Personnel: Bucky Pizzarelli (guitar); Vincent Della Rocca (saxophone); John Oddo (piano); Richard Sarpola (bass guitar); James Saporito (drums).

Additional personnel: Kate McGarrigle, Lorna Luft, Martha Wainwright.

Rufus Wainwright has never been afraid of the extravagant gesture, so in the summer of 2006, the singer-songwriter booked a special engagement at Carnegie Hall, complete with a full orchestra and special guests, for the express purpose of recreating Judy Garland's iconic 1961 comeback album, JUDY AT CARNEGIE HALL, in its entirety. Although in both graphic design and Wainwright's choice of outfits for the concert (as seen on the DVD RUFUS! RUFUS! RUFUS! DOES JUDY! JUDY! JUDY!, available separately), care was taken to evoke the overall look and feel of Garland's original concert, Wainwright smartly avoids trying to sound like Garland. Still, his semi-operatic vocal style is a perfect vehicle for these classic pre-rock Tin Pan Alley and Broadway songs. Guests include sister Martha Wainwright, mother Kate McGarrigle, and on a lovely version of "After You've Gone," Garland's youngest daughter Lorna Luft.

If Release the Stars displayed Rufus Wainwright as a weary, wannabe expatriate who was "so sick of America," then Rufus Does Judy at Carnegie Hall -- released just seven months later -- shows him falling in love with the country (or, at the very least, its traditions) all over again. Few things are as American as the American Songbook, which Wainwright tackles here with energy, camp, and a sly wink. Reprising the entirety of Judy Garland's 1961 concert at Carnegie Hall, he regains much of the momentum that was lost in Release the Stars' slower moments, performing live with a brisk 36-piece orchestra and several family guests. Perhaps there are people better suited to this task than Wainwright, singers who more closely embody the innocence that Garland always seemed to radiate in spite of her growing addiction to booze and Benzedrine. But Wainwright is obviously enamored with Garland -- who, in addition to her role as one of America's greatest female entertainers, has also become an enduring icon in postwar gay history -- and he revels in the glamour and glitz of her 45-year-old set list. These songs hail from a golden era dotted with trolley cars, Cadillacs, and glitzy jazz clubs, an era in which Wainwright never lived but still has the ability to convey. The secret rests in his vocals, which rise and fall between notes with all the smoothness of a slide guitar. Steeped in opera music and Tin Pan Alley tunes, Wainwright doesn't fall prey to the trappings of a contemporary pop singer, but rather comes across as someone much older. He sings in a fail-safe tenor with colorful vibrato, unafraid to tackle several songs in their original keys and rarely, if ever, missing a note. His infrequent mistakes are mostly lyrical or rhythmic in nature -- a flubbed line here, a botched intro there -- and they're met with applause from the audience. So while the performance isn't perfect, particularly toward the end of the show (where, after two hours of performing swing tunes and jazz standards, Wainwright is understandably low on steam), it's still nice to hear the singer in his element, crooning about dinging trolleys and zinging heartstrings with flamboyancy that only he can muster. ~ Andrew Leahey

Rolling Stone (p.132) - 3.5 stars out of 5 -- "[I]t's a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album..."

Entertainment Weekly (p.131) - "His delicate upper range is nicely attuned to some of the ballads..."

Mojo (Publisher) (p.98) - 3 stars out of 5 -- "The material is cabaret deluxe....The emotions go deeper than if it had been a mere vanity project..."

Harp (magazine) (p.94) - "[H]is muscular voice and sharp performance skills pull off a moving tribute to what was considered Garland's finest performance."

The Word (magazine) (p.105) - "He proves himself the best kind of fan: witty, erudite, affectionate and exacting..."