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Détails
| Type d’ouvrage : | Musique | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Format : | Enregistrement sonore | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Tous les auteurs / collaborateurs : |
George Gershwin; DuBose Heyward; Dorothy Heyward; Ira Gershwin; Alvy Powell; Marquita Lister; Lester Lynch; John Mauceri; Blair Children's Chorus.; Tennessee State University. Band.; Nashville Symphony Orchestra. |
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| Numéro OCLC : | 71629802 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Notes : | Opera. Compact discs. Program notes and synopsis by Wayne Shirley, and libretto ([70] p.) inserted in container. "Original 1935 production version"--Container. "This recording includes spoken interjections recorded in the original prompter's book, as well as those based on the continuing aural performance tradition of Porgy and Bess. This printed libretto reproduces the original performance text as edited by Ira Gershwin"--P. [70] of insert. |
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| Interprète(s) : | Alvy Powell, Marquita Lister, Lester Lynch, Monique McDonald, Nicole Cabell, Linda Thompson Williams, Leonard Rowe, Robert Mack, Chauncey Packer, Barron Coleman, Calvin Lee ; Nashville Symphony Chorus ; Members of the Blair Children's Chorus ; Members of the Tennessee State University Band ; Nashville Symphony Orchestra ; John Mauceri, production musical director and conductor. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Notes sur la production : | Recorded at Andrew Jackson Hall, Tennessee Performing Arts Center, 26 February-March 1, 2006. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Description : | 2 sound discs (145 min.) : digital ; 4 3/4 in. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Description supplémentaire : | Modern, Opera, 1900-1999, 1930-1939, United States of America, Opera | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Genre / Style : | Opera; | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Date de lancement : | 2006 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Contenu : |
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| Autres titres : | Porgy and Bess Porgy & Bess Porgy and Bess |
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| Responsabilité : | by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin. |
Critiques
All Music Guide
This two-disc Porgy and Bess records not an entirely new version of the Gershwin opera, but a claimed improvement on the "complete" version that surfaced in the 1970s and changed the opera from a series of set pieces to a living work of drama. Using notations made on the original orchestral parts, conductor John Mauceri and a team of researchers have reconstructed Porgy and Bess as it was heard on the occasion of its New York premiere in 1935. The work as Gershwin originally wrote it, and as it had been performed in Boston previews, ran for nearly three and a half hours, and Gershwin made 45 minutes of cuts during the New York rehearsals. Thus, the producers argue, this was what might be called the "composer's cut" of the opera -- Gershwin's best intention for how it should sound. One motivation for the cuts, however, was to let suburban patrons make the last trains north out of Manhattan, which departed at midnight. It's a shame to lose the "Buzzard Song," which fills out Porgy's knowing pessimism and paves the way for the opera's denouement. Numerous small details were also changed; "Summertime" is a bit faster than it is usually taken; the introductory music of Act One is a bit slower; more crowd noise and interjections were added. Gershwin also made two substantial additions: separate music for an orphans' band that plays during the island picnic, and a symphony of morning noises Gershwin calls an "occupational humoresque." It's great to hear these for the first time; they add to the Charleston atmosphere, and they further strengthen the impression of Porgy and Bess as a deep attempt on Gershwin's part to reproduce a wide swath of African-American musical culture, not a set of Broadway tunes warmed over with a few spirituals. Future productions of Porgy and Bess will have to take this recording into account, and it may well be that some of them will land between the version of the work presented here and the "complete" version mounted by the Houston Grand Opera and other groups. Version issues aside, the opera is wonderfully sung by some of the genre's top African-American artists. Especially impressive are the three male leads: Alvy Powell as a profound Porgy who moves seamlessly from involvement in the Catfish Row neighborhood group to solitude; Robert Mack as a very contemporary Sporting Life, who seems to come up to the edge of hip-hop attitude (and to convince you that Gershwin would have loved contemporary African-American music); and Lester Lynch as a Crown who seems more desperate man than thug. In spite of the recording's aims of historical authenticity, the singers have modernized the work in an important and desirable way -- they have very subtly shaved the rough edges off DuBose Heyward's dated black dialect and made the language sound less archaic. (After all, for Gershwin's audiences it was not meant to sound that way.) Mauceri and the Nashville Symphony Orchestra keep the magnificent recitative ensembles moving along. They find many small ways of making the opera "flow," some of them no doubt due to Gershwin's last-minute changes as incorporated into this new version. The bottom line is that people who like Porgy and Bess should hear this very fine recording, regardless of whether they accept the changes the producers have made to the established conceptions of the work ~ James Manheim, Rovi Lire la suite...