• Series: Musical Theatre for Classical
• Publisher: Hal Leonard
• Format: Softcover
• Composer: Various
• Editor: Richard Walters
• Price: 29.99 (US)

46 songs. Contents: Bewitched (Pal Joey) • Bill (Show Boat) • By the Sea (Sweeney Todd) • Can't Help Lovin' Dat Man (Show Boat) • Children Will Listen (Into the Woods) • Climb Ev'ry Mountain (The Sound of Music) • Come Home (Allegro) • Falling in Love with Love (The Boys from Syracuse) • Hello, Young Lovers (The King and I) • How Are Things in Glocca Morra (Finian's Rainbow) • I Could Have Danced All Night (My Fair Lady) • I Feel Pretty (West Side Story) • I Have Dreamed (The King and I) • I Read (Passion) • If I Loved You (Carousel) • Is It Really Me? (110 in the Shade) • Losing My Mind (Follies) • Love, Look Away (Flower Drum Song) • Loving You (Passion) • Make Believe (Show Boat) • Moonfall (The Mystery of Edwin Drood) • My Ship (Lady in the Dark) • Not a Day Goes By (Merrily We Roll Along) • Old Maid (110 in the Shade) • Send in the Clowns (A Little Night Music) • Show Me (My Fair Lady) • Smoke Gets in Your Eyes (Roberta) • So in Love (Kiss Me, Kate) • Something Wonderful (The King and I) • Somewhere (West Side Story) • The Song Is You (Music in the Air) • The Sound of Music (The Sound of Music) • Stay Well (Lost in the Stars) • The Sweetest Sounds (No Strings) • Take Care of This House (1600 Pennsylvania Avenue) • To Keep My Love Alive (A Connecticut Yankee) • Trouble Man (Lost in the Stars) • What Would You Do? (Cabaret) • Who Am I? (Peter Pan) • Why Was I Born? (Sweet Adeline) • Will You? (Grey Gardens) • With a Song in My Heart (Spring Is Here) • Without You (My Fair Lady) • The Worst Pies in London (Sweeney Todd) • You Don't Know This Man (Parade) • You'll Never Walk Alone (Carousel).

“At last we have four good volumes of real singing songs from mostly pre-1970 music theater productions suitable for classically trained singers...The editor's excellent Preface addresses the need for classical singers to be at home with music theater, gives notes on the compilation itself, on common pitfalls for classical singers choosing a song, on the necessity for nonoperatic, standard American diction, and on the benefits that singing music that demands direct emotional and character expression might have on the singer's operatic expression. His advice is clear and well founded...These four volumes should be standard items in all voice studios and private song collections.”--Journal of Singing

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