Yesterday I repeatedly watched the video of the amazing Sarah Horn singing a duet with Kristin Chenoweth of “For Good” from the musical Wicked at the Hollywood Bowl on 23 August.

As Sarah (an audience member) and Kristin had not met before that night, let alone rehearsed, the performance was like lightning striking. All you have to do is find a video whose camera operator’s shrieks are not drowning out the sound; I’ve linked to the shrieking version above because the performers can be seen better, but here’s a different recording with superior sound.

Since “For Good” is a maudlin and pedestrian song, I later switched to the more sophisticated fare I prefer: the original cast recording of A Chorus Line (1975) and in particular my favourite songs: “At the Ballet” and What I Did for Love” (dancing and singing happen to be things I do for love as well). And today I had a Sondheim-fest: the new-to-me Company (1970), which requires an astoundingly multi-talented cast (I watched the 2006 revival, starring Raul Esparza); and Sondheim! The Birthday Concert (2010), followed by Sondheim: A Celebration at Carnegie Hall 1992, most of which had different content from the 2010 show; and finally my beloved Sunday in the Park with George, filmed in 1985 with Mandy Patinkin and Bernadette Peters. Up next will be Into the Woods (1987).

In previous weeks I’ve been letting Baroque recordings (Bach, Handel, Mozart, Vivaldi, etc.) calm me on YouTube before going to bed. (Some classical music I also listened to wasn’t calming but grief-inducing, as the 12th anniversary of 9/11 is coming up fast: the choral version [ Agnus Dei ] of Samuel Barber’s Adagio for Strings.)