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Richard Strauss: Notturno

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La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

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Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

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Reviews

Aaron Copland: The City
20 Apr 2010

Aaron Copland's score for The City

This disc neatly captures a central dichotomy of the career of composer Aaron Copland.

Aaron Copland: The City

Francis Guinan, narrator. Post-Classical Ensemble. Angel Gil-Ordóñez, conductor.

Naxos 2.110231 [DVD]

$17.99  Click to buy

Raised in New York City, Copland gained his greatest successes with scores that extol a rural, bucolic vision of American life. Appalachian Spring, Rodeo, Billy the Kid — compositions that present an idealized, perhaps even sentimentalized portrayal of a boisterous, green America, while containing enough musical sophistication and imagination to remain perpetually fresh. One of the composer’s early forays into film composition came when he was asked to score a 45 minute documentary called The City, which is in effect an advertisement for Lewis Mumford’s planned community, Greenbelt. Before the filmmakers (Ralph Steiner and Willard Van Dyke) turn their film over to a rapturous hymn to Greenbelt, they set the stage by contrasting the virtues of country living with the veritable hell of city life, circa 1939 — the very city life that produced Aaron Copland.

The booklet essay by Joseph Horowitz calls this disc a sequel to the Naxos DVD containing The River and The Plow that Broke the Plains, two short documentaries for which Virgil Thomson composed the scores. As that disc did, this one contains a fresh, high-quality audio performance of the score by Angel Gil-Ordóñez conducting the Post-Classical Ensemble, along with the original performance (in clear but flat mono) by a studio orchestra. Copland composed episodes, not just the typical brief cues of most film soundtracks, with the film’s portentous narrative interspersed. It’s high-quality film music — entertaining and yet not overwhelming the film’s objective. A sequence of 1939 traffic jams gets a strangely jaunty theme, as if city boy Copland found something fun in the sight of these city dwellers desperate to escape on a weekend to some beach or picnic refuge. In fact, the most interesting music underlies all the city sequences, which the filmmakers work anxiously to make as repulsive as possible. The soft core religiosity of the Greenbelt section may make some listeners sleepy.

Inevitably The City brings to mind the film Koyaaniqatsi, only with better music (sorry, Philip Glass fans). The City also claims that modern city life dehumanizes us, while the “old ways,” recreated in Greenbelt, will restore human life to a paradise lost. The narration ranges from the didactic to preachy, with dips into the bizarre: “A little gossip or a friendly hand is good for the complexion.” A bonus feature has interviews with adults who grew up in Greenbelt as children, and they speak honestly about both the beauty of the experience and the reasons why Greenbelt never became more than an experiment. A sleepy but insightful interview, the other bonus feature, also offers pointed commentary on Greenbelt’s ultimate failure to truly be a workable alternative to the urban/suburban sprawl just getting underway in 1939.

A fascinating disc, and highly recommended.

Chris Mullins

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