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Bryn
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« Reply #945 on: 23:56:52, 12-08-2007 » |
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At least Cleo sang Where the Bee SUCKS, at the Proms a few days ago, as I presume she always has done elsewhere. So often I have heard bowdlerized versions of this sung by "ladies" as Where the Bee LURKS.
These, "ladies", Frankie Howard fans, were they? |
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Bryn
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« Reply #946 on: 00:00:17, 13-08-2007 » |
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Don't suppose anyone here has heard Cleo Laine's Pierrot lunaire? Now that's a curiosity-exciting prospect...
Not heard her Pierrot Lunaire, but her Façade (with Ross) was decidedly unidiomatic. |
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oliver sudden
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« Reply #947 on: 00:02:48, 13-08-2007 » |
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I can't imagine her Pierrot lunaire being anything other than unidiomatic but I think I've posted before how much a fan I am of the results casting against type at its best can produce... (Fischer-Dieskau as Scarpia opposite Birgit Nilsson's Tosca is another one!)
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Tony Watson
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« Reply #948 on: 00:06:10, 13-08-2007 » |
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I don't know what you mean by Frankie Howerd fans, Bryn, but I didn't mean "ladies" in the Little Britain sense either. In fact, I'm not sure what I meant. Probably women who were being rather coy, or were perhaps trying to give themselves airs.
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Bryn
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« Reply #949 on: 00:12:32, 13-08-2007 » |
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Tony, think "Up Pompeii!", in particular the Frankie Howard character.  |
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Ian Pace
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« Reply #950 on: 00:22:56, 13-08-2007 » |
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Lotte Lenya didn't ever sing Pierrot, did she?
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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autoharp
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« Reply #951 on: 09:37:05, 13-08-2007 » |
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Just in case anyone missed it first time round . . .  |
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ahinton
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« Reply #952 on: 09:51:12, 13-08-2007 » |
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Just in case anyone missed it first time round . . . But do you also have (the aforementioned) Birgit Nilsson's recording of Gershwin, Porter, etc. with Nelson Riddle from around the same time? This is such a rarity it's even managed so far to escape the attentions of Musicweb (though no doubt they'll report on it in some future April issue)... Best, Alistair |
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Bryn
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« Reply #953 on: 22:12:52, 13-08-2007 » |
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Frank Zappa: the MOFO project/object, Disc 2.
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Stanley Stewart
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« Reply #954 on: 00:54:15, 14-08-2007 » |
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# 980 Ollie, I've put Cleo Laine's 1974 recording of "Pierrot Lunaire" on my search list as I can clearly see the cover in my minds-eye and I'm fairly sure that Side B of the LP also included a selection of Charles Ives songs. I had a shufti of Cleo's biography, yesterday morning, and the RCA recording is listed in her discography but is absent in the text. Who's afraid of Arnold Schoenberg?
Fascinated to read that Lotte Lenya had been engaged to recreate Anna I in a 1961 production of 'The Seven Deadly Sins', directed by choreographer Kenneth Macmillan for the Edinburgh Festival. Lenya arrived and targetted a few Rosa Klebb kicks when she realised that she would have to revise her static performance from the Berliner Ensemble production and made a hasty exit. George Harewood was aware of Cleo's progress at the Royal Court Theatre and she was engaged to play Anna I, sharing the role with Adrienne Corri, who proceeded to throw a tantrum when she claimed that she could not follow Alex Gibson's beat if she was moving round the stage and, furthermore, her wig and costume were entirely unsuitable! Cleo finally did all the performances and the production transferred to Sadler's Wells at the end of the Festival. Later, she gained credence in America when she was engaged to play Anna I for the Michigan Opera Theatre. Ten years later, she brought enormous experience and vocal range to her one woman "Spring Collection" annual concerts at the QEH. She also learnt the efficacy of a well timed tantrum.
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oliver sudden
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« Reply #955 on: 06:56:59, 14-08-2007 » |
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I haven't managed to find any references to the recording actually being available... there are a few people out there in cyberspace talking about its having existed, at least. On RCA though, so precious little chance of anything like a rerelease happening soon, I suspect.
Björk appears to have done a performance once upon a time but doesn't seem to have enjoyed the experience. It seems there was a Cathy Berberian performance and recording in Frankfurt in the 1970s, part I in German, part II in English, part III in Giraud's original French. I would certainly love to hear Mary Thomas and the Fires of London - at least I managed to find her recording with the Sinfonietta on its fleeting reappearance a few years back.
There are some lovely things out there which have been done in the name of Pierrot. But it would seem the numbers don't even suffice to keep the Schoenberg recording in circulation...
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Stanley Stewart
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« Reply #957 on: 22:21:59, 14-08-2007 » |
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#992 Many thanks for the link and the prompt, FMJ.
Cleo's recording of the Ives songs was my first introduction to his work. In due course, I got Roberta Alexander's CD recording and became a true convert. Tan Crone was her accompanist.
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thompson1780
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« Reply #958 on: 00:03:41, 15-08-2007 » |
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Fanafare Ciocarlia - Queens and Kings
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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FisherMartinJ
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« Reply #959 on: 22:21:42, 15-08-2007 » |
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#993 Stanley: I'm interested by your liking for the Alexander disc of Ives songs. I don't know it personally but have felt 'warned off' by a very negative appraisal by Will Crutchfield in his chapter on American Song in 'Song on Record - 2' ed. Alan Blyth (CUP, 1988). He concedes the excellence of Crone's accompaniments and the beauty of her voice but doesn't like her interpretations at all.
My own knowledge of Ives songs comes mainly from a Fischer-Dieskau DG LP (not rated by Crutchfield and I can see why if he's right on the number of gross misreadings DF-D perpetrates, particularly in 'From The Swimmers'), and Henry Herford ( two Unicorn-Kanchana CDs with Robin Bowman, and five songs on an excellent HMV anthology called 'A Portrait of Charles Ives' with Ensemble Modern/Ingo Metzmacher). These Herford recordings all came out after the book, though I see that the reviewer in the link I posted has mixed feelings about them.
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'the poem made of rhubarb in the middle and the surround of bubonic marzipan'
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