you really do ‘understand’ what is being ‘said’.

    Some of the English lyrics seem to reduce the impact of the music, I don’t feel they are always as beautiful, expressive or as poetic as the music really demands of them. I will always choose the Swedish language version over this current English translation. This music, which is exquisite needs the most brilliant lyrics and I’m afraid I don’t think these are.

    One thing that had not occurred to me, is that a lot of Kristina is more like recitative rather than songs, which of course does make it more like an Opera. I think this could be a block to some of the broader musical theatre going public. (Yes I know Les Miz is the same among others, but it’s how the recitative is used, not the fact it’s there that counts.) And at times it still feels a little too false and unnatural.

    I don’t think it’s a problem at all that Kristina (or any of the characters) die, it just must always be done in such a way as the audience truly care about each character and can empathise with the other characters when one of them dies or is hurting etc. This seemed to work in the staged version, but with these lyrics and in a concert setting I think it’s very hard to really create the necessary levels of emotion. Though it does of course manage it at certain times.

    If only Tim Rice had worked with B&B on this one, I’m sure the lyrics would have been so much more interesting.

    As an example:

    "All the ships that have gone DOWN
    All the bodies lying DOWN there in the deep
    Eaten by the whales and the ocean monsters
    Save us from these, Almighty Savior Jesus"

    To use the word ‘down’ at the end of this line does not seem to provide the right sound for the music and then to use ‘deep’ in two adjacent lines seems clumsy to me. (Though I appreciate they could be wanting to emphasize the ‘deepness’ but I don’t think that’s necessary) Also at this point to say "Save us from these", implies they are just about to set off on this journey and that these dangers are upon them, when that has not yet been decided – only talked about. Even something like:

    "All the ships the sea has taken
    All those bodies lying restless in the deep
    Lost to us forever, rotting in the darkness
    Save their souls , Almighty Savior Jesus"

    Which of course still isn’t ‘right’ but to me does seem to add a bit more colour and power to the statement. This colour, power and imagery is what is missing in a lot of the lyrics. And I’m sorry to say, but it is this that makes listening to the English lyrics a bit boring.

    The narrative to Kristina is a bit dull at times, as it’s a very domestic story most of the time and not a lot really ‘happens’ it’s all going on around them, but for example the time (in the books) when Kristina is visited in her home by an Indian is not in the musical, and this type of thing could have added drama and action. If this sort of thing is not to be in the story then the parts that are told must be very tight and strong. Lice for example is quite a fun part of Act I and probably should be kept, but would

  • I spelt peace wrong!!!! I think I must have Chess (as in Chess piece) too much on my mind!

  • Very jealous. Ordered from HMV a long time ago. Got the email to say it’s on it’s way but still haven’t got it. Am now travelling so won’t get it before I attend the RAH on Weds. Oh well.

    Just one thought, whoever has done the PR for Kristina in the UK should be shot. Besides a full page ad (looks fab) in today’s Sunday Times Culture section, it is not mentioned anywhere. Time Out in London doesn’t even have it listed as happening at the RAH. No wonder there are still lots of tickets left.

    I suspect there will be a few free seats being given out for PR connected people on Weds. Here’s to an amazing night despite the fact no one knows about it 🙂


  • I think the problem with the spare seats relates to a problem the RAH has: Corporate sponsorship.
    Many of the boxes and chunks of seating are on sale tot he general public are actually owned by major companies who sponsor quite generously the RAH. They get first refusal to seats, which unclaimed can then go on sale at the last minute.
    I believe up till a couple of weeks ago there was nothing left except 200 obscured views in the circle.
    I’m pretty annoyed that now seats are available in significantly better places than was offered to me when I booked on the first day.
    I presume the RAH thought there was no need for publicity as the vast majority of seats were sold within the first few days. When I booked on the first day they said they had not had such first day interest for a show since Cliff Richards shows were announced.
    I ended up booking by phone as the web site was obviously so busy. Even then it took for ever as so many people were all wanting tickets at the same time.

  • You can download the entire double album at Amazon for only £5.00!

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