I have a BroadwayHD subscription on Amazon Prime, and I saw an iTV (British) live production of Sound of Music from 2015, two years after the NBC Carrie Underwood one that pretty much invented the short-lived "hate watch" live tweeting that prompted Underwood to respond to the haters by saying that "they needed Jesus!".
The sets and opening were wonderful and I really enjoyed the styling of the characters (there's no Maria wearing designer shoes in this one as there was in the Carrie Underwood version).
Kara Tointon played Maria and Julian Ovenden played Captain Von Trapp (most Americans may be familiar with him as the guy in-between "Tony" and Matthew Goode as Mary post-Matthew suitors in Downton Abbey). British stage star Maria Friedman played Mother Abbess. Alexander Armstrong was a serviceable Max while Katharine Kelly actually did what she good to add some complexity to Frau Schrader, and she looked like a young Helen Mirren glammed up. Overall, I can tell the actors were skilled or had some training. I liked Tointon as Maria at first in her opening scenes and when she meets the children. However, the pacing seemed too swift to where a lot of emotional beats were missing, and the actors probably needed more rehearsal time or something because you can tell they weren't quite internalizing or emotionally connected to the roles as they could have been with more time.
An example of the above was the missed opportunity was with Ovenden's "Edelweiss" segment at the end. It should have been a more emotionally resonate moment but it ended up coming off hollow and then the audience joining didn't seem earned as a result. Another one was every more serious scene between Maria and Captain Von Trapp or Maria listening to Mother Abbess' "Climb Ev'ry Mountain"... I just remember Julie Andrews' playing that scene perfectly.
About the music, the singing was alright. Nothing will blow you away, and, honestly, some of those kids couldn't sing. You would have heard much better versions of the songs growing up, and yes, I'm counting the original Maria, Mary Martin*.
Overall, it was an okay watch and my sons enjoyed the songs, actually really enjoyed it to where I ended up singing "Do-Re-Mi" with them a few times last night. If you like the musical, it's a good production to watch just to say you've seen it.
This part below is for the theatre nerds who really like comparing versions of the musical.
I was already familiar with the differences between the stage version and the film version, but this version hit home how Robert Wise and co. made the best decision making "My Favorite Things" into a song where Maria and the children bond as opposed to "Lonely Goatherd", having Richard Rogers write "I Have Confidence" to give Maria more depth, and making "Edelweiss" the song the Captain sings when he first "rediscovers" music. I also liked the first duet between Max and Frau Schrader, but it seemed weird to have a song with Captain Von Trapp BEFORE he rediscovers his love of music and welcomes music back into the house. That should have been set after and used as a way for Schnader to get the Captain. Also, the second "just lay back and enjoy as Anschluss is happening" song from Schrader was rightfully cut.
"Something Good", written for the movie, is a such lyrically-clunky song in the movie (Rodgers really needed Hammerstein to write lyrics) but it sort of made sense and was filmed well. But when you see it put into a production that is more faithful to the stage libretto, it sort of comes out of nowhere because they didn't really set up the romance between Maria and the Captain well. At least the film version had close-up shots of Andrews and Plummer sneaking looks and having that sort of unspoken chemistry between them. Also, this song hints at the real Maria's traumatic or bad upbringing, which also explains her desperation to be a nun because you get a feeling that she really has no where else to go, but the stage libretto does not give any sort of hint actually makes it seem like the opposite.
I also realized just how underwritten Maria becomes in the second half when the story shifts to Anschluss and becomes more Captain Von Trapp's story (with Maria just going "I'll do whatever you want to do, darling"). The only thing she had to offer in the second half was that "Sixteen Going Seventeen" (Reprise) and saying she knows the mountains backwards and forwards and lead the kids to Switzerland. That's nice, and was set up in the beginning when she says she could never get lost in the mountains, but I wish she had more to do.
*Mary Martin - I know she isn't known for being a Julie Andrews' type singer, and younger Broadway fans think she's so quiet, but I think she still had a distinct singing voice full of personality. Plus, I saw this old black-and-white bootleg video of her singing "Honey Bun" on stage from South Pacific and her voice was actually booming and filled the whole theater. I wonder if her more demure singing was just for recordings.
, plus the part in the museum is way to long, isn't giving much storytelling wise either.
She hates them in their human form but can't get rid of them in their object forms. They hate being in their object form but have to use it to keep her from getting rid of them. She sold all the other object forms because it was too crowded in the apartment. 
I also watched "The Glory" in Korean with subtitles recently.
