A few years later - in - she settled in Oslo and became a Norwegian citizen. She remained the very creative and imaginative artist that she was and performed in many European cities. It was she who had suggested to George Gershwin to insert "Summertime" later in the opera for Bess to sing, illustrating how much she loved that song sung by Serena at the beginning right after the Overture. That is what George did. The reference number of the disc is X I will add an audio clip later.
On Victor appeared recordings of selections of the opera, supervised by George Gershwin himself. This recording was supervised by George Gershwin. It was decided that the opera should be performed It Aint Necessarily So. - Various - Rare Joints Volume 3 (Vinyl stage by an all black cast, with the exception of the detective. Yet many a singer recorded one or more songs or arias.
The recording dates are October 14 and 23,only two weeks after the Boston premiere on It Aint Necessarily So. - Various - Rare Joints Volume 3 (Vinyl 30 Irving Kolodin is one of the most well known critics from the nineteen forties and fifties and sixties.
Naturally this guide deals mostly with 78 RPM shellac records and just a few long playing records, mostly dubbings from earlier shellac recordings. This is what he says about recordings available at the time. Summertime - "There can be little doubt that the most colorful and understanding of these performances is Anne Brown's, sounding as it did when she created the part of Bess.
Steber sings with exceptional beauty of sound and a lovely lyric sympathy that are quite thrilling; moreover against an orchestral background distinctly superior to those provided for Brown and Jepson. I got Plenty o' Nuttin - "Duncan has both the voice for this music and the style to utilize it fully. They do not match the performance which John Bubbles gave in the original production of Porgy and Bess in which Kolodin, then 27, must have attended.
He finds Avon Long to be an affected and self-conscious performer. It is just that trait which gave producer Goddard Lieberson the idea to have Avon Long sing Sportin' Life in the Columbia recording.
Lehman Engel certainly had a different concept of Sportin' Life in mind than Alexander Smallens would allow and Engel gave Long the artistic space for a memorable It Aint Necessarily So. - Various - Rare Joints Volume 3 (Vinyl.
Critic, reviewer, musicologist Irving Kolodin. Alexander Smallens was also the conductor of the revival performances in the nineteen fifties. These were of the adaptation of the opera to make it - as a sort of musical - easily accessible. The production visited Chicago, Pittsburgh, and Washington, D. This production was also showed in the Ziegfeld Theater Broadway. In that was. And again Alexander Smallens was the conductor.
Assistant conductors were Dalibor Brazda and Joseph Lewis. Scenery was by Wolfgang Roth and costumes were by Jed Mace. Eight selections were issued:. At left the liner notes of Philips P R which are worth reading. They are testimony of how well 'Porgy and Bess' was received, how the artists were appreciated, and how the recording session for Leslie Scott's disc were experienced. The author of the linernotes writes:. Europe had never been treated to a musical play like this before And it was there we heard him for the first time: Leslie Scott as Porgy Crippled Porgy What a voice What an artist.
Martha Flowers and Leslie Scott. At the far right: Lorenzo Fuller and Joseph Attles. Traveling from one country to another and performing nearly every night was a heavy burden for all involved. Porgy's role is extra demanding while he has to be on his knees when on stage. Irving Barnes had taken his wife Catherine and daughter Gail with him on tour. Time Magazine reported in February that the same production went to Russia as well, though not subsidized by the State Department.
However a lot of goodwill was the result. Wherever the production came to perform, tickets were practically always sold out. Lorenzo Fuller, Jr. He received a fellowship to attend the Juilliard School of Music in Fuller held roles in Broadway plays such as Finian's Rainbow and Kiss Me Kate, and appeared on radio shows in the s. Data taken from the Kansapedia website. The charm of a performance by a touring company. Don Shirley knows every brand and style. His improvisations shift easily from jazz to popular to classical.
That is why Ravel unexpectedly turns up on CLP This record is also a grand introduction to Don Shirley himself, to his elaborate technique, subtle swinging and inspired harmonies. It is an introduction for all those people who did not get acquainted with this phenomenon from the nineteen fifties and sixties.
Robert Fine production. Martha Flowers sings - accompanied by Shirley and a cello and string bass player - the songs she did so well on the Dutch recording made 6 years earlier: Strawberry Woman, and an ever so compelling Oh, Doctor Jezus. Their names are not mentioned on the cover. Lewis T. Fisher, producer. Sketch of the set of the production of the second tour.
Marcato Lesser known is his rather trivial arrangement of selections from Porgy and Bess which he recorded with the New World Show Orchestra. This recording was released on various labels like Marcato At left the cover of the Marcato release. Did Lawrence need the money? Probably, otherwise he would not have sung the excerpts supported by such an orchestration.
Lawrence Winters was engaged at the Hamburg State Opera. He can be heard on various records. He sang in Nabucco under the baton of George Singer. He died in in Hamburg, Germany. Lawrence Winters. The Opera Society Chorus and Orchestra are of course fake names. For Brock Peters, already a well known actor, it was the prelude to his strong LP) of Crown in Otto Preminger's movie. Edward Jablonski and Lawrence D. Stewart wrote 'The Gershwin Years' - The Story of George and Ira Gershwin - for a long time the standard work on the brothers and an abundant source for anyone writing about these great Americans.
The good reception of this book in inspired musicians and producers in recording more Gershwin compositions. At that time the movie was in production to be released in The movie was very popular and despite the criticism was an instant success, at least in the town where I lived. For contractual reasons the voice of Sammy Davis Jr. But Decca made a recording with Sammy Davis Jr. At left the cover. See the page with Trivia at the IMdB website. One of those recordings to be critical about is the ugly Kenneth Alwyn orchestration and other obscure recordings like the Golden Tone High Fidelity recording of highlights on Ccoupled with songs from Carousel.
This last record contains either bootlegged compilations or poor recordings of local performances. And there are many more. This showed all the more that the world has always been in need of a good recording of the folk-opera.
It seems that recording this score is gone somewhat out of fashion. The performance is recorded by C. Robert Fine and Robert Eberenz, who were responsible for so many outstanding Mercury recordings. Outstanding because of the microphone placement, the use of 35 mm recording film and - last but not least - the way the lacquer was cut by George Piros. Here it is also Piros who did the cutting. And finally there are two pictures on the cover. One of William Steinberg. And one of Fritz Reiner who is not conducting here, but he commissioned the worktogether with George Gershwin, Deems Taylor, and Robert Russell Bennett.
Robert knew George and he made several arrangements of Gershwin shows in the s. Maurice Abravanel is conducting the Utah Symphony. Farnon's arrangement borders on Edmundo Ross and a popular jazzy orchestra and is entertaining, yet it is a far cry from the distinguished Robert Russell Bennet.
PFS JAZZ Jazz and Gershwin is a long chapter, but putting the link, of course, is kicking in an already open door. Reference number G-C ; the equivalent of Victor 35 Miles Davis and Gil Evans.
Ella Fitzgerald and Louis Armstrong. It is a setting of the mind, of the spirit which is mostly brought about by an occurence, a confrontation, an event - how sudden and short and how insignificant it may seem - that makes him realize what the path is which he will follow, in fact is compelled to follow, and eventually will bring him to the top of that gradually unwinding road when he creates that final masterpiece, be it a novel, a painting, a sculpture or a musical composition.
Each and every event in the artist's life leads to the next, and always this kernel, the thought, the idea, will be residing deep in his brain, will be slumbering, be it subcounsciously or just as a vague notion. Every show, every song, every musical composition - as great as the Rhapsodies, the Concerto in F, and An American in Paris may be - can in the end be regarded as an exercise, as a study in music and drama, which would lead the way to 'Porgy and Bess'.
It is written and compiled by Robert Kimball and Alfred Simon, and places the Gershwins in the context of the period they lived in. The book is beautifully designed by Bea Feitler. The very sympathetic preface is written by Richard Rogers. The book which was first published in Bonanza Books, New Yorkmay have inspired many a record producer and stage director. Quintessence PMC Music New This Week. New Today. Last 8 Weeks. Back Catalogue. Back In Stock. Coming Soon. DJ Charts. Juno Recommends.
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