Gershwin - Porgy and Bess / White ? Haymon ? Blackwell ? Baker ? LPO ? Sir Simon Rattle
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CD Details
Edition: Music CDCD Release Date: 1997-09-23
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Act 1, scene 1: Introduction
- Act 1, scene 1: "Summertime..."
- Act 1, scene 1: "Oh, nobody knows when the Lawd is goin' to call..."
- Act 1, scene 1: "Give him to me... Lissen to yo' daddy warn you..."
- Act 1, scene 1: "Here's the ol', crap shark!... No, no, brudder..."
- Act 1, scene 1: "Here comes Big Boy!..."
- Act 1, scene 1: "Six to make!..."
- Act 1, scene 1: "Jesus, he's killed him!... That you, Sportin' Life?..."
- Act 1, scene 2: "Where is brudder Robbins?... Come on, sister!..."
- Act 1, scene 2: "Overflow, overflow..."
- Act 1, scene 2: "A saucer-burying set-up, I see..."
- Act 1, scene 2: "My man's gone now..."
- Act 1, scene 2: "How de saucer stan' now, my sister?..."
- Act 1, scene 2: "Oh, the train is at the station..."
- Act 2, scene 1: "Oh, I'm agoin' out to the Blackfish banks..."
- Act 2, scene 1: "Mus' be you mens forgot about de picnic..." - "Oh, I got plenty o' nuttin'..."
- Act 2, scene 1: "Lissen there, what I tells you..." - "I hates yo' struttin' style..."
- Act 2, scene 1: "Mornin', Lawyer, lookin' for somebody?..."
- Act 2, scene 1: "Boy! Come here, boy!..."
- Act 2, scene 1: "Buzzard keep on flyin' over..."
- Act 2, scene 1: "Lo Bess, goin' to picnic?..."
- Act 2, scene 1: "Honey, we sure goin' strut our stuff today!..." - "Bess, you is my woman now..."
- Act 2, scene 1: "Oh, I can't sit down..."
- Act 2, scene 2: "I ain't got no shame..."
- Act 2, scene 2: "It ain't necessarily so..." - "Shame on all you sinners..."
- Act 2, scene 2: "Crown!..."
- Act 2, scene 2: "Oh, what you want wid Bess?..."
- Act 2, scene 3: "Honey, dat's all de breakfast I got time for..."
- Act 2, scene 3: "Oh, doctor Jesus..."
- Act 2, scene 3: "Oh dey's so fresh an' fine..."
- Act 2, scene 3: "Porgy, Porgy, dat you there, ain't it?..."
- Act 2, scene 3: "I wants to stay here..."
- Act 2, scene 3: "Why you been out on that wharf so long, Clara?..."
- Act 2, scene 4: "Oh, Doctor Jesus..."
- Act 2, scene 4: "One of dese mornings you goin' to rise up singin'..."
- Act 2, scene 4: "Oh, dere's somebody knockin' at de do'..."
- Act 2, scene 4: "You is a nice parcel of Christians!..."
- Act 2, scene 4: "A red-headed woman make a choo-choo jump its track..."
- Act 2, scene 4: "All right, I'm goin' out to get Clara..." - "Oh, Doctor Jesus..."
- Act 3, scene 1: "Clara, Clara, don't you be downhearted..." - "You low-life skunk, ain' you got no
- Act 3, scene 1: ""Summertime..."
- Act 3, scene 2: "Wait for us at the corner..."
- Act 3, scene 2: "Come out here, both of you..."
- Act 3, scene 2: "Oh, Lawd, what I goin' do?..." - "Oh Gawd! They goin' make him look on Crown's fac
- Act 3, scene 2: "Listen: there's a boat dat's leavin' soon for New York..."
- Act 3, scene 3: Introduction
- Act 3, scene 3: "Good mornin', sistuh!..." - "It's Porgy comin' home..."
- Act 3, scene 3: "Here Mingo, what's de matter wid you all?..."
- Act 3, scene 3: ""Where's Bess?..."
- Act 3, scene 3: "Bess is gone..."
- Act 3, scene 3: "Oh Lawd, I'm on my way..."
Music reviews of Gershwin - Porgy and Bess / White ? Haymon ? Blackwell ? Baker ? LPO ? Sir Simon Rattle
Music Review: A stunning version
Rating: 5 Stars
Porgy and Bess is perhaps not an unqualified masterpiece, but it is still in very many ways a remarkable work; not the least of which being, of course, the way so many distinctive styles and cultures are synthesized into a very coherent musical language (spirituals, jazz, blues and not the least Ravel and Debussy); and of course there are all the memorably and impressively carried out individual numbers (both the well-known and the less famous) and the ingenious use of leitmotivs (sometimes emerging and reemerging in very different guises). In addition to the musical virtues, the opera benefits from the strength of a coherently told, genuinely touching story and Gershwin's unfailing theatrical instincts. In short, it has everything needed for sustaining a continued success on stage.
And the performance here is uniformly excellent. First of all, it really captures the atmosphere of the stage, full of drama and emotional tension and turmoil. The LPO is wonderfully able to capture the details and moods and make sense of Gershwin's still somewhat awkward orchestration, including some brilliant solo playing and wonderful brass. Second, Rattle himself has an unfailing grasp of the score and the ability to make an utterly convincing and cogent case for the overall coherence of all the contrastive musical strands.
Thirdly, he has a superb cast of soloists; Blackwell is luminously brilliant, giving us - with the LPO's gorgeous playing and Rattle's choice of almost dangerously slow tempo - the most stirringly atmospheric Summertime on record. Willard White's warm, strong voice gives us a hauntingly multi-dimensional portrayal of Porgy and Cynthia Haymon a passionately touching Bess. Damon Evans is utterly effective as Sportin' Life as well, with a characterization full of mischief and malice. Fourthly, the supporting roles are excellently cast, and the chorus of the Sunday revivalist meeting is as harrowingly fervent as one could possibly dream of (still one of the highlights of the entire opera, in my view).
There is furthermore the case of the sound quality, which is really superb - clear, detailed and with real depth, and, not the least, capturing that feeling of the stage I mentioned above. To sum up, this set is a glory from start to finish; urgently recommended.
Description of Gershwin - Porgy and Bess / White ? Haymon ? Blackwell ? Baker ? LPO ? Sir Simon Rattle
An uncut Porgy & Bess may well be too long in the theater. On CD, though, you can play one act at a time, letting Gershwin's wide-eyed, inexhaustibly inventive score run its course at leisure in the comforts of your rumpus room. Some listeners might find Sir Simon Rattle's tempos on the draggy side, but he's got Gershwin's syncopated idiom down cold. Similarly, the singers fuse Gershwin's prodigious musical demands with effortless, characterful diction more succesfully than in other recordings, abetted by engineering that is both atmospheric and richly detailed. Full texts and excellent annotations round off this stellar achievement based on the highly acclaimed 1989 Glyndebourne Opera production. --Jed DistlerEnglish CDs
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