American Opera? (and English opera too!)

[Guido]

So lets have your recommendations! I have really grown to love Barber's Vanessa - probably the most dramatic turn around in terms of disliking to liking that I think I've had. At first I found it a little dull, but the more I listened to it, the more I realised what a great work it is. I would use the word masterpiece, but I tend to avoid saying that these days. The evocation of the cold Scandinavian winter and landscape is so subtle and beautiful - nothing obvious, no wind machines or storms, but there's something in the score that is extremely evocative of this. I'm not sure whether Barber ever made it to Scandinavia on his many travels through Europe.

Anthony and Cleopatra I have not listened to as much, but it hasn't grown on me in the same way. Its far starker than Vanessa, and also seems to be alot more self consciously dramatic. The plot is quite difficult to follow, and the characters somehow seem less personal. I will persevere though!

A hand of Bridge from 1959 is a great little work - 10 minutes long, it depicts two couples playing bridge, and ecplores what they are thinking and their relationships with each other. Sassy is the word!

So what other American opera is worth hearing? I am yet to hear any of Glass' which I've heard mostly heard described as fascinating and clever rather than too many emotional terms.

Also on the English opera side of things, I am yet to hear any by RVW or any of Holst's four operas (I'm particularly interested in the latter...)

I'm talking about 20th century works here, rather than Purcel and his ilk.

[The new erato]

I like Carlisles's Susannah and Bernsteins Candide, don't know if the former is still available on Decca though.

[Maciek]

I second Candide, and would add Trouble in Tahiti to that (my favorite Bernstein work).

I'm sure you haven't mentioned Britten because he's too obvious, right?

I've mentioned Nyman's The Man Who Mistook His Wife for A Hat numerous times before and I'm putting a good word for it once more now. It really is one of my favorite modern operas.

OK, these are all "easy listening" but somehow nothing more comes to mind at the moment. I'm sure others will have more demanding suggestions...

Maciek

[jochanaan]

Elliott Carter's What Next?  (But only if you're up for a challenge both dramatically and musically. )

[bhodges]

Another vote for Candide, which is very well represented on recordings.  Although there is a recent one on DVD with Marin Alsop conducting the New York Philharmonic, this first one below from 1991 was one of Bernstein's last projects and is terrific.  Jerry Hadley sounds excellent in the title role, and June Anderson is very good, even if more "conventionally operatic."  (Kristin Chenoweth in the Alsop version seems to have a more ideal voice for this part.)



Here's the Alsop DVD, which also features Paul Groves, Patti LuPone, and Thomas Allen as Dr. Pangloss.



--Bruce

[mahlertitan]

a bit of off topic, but don't you think we should have a thread on musicals?

[Sergeant Rock]

Susannah by Carlisle Floyd is one of my favorite American operas.



It's based on the Apocryphal bibical story of Susannah and the elders but set in Appalachia. The musical style is kind of Puccini meets Copland.

Sarge

[Guido]

Thanks for the Suggestions guys - I'm actually very fond of Bernstein, so I will certainly explore his operas.

Yes Maciek you are right about Britten.

Also I forgot to mention What Next? but I do already know it a bit (not as well as I'd like to) and I really do enjoy it.

Thanks for the other rec. Don't have time to address them individually at the moment.

[Guido]

Having listened to Adam's Nixon in China, I was wondering whether his operas were as good?

[Wendell_E]

Having listened to Adam's Nixon in China, I was wondering whether his operas were as good?

The Death of Klinghoffer isn't bad, but I like Nixon a lot more.

My favorite American opera is The Rake's Progress.

[Mark]

a bit of off topic, but don't you think we should have a thread on musicals?

Someone already started one. I don't care for musicals, so I didn't bother to note which part of the forum it was in, sorry.

[Wendell_E]

Someone already started one. I don't care for musicals, so I didn't bother to note which part of the forum it was in, sorry.

Here it is:
http://www.good-music-guide.com/community/index.php/topic,3132.0.html

[Larry Rinkel]

My favorite American opera is The Rake's Progress.

Which is American only in the sense it was composed in America - by a Russian-born emigrant and two English librettists, on an 18th-century English subject.

[Wendell_E]

Which is American only in the sense it was composed in America - by a Russian-born emigrant and two English librettists, on an 18th-century English subject.

Not just an emigrant, but a naturalized U.S. citizen, as was Auden.   The other librettist, Chester Kallman, was a native-born American.

[Todd]

Elliott Carter's What Next?  (But only if you're up for a challenge both dramatically and musically. )

Hear, hear!

[Larry Rinkel]

Not just an emigrant, but a naturalized U.S. citizen, as was Auden.   The other librettist, Chester Kallman, was a native-born American.

I'm sure you're right, and I'm happy to stand corrected. But there is nothing especially American in the nature of the work itself.

[PerfectWagnerite]

I vote for Aaron Copland's The Tender Land. It is an opera about the American frontier, about family, and about growing up. It is probably not the most dramatic work but does not warrant the apparent neglect it has been handed nowadays. I have this recording:

[Wendell_E]

But there is nothing especially American in the nature of the work itself.

Whatever that means.  That's probably the reason I like it so much.   

[Larry Rinkel]

Whatever that means.  That's probably the reason I like it so much.   

Oh, come on. I think it's quite obvious what it means. The work is about a Hogarthian theme taking place in 18th-century England, and musically it owes its traditions to Mozart, Donizetti, Monteverdi, and a variety of other European composers. Neither musically nor dramatically is there the slightest relation to anything American.

[Lady Chatterley]

I'm talking about 20th century works here, rather than Purcel and his ilk.