Copland: The Tender Land (complete opera)
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Brand: BRUNELLE,PHILIPPerformer: James Bohn
Performer: LeRoy Lehr
Composer: Aaron Copland
Conductor: Philip Brunelle
Performer: Janis Hardy
Orchestra: Plymouth Music Series Orchestra
Orchestra: Soloists of Plymouth Music Series
Performer: Elisabeth Comeaux
Performer: Sue Herber
Performer: Dan Dressen
Performer: Agnes Smuda
Performer: Maria Jette
Performer: Merle Fristad
Performer: Vern Sutton
Edition: Music CD
Format: Box set
CD Release Date: 1992-09-23
Music Label: Virgin
Soundtracks:
Music CD 1
- The Tender Land, opera: Prelude
- The Tender Land, opera: Act 1. Scene 1.: The front yard of the Moss home
- The Tender Land, opera: Act 1. Scene 1.: "Two little bits of metal"
- The Tender Land, opera: Act 1. Scene 1.: The arrival of the postman
- The Tender Land, opera: Act 1. Scene 2.: Opening the package
- The Tender Land, opera: Act 1. Scene 2.: "This is like the dress I never had"
- The Tender Land, opera: Act 1. Scene 2.: Dance and exit
- The Tender Land, opera: Act 1. Scene 3.: "Once I thought I'd never grow"
- The Tender Land, opera: Act 1. Scene 3.: Ma's entrance
- The Tender Land, opera: Act 1. Scene 3.: "Remember the boy that used to call", Ma's exit
- The Tender Land, opera: Act 1. Scene 4.: Entrance of Martin and Top
- The Tender Land, opera: Act 1. Scene 4.: Martin and Top enter the farmyard
- The Tender Land, opera: Act 1. Scene 4.: "We've been north"
- The Tender Land, opera: Act 1. Scene 4.: Grandpa meets the boys
- The Tender Land, opera: Act 1. Scene 4.: "A Stranger may seem strange that's true"
- The Tender Land, opera: Act 1. Scene 4.: Interlude: Martin and Top make horseplay
- The Tender Land, opera: Act 1. Scene 5.: The invitation
- The Tender Land, opera: Act 1. Scene 5.: "The promise of living"
- The Tender Land, opera: Act 2. Scene 1.: The graduation eve supper
- The Tender Land, opera: Act 2. Scene 1.: The supper ends
- The Tender Land, opera: Act 2. Scene 1.: Grandpa's toast: "Try makin' peace"
- The Tender Land, opera: Act 2. Scene 1.: Laurie's reply: "Thank you, thank you all"
- The Tender Land, opera: Act 2. Scene 1.: The invitation to dance
- The Tender Land, opera: Act 2. Scene 1.: The dance: "Stomp your foot upon the floor"
- The Tender Land, opera: Act 2. Scene 2.: Dance music and dialogue
- The Tender Land, opera: Act 2. Scene 3.: Party music back in the house
- The Tender Land, opera: Act 2. Scene 3.: "Oh, I was goin' a-courtin' "
- The Tender Land, opera: Act 2. Scene 3.: The dancing resumes
- The Tender Land, opera: Act 2. Scene 3.: "Laurie...you know, Laurie"
- The Tender Land, opera: Act 2. Scene 3.: "In love? in love?"
- The Tender Land, opera: Act 2. Scene 3.: "The Tender Land"
- The Tender Land, opera: Act 2. Scene 4.: Grandpa's confrontation
- The Tender Land, opera: Act 2. Scene 4.: Party farewell
- The Tender Land, opera: Act 3.: Introduction
- The Tender Land, opera: Act 3. Scene 1.: Martin alone
- The Tender Land, opera: Act 3. Scene 1.: Laurie, Laurie..."
- The Tender Land, opera: Act 3. Scene 1.: "Daylight will come in such short time"
- The Tender Land, opera: Act 3. Scene 1.: "That's crazy" and exit of Martin and Top
- The Tender Land, opera: Act 3. Scene 2.: Daybreak
- The Tender Land, opera: Act 3. Scene 2.: "The sun is coming up"
- The Tender Land, opera: Act 3. Scene 2.: Laurie's farewell
- The Tender Land, opera: Act 3. Scene 2.: "All thinking's done"
Music reviews of Copland: The Tender Land (complete opera)
Music Review: The Tender Land - First Rate Copland
Rating: 5 Stars
This is first rate Copland (no doubt about it). Is it first rate Opera? Depends. If your ideal of Opera is Puccini or Verdi or Wagner -- Tender land is not these in American garb.(Wotan in blue Jeans - ? sorry, not this ). It's American Opera, in a style for American Composers. If you like Copland's "easier" style, you'll love this as well. The story is fine and the music serves its purpose - to convey the story's characters feelings and emotions. Brunelle does fine job and the singers serve Aarons music well. If you want the composers' ideas on this work, Copland conducted an abridged version of "Land" that is still available. Interested in other American operas?Carlisle Floyd's "SUSANNAH" (Curtin, Triegle New Orlean Opera) An absolute must !
Douglas Moore's "THE BALLAD OF BABY DOE" ( Sills, Cassilly NYCO )
Edward Thomas' "DESIRE UNDER THE ELMS" (this is a real sleeper - the critics trounced it but it's a fine work in my opinion -besides, how can you go wrong with Jim Morris in the cast? )
Sam Barbers' "VANESSA".
Give these AMERICAN OPERAS' a try ( and throw out your preconceived notions of what Opera should be . Its new stuff !
Description of Copland: The Tender Land (complete opera)
No Description Available.Genre: Classical Music
Media Format: Compact Disk
Rating:
Release Date: 1-APR-1996
Aaron Copland didn't have the theatrical instinct of a George Gershwin or even a Gian Carlo Menotti, but that didn't keep him from writing one of the best operas we have in the "American" vein. The Tender Land was composed in 1953 on a commission from Richard Rodgers and Oscar Hammerstein II--who since the premiere of Oklahoma! 10 years earlier could afford such largesse--and received its premiere on April 1, 1954 at the City Center in New York. Concerning a girl transformed into a young woman by her first experience of love, The Tender Land is set in the American Midwest during the 1930s. The libretto by Horace Everett (a pseudonym of Erik Johns) was inspired by photographs taken by Walker Evans of a rural, Depression-era mother and her daughter that had appeared in James Agee's book Let Us Now Praise Famous Men. The music is cut from the same cloth as that of Appalachian Spring--the melodic, easygoing, folkish vein that Copland could manage about as easily as breathing. Lightly scored (calling for winds and brass in twos) and with spoken dialogue in the style of the musical stage, the score has come to be regarded as one of Copland's finest, as he himself believed it to be. You couldn't get a more authentic cast than the one heard here, consisting entirely of good American singers whose delivery is appropriately nonoperatic, and including Minnesota native Elisabeth Comeaux in the central role of Laurie. Philip Brunelle leads the forces of the Minnesota-based Plymouth Music Series in an idiomatic if slightly underpowered performance that comes from the Heartland and goes straight to the heart. --Ted Libbey
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