20 Apr 2010
Aaron Copland's score for The City
This disc neatly captures a central dichotomy of the career of composer Aaron Copland.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
This disc neatly captures a central dichotomy of the career of composer Aaron Copland.
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.