Gershwin: Porgy and Bess
Bess, Lisa Daltirus Crown, Ntobeko Rwanqa Serena, Arline Jaftha Clara, Pretty Yende Maria, Miranda Tini Jake, Aubrey Lodewyk Sportin’ Life, Victor Ryan Robertson Mingo, Mthunzi Mbombela
Conductor, David Charles Abell Director, Christine Crouse Designer, Michael Mitchell Lighting, Steve Allsop Choreographer, Sibonakaliso Ndaba Chorus Master, Albert Horne
Royal Festival Hall, London, 26 October 2009
Gershwin occupied a special position in American music for he successfully, to an extent, crossed from Tin Pan Alley to Carnegie Hall and back. But the difficulty I have in accepting that he is the renaissance man in 20th century American music is that he had little, or no, competition. Who else straddled the two sides of music as he did? In a slightly earlier era Victor Herbert wrote for both places, indeed, his 2nd Cello Concerto inspired Dvořák to write a similar work, but of his contemporaries Gershwin had a free hand – Irving Berlin kept saying that he was intending to write a Symphony, but he never did, and Vincent Youmans, plagued with ill health, kept promising a Piano Concerto, but, likewise, it never saw the light of day. Perhaps Harold Arlen came closest with his Blues Opera (1956/1957) and the subsequent orchestral suite he prepared, which was recorded by Kostelanetz in 1957 (Columbia CL 1099, currently available on DRG 19044), but it has never caught on with the public, an oddity considering this composer’s many successes with his songs. Gershwin’s thinking, throughout, is totally Broadway musical; almost every “aria”, or set piece, call it what you will, has a conclusive ending which demands applause – just as in a musical. Also, Gershwin is happiest when writing an obvious set piece; the chorus I Can’t Sit Down is a perfect example of the composer working well and enjoying his material, but the recitative and linking music on either side of it is negligible. And here is the stumbling block of the whole piece; so much of it is naïve at best, banal at the worst. Spoken dialogue would have been a welcome release from Gershwin’s ill conceived recitatives and, because of this major failing of the work, a performance as good as this one does it no favours for it only serves to show up the lacunae far too clearly.
In a note in the programme, David Charles Abell wrote, “As performers of classical music, our mantra is ‘as the composer intended.’” One wonders why this didn’t apply to Robertson, not to mention the intrusive trumpet improvsations which accompanied his performance of It Ain’t Necessarily So.
Pretty Yende opened the show with a lovely performance of Summertime – the best number in the work – singing this lullaby to her baby with no baby in sight. Soloists and chorus performed well in bringing this piece to life, but words were all but inaudible – surtitles would have been welcome.*
The orchestra was rather square and lack lustre– there was little swing. At times, when the solo male voices wentdown into their lower register,s there was a tendency for the sound to be lost in the orchestral sound.
Despite these small points this was a performance to welcome with open ears, even if, like me, you don’t see it as a way forwards in American music, only as a bayou.
Bob Briggs
* We had a similar thought during the same week, watching at home on Sky Arts 2 the studio film made from the Glyndebourne production (conductor Simon Rattle); it came across as an uncomfortable hybrid, a struggle to decipher the text; well done in parts, but finally unconvincing for reasons explored by Bob Briggs above. [Editor] Background article about the only opera company in South Africa from The Times For complete capitulation to Gershwin's "through-sung original where only the whites are denied the gift of song" see The Independent.
|