Tag: Opera

  • Jean Cras’ Polyphème Opera Rediscovered

    Jean Cras’ Polyphème Opera Rediscovered

    For some, the holidays can be a lonely, melancholy time. If that’s the case for you, I’m sorry, but at least you’re not Polyphemus the Cyclops.

    The one-eyed giant Polyphemus, the son of Poseidon, is loved by the beautiful Galatea. But when the fickle teenager falls for the handsome, well-sculpted Acis, he is plunged into isolation and jealous rage.

    Join me tomorrow morning on WPRB, for another edition of Sunday Morning Opera with Sandy, as I fill in for Sandy Steiglitz to present the rarely-heard, though quite gorgeous “Polyphème” by Jean Cras.

    Cras, a career navy man, literally completed the work while at sea. The libretto, replete with nymphs and satyrs and an appearance by the Great God Pan (in a non-singing role), is in the style of Maurice Maeterlinck. The composer adapted the text from a dramatic poem by Albert Samain.

    In some tellings of the story (e.g., Handel’s “Acis and Galatea”), Polyphemus at least has the satisfaction of crushing his rival with a boulder. In Cras’ version (SPOILER ALERT!), Polyphemus blinds himself and wanders morosely into the sea.

    The opera, completed in 1914, was given its premiere in Paris in 1922. Like Polyphemus himself, it then disappeared without a trace until this very fine recording from 2003, on the Timpani label, conducted by Bramwell Tovey.

    The whole thing is a languorous exercise in hypnotic pantheism. Not surprisingly, given its source, the atmosphere is infused with the sea. If you find yourself lost in enchantment when listening to the music of Debussy or Ravel, you will absolutely love this opera.

    Keep an “eye out” for Jean Cras’ “Polyphème,” on “Sunday Morning Opera,” tomorrow morning from 7 to 10 EST, on WPRB 103.3 FM and at wprb.com.


    Of perhaps related interest: The dryly irreverent Bramwell Tovey will next conduct The Philadelphia Orchestra in a New Year’s Eve program at the Kimmel Center for the Performing Arts (on Dec. 31, obviously), which will feature works by Bernstein, Gershwin and Johann Strauss II. He will return in April to conduct the world premiere of Pat Metheny’s “Duo Concerto for Vibraphone and Marimba.” More information may be found by searching the concert calendar at philorch.org.

  • Opera’s Dark Side Merry Mount on WPRB

    Opera’s Dark Side Merry Mount on WPRB

    If the long holiday weekend has filled your head with warm and fuzzy notions of Pilgrims sitting down to dine with Native Americans in perfect concord, think again. I am guest host on “Sunday Morning Opera with Sandy” today, and we are listening to Howard Hanson’s “Merry Mount.” An adaptation of the Nathaniel Hawthorne short story, “The May-Pole of Merry Mount,” the work is an at times hallucinatory study in fanaticism, sexual obsession and demonology. Enjoy that with your leftover turkey sandwiches!

    It’s on right now, on “Sunday Morning Opera,” until 10:00 EST, on WPRB 103.3 FM and wprb.com.

  • Opera Ashes Halt Met Performance

    Opera Ashes Halt Met Performance

    I didn’t have a chance to post this yesterday, so you may very well have heard about it by now, but it seems an oddly appropriate story for Hallowe’en. In fact, it may be the craziest Metropolitan Opera news (from an audience standpoint) since an 82 year-old singing coach deliberately plunged to his death in 1988 during an intermission of a nationally broadcast performance of Verdi’s “Macbeth.”

    http://www.nytimes.com/2016/10/30/nyregion/metropolitan-opera-cancels-performance-white-substance.html

    http://nypost.com/2016/10/29/man-scattering-friends-ashes-during-opera-prompted-met-shutdown/

    The scattering of ashes into an orchestra pit is not unprecedented, by the way. Berlioz alleged, in the 1865 edition of his autobiography, that prior to a performance of his “Romeo and Juliet,” which he was about to conduct in Breslau in 1854, a lawyer poured the ashes of his wife into a tuba from a balcony.

    The latest incident comes a week after the Catholic Church banned the scattering of ashes, which it decried as “pantheistic or naturalistic or nihilistic.”

    Expect heightened security in the future. First we have to take off our shoes at the airport; now we’ll be cavity searched thanks to some nutbone (whom police name as Roger Kaiser, 52, a jeweler from Dallas), who thought he was honoring a friend and even bragged about it beforehand.

    The opera may have been “William Tell,” but nobody else did.

  • Batman & Mefistofele A Halloween Opera Treat

    Batman & Mefistofele A Halloween Opera Treat

    Hallowe’en is coming. Anyone else remember when Batman went to hear “Mefistofele?”

    https://www.youtube.com/watch?v=5nGlM_gEcbQ

    I wasn’t so impressed with the movie, but I was impressed with the choice of the opera.

    On a related note, happy birthday, Neal Hefti (1922-2008).


    IMAGES: Norm Breyfogle’s Gothic realization of the Dark Knight (left) and Norman Treigle as Mefistofele

    Treigle sings! https://www.youtube.com/watch?v=MDPumGzQqhw

  • Vittorio Giannini Composer Remembered

    Vittorio Giannini Composer Remembered

    Happy birthday, Vittorio Giannini!

    Giannini was born in Philadelphia in 1903. He studied at the Milan Conservatory, after which he earned his graduate degree from Juilliard. He then taught at Juilliard, the Manhattan School of Music and the Curtis Institute.

    Arguably his most important contribution as an educator was the foundation in 1965 of the North Carolina School of the Arts, which he envisioned as a Juilliard of the South. The school attracted to its faculty such luminaries as Ruggiero Ricci and Janos Starker. Giannini died the year after it opened, in 1966.

    He was from a family of opera singers. His father founded the Verdi Opera House in Philadelphia. One sister taught voice at the Curtis Institute of Music and the other sang at the Metropolitan Opera. Giannini himself composed 14 operas, including “Lucedia,” “The Scarlet Letter,” “The Taming of the Shrew,” and one for radio, “Beauty and the Beast.” Two, “Casanova” and “Christus,” remain unperformed.

    Not surprisingly, then, in his day he was known largely for his vocal music, but his Symphony No. 3 for wind band has fared best on disc. There are seven recordings in the current catalogue, from the classic release directed by A. Clyde Roller on the Mercury label to one of the later-in-life, digital recordings of Frederick Fennell.

    Daniel Spalding, enterprising music director of the New Jersey Capital Philharmonic, recorded the Symphony No. 4 with the Bournemouth Symphony, for Naxos. We’ll hear that recording in the 4:00 hour.

    Spalding will conduct the Capital Philharmonic of New Jersey this Saturday, Oct. 22, at the Trenton War Memorial. The program will include Aaron Copland’s “Fanfare for the Common Man,” Antonin Dvorak’s Symphony No. 9 “From the New World,” and Peter Boyer’s “Ellis Island: The Dream of America,” a stirring work for actors and orchestra, on texts of actual émigrés who came to the United States in search of a better life. You can read all about it in my article in the Friday edition of the Trenton Times. Or you can get a sneak preview here:

    http://www.nj.com/times-entertainment/index.ssf/2016/10/classical_music_njcp_performin_2.html

    Later on this afternoon, we’ll have music by Norwegian composers Edvard Grieg (performed by Emil Gilels on the 100th anniversary of his birth) and Geirr Tveitt. Listen in from 4 to 7 EDT on WWFM – The Classical Network, and at wwfm.org.

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