Still, that is not to say this is a forbidding or cold musical. Purists of either camp, be it latino/rap/hip-hop or traditional musical theater, may squirm at "In the Heights" as an abomination when it is actually doing what inventive commercial music always does: challenges, entices, broadens and ultimately invites a new audience in. This tantalizingly brisk recording of the Tony award winning musical is both a hybrid and an amalgamation of two so seemingly disparate musical styles that it would have seemed inconceivable that such an achievement was possible. His work here represents both a cutural perspective and a grasp of the musical theater idiom within which he has chosen to express his idea, yet he does not do this in a clumsy or preachy manner.

It's cliche at this point to site Sondheim as an influence, yet it's unavoidable in the character-driven songs of "In the Heights" or in the masterful way in which Miranda lays contrapuntal lines across his most comlex pieces. In fact, his work is so seemless as to be breathtaking. This is not your mother's Broadway musical. Times change. Out of nowhere comes one of the most exciting ensembles in memory. Miranda himself is a disarming lead, but the rest of the cast really grab their moments and make the most of them.

The recording is crisp and clear, orchestrations are flavorful, evocative and exhilirating and the overall impact is stunning. Miranda is too smart and exuberant for that and he knows his actors need to be allowed to come alive. Songs such as "Piragua", "Blackout" and the title piece are so galvanizing they practically jump out at you, while the gentle, earthier moments in "Alabanza", "Everything I Know" and "When the Sun Goes Down" are heartbreakingly poignant. While not a blockbuster in the vein of "RENT", "In the Heights" actually has a more successful and clever score than even that seminal piece. Composer-lyricist-actor Lin-Manuel Miranda has seemingly come out of nowhere fully formed as both an insprired artist and a very skilled craftsman in the art of composing. So be it.

And do they ever. Olga Merediz, Robin De Jesus and Karen Olivo are all exceptional and sing their souls out, but there is really no one here who is less than marvelous.

I will one day My title says it all. Quality mdse and getting a better price. I have many things here that I would love to sell but I am not that savy of what is going on. I need to find someonr who can help me.

very exciting score. Blends Latino and Rap in a very stylized and unigue way. It is exciting to listen to and makes you desire to see it on the satge.

The music is amazing, Lin Miranda has a tremendous talent composing every single letter of this play. Highly recommended. I haven't seen this musical until today, but my sister recommend me this CD, I bought it and I never thought it could become one of my favourite soundtracks of a musical. The latin influence in the music make it different, happy, fresh and enjoyable. 96,000 is one of my favourite songs as well as Blackout, but I think the best song is Sunrise. You won't regret buying this CD.

Each song furthers the plot or character developement (a must in modern musicals), while the Latino flair and modern setting allow for sounds not often heard in the theatre. The Great White Way has become increasingly dominated by revivals, gimmicky star casting, and uninspired musicals based on movies that seemingly came out last year. I have to admit to being a bit cynical about the future of the Broadway musical. about a group of Latinos living in Washington Heights as they struggle to find their "home" in the world.

The Tony-winning score on this recording manages to be fresh and pop-influenced without being repetitive. Firstly, I applaud the show for helping to diversify the musical theatre scene. From beginning to end, "In the Heights" is an entertaining show that manages to get you involved with the characters and their struggles without seeming heavy-handed or forced. It's honest and heartfelt message speaks to everyone. Miranda's raps (and indeed, his lyrics for the entire show) are sophisticated and clever while remaining authentic to the characters and situations, and he performs them admirably. But he leaves the heavy vocal lifting to a trio of very talented women: Mandy Gonzalez, Karen Olivo, and Olga Merediz.

Olivo - who plays Vanessa, a woman who desperately wants out of Washington Heights - has the best voice of the bunch, which is showcased especially well in the descant she sings during "96,000" and "Alabanza." And as Abuelo Claudia, the neighborhood matriarch, Merediz absolutely nails her showstopping "Paciencia y Fe," which is easily the best track on the CD. There's also some excellent dance music interspersed throughout. Secondly, it has been a long time since I have seen a show so singularly committed to a central theme (this theme being "home"), which I think lends "In the Heights" a cohesion other new works lack. But "In the Heights" has renewed my faith in musical theatre's future. Here is a show that tells an original tale (hooray). Although "Spring Awakening" seems to be this decade's "Rent," I believe "In the Heights" will do the most to get younger and more diverse audiences into the theatre.

The young and energetic cast performs these songs expertly, lead by composer Lin-Manuel Miranda as the rapping narrator/protagonist Usnavi. As college drop-out Nina, Gonzalez has the most singing, which she handles well despite some strain heard in the upper range of her belt.