{"id":19305,"date":"2022-09-01T16:33:16","date_gmt":"2022-09-01T14:33:16","guid":{"rendered":"https:\/\/www.classical-music.com\/?p=171129"},"modified":"2022-09-01T16:54:08","modified_gmt":"2022-09-01T14:54:08","slug":"porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings\/","title":{"rendered":"Porgy and Bess: a guide to Gershwin\u2019s popular opera and its best recordings"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By Terry Blain\n                \t\t<\/p><p class=\"rssbyline\">Published: Thursday, 01 September 2022 at 12:00 am<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p><strong>The year was 1926, and it had been a busy day for <a href=\"&quot;https:\/\/www.classical-music.com\/composers\/george-gershwin\/&quot;\">George Gershwin<\/a>. His new musical comedy Oh, Kay! was in rehearsal, and when the composer went to bed that evening he reached for some light reading material to lull himself to sleep. Instead he picked up <em>Porgy<\/em>, a recently published novel by the American writer DuBose Heyward.\u00a0<\/strong><\/p>\n<p>Heyward\u2019s wife Dorothy reported that, far from dozing off swiftly, Gershwin \u2018read himself wide awake\u2019 that night, gripped by her husband\u2019s dark, gritty tale of African American life in the tenements of Charleston, South Carolina. By four in the morning, Gershwin knew the story was ideal for an opera, and dashed off a letter to Heyward suggesting a meeting.<\/p>\n<p>Little came of that initial contact. For one thing, the Heywards were already adapting Porgy as a play, for production on Broadway a year later. And Gershwin himself was wary of an immediate collaboration. \u2018He said it would be a couple of years before he would be prepared technically to compose an opera,\u2019 DuBose Heyward recalled later.<\/p>\n<iframe title=\"&quot;Porgy\" and=\"\" bess:=\"\" you=\"\" is=\"\" my=\"\" woman=\"\" now=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/dQb3FxyKw-c?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<h2>When did Gershwin compose <em>Porgy and Bess<\/em>?<\/h2>\n<p>In fact, it would be a full seven years before Gershwin and Heyward finally turned their attention to making an opera out of Porgy when, in October 1933, the pair signed a contract with the Theatre Guild of New York to write the piece, and Heyward started fashioning a libretto from his\u00a0novel.<\/p>\n<p>By any standards, the subject-matter of the new opera was controversial. Murder, race issues, domestic violence, prostitution and substance abuse all feature in Porgy and Bess. Additionally, Gershwin insisted on an all-black cast, a stipulation much more radical for the white-dominated world of 1930s opera than it would be today.<\/p>\n<h2>What is <em>Porgy and Bess <\/em>about?<\/h2>\n<p>Yet Gershwin had a clear vision of what he wanted to achieve in presenting Heyward\u2019s story of a crippled beggar who finds temporary solace with Bess, a marginalised woman struggling to free herself from her controlling lover, Crown, and drug dependency. By writing what he called a \u2018folk opera\u2019, Gershwin intended to \u2018appeal to the many rather than to the cultured few\u2019 and to put on stage the \u2018100 per cent dramatic intensity in addition to humour\u2019 that he found in Heyward\u2019s novel.<\/p>\n<p>To that end, Gershwin made a five-week trip to Folly Island near Charleston, living in a beachside shack and mixing with the native Gullah people. Intent on soaking up their way of life, he attended prayer meetings, listened to spirituals and studied local customs. Much of what he saw and heard eventually found its way into Porgy and Bess. If some might nowadays call this cultural appropriation, to DuBose Heyward it looked different. \u2018To George it was more like a homecoming than an exploration,\u2019 he wrote.<\/p>\n<h2>When and where was <em>Porgy and Bess <\/em>first performed?<\/h2>\n<p>By September 1935, the three-act opera was complete. After a private run-through at Carnegie Hall, New York, the public premiere happened on 30 September at the Colonial Theatre in Boston, four days after Gershwin\u2019s 37th birthday. It was immediately obvious that Porgy and Bess was by far the most ambitious work he had yet created, packed with wonderful, jazz-inflected harmonies and powerful choral writing. But it was also very long \u2013 three hours-plus, not counting two intervals.<\/p>\n<p>Forty minutes\u2019 worth of cuts were made for the New York premiere, at the Alvin Theatre on Broadway, on 10 October. As in Boston, audiences loved Porgy and applauded enthusiastically. But the critical reaction was mixed. \u2018Gershwin does not even know what an opera is,\u2019 sneered the influential Virgil Thomson. The great bandleader Duke Ellington complained of \u2018Gershwin\u2019s lampblack Negroisms\u2019 and his borrowings \u2018from everyone from Liszt to Dickie Wells\u2019s kazoo band\u2019.<\/p>\n<p>Other critics were more positive, one recognising that Gershwin\u2019s score for Porgy had an \u2018amazing fluency\u2019, another praising Rouben Mamoulian\u2019s stage direction as \u2018extraordinary in its invention\u2019. But the negative reactions were enough to keep ticket sales below break-even point for the production, and it closed after 124 performances \u2013 extraordinary for an opera, but modest by the commercial standards of Broadway theatre.<\/p>\n<p>Gershwin never saw Porgy and Bess on stage again \u2013 18 months after its Broadway closure, he died of a brain tumour. But the virtues of his \u2018folk opera\u2019, not least its unforgettable songs (some with lyrics by Gershwin\u2019s brother Ira),\u00a0 gradually began winning detractors over. \u2018Summertime\u2019, \u2018I got plenty o\u2019 nuttin\u2019\u2019, \u2018It ain\u2019t necessarily so\u2019 and others became popular hits, and remain staples of the Great American Songbook.\u00a0 And though controversy remains about the opera\u2019s depiction of black characters by a white composer and librettist \u2013 \u2018a white man\u2019s vision of Negro life\u2019, writer James Baldwin called it \u2013 Porgy and Bess has long since entered the operatic canon as a classic. \u2018These characters,\u2019 as Stephen Sondheim once put it, \u2018are as vivid as any ever created for the musical theatre.\u2019<\/p>\n<h2>The best recordings of <em>Porgy and Bess <\/em><\/h2>\n<h3>Lorin Maazel (conductor)<\/h3>\n<p><strong>Willard White (Porgy), Leona Mitchell (Bess); Cleveland Chorus &amp; Orchestra<\/strong><\/p>\n<p>Decca 478 5785<\/p>\n<p>\u2018Porgy is great, great grand opera\u2019, Lorin Maazel once commented. His 1975 recording was the first ever of Gershwin\u2019s complete score, a full four decades after the work\u2019s premiere. It remains Maazel\u2019s finest achievement on record, and a stirring testimony to the impact Porgy can make when taken seriously as visceral drama.<\/p>\n<p>It was also the Cleveland Orchestra\u2019s first opera recording, and its presence is tinglingly palpable throughout. The percussion in Act I\u2019s introduction, paced perfectly by Maazel, sizzles with intent, and the brass fanfares slice like lasers through Act II\u2019s \u2018Oh, I can\u2019t sit down\u2019. No orchestra on record plays this music\u00a0better.<\/p>\n<p>Leona Mitchell\u2019s Bess is another major asset. Fiery and vulnerable in her Kittiwah Island confrontation with the bullying Crown (the excellent McHenry Boatwright), Mitchell achieves the tricky combination of warm expressiveness and wrenching honesty in the pivotal \u2018I loves you, Porgy\u2019. As Porgy, bass-baritone Willard White is oak-solid, rising to a peak of dramatic involvement in the opera\u2019s finale, where he and his goat cart set their sights on seeking Bess in New York City.<\/p>\n<p>Below principal level, the cast has no weak links and many strengths. Among these, tenor Fran\u00e7ois Clemmons\u2019s drug-dealing Sportin\u2019 Life stands out. \u2018It ain\u2019t necessarily so\u2019 is vividly characterised without resort to caricature and \u2018There\u2019s a boat dat\u2019s leavin\u2019 soon\u2019 is so winningly sung that Bess\u2019s capitulation is easier to understand than usual.<\/p>\n<p>A youthful Barbara Hendricks, just 26 at the time, is Clara in a fresh-voiced, sensual account of \u2018Summertime\u2019, and the Cleveland Chorus also excels itself, despite occasional self-consciousness over the vernacular pronunciation of Catfish Row\u2019s residents. Its mournful chants of \u2018Gone, gone gone\u2019 in the wake of Robbins\u2019s murder are among the performance\u2019s most affecting moments.<\/p>\n<p>At the heart of everything is Maazel himself, his rhythms incisively idiomatic, his sense of dramatic pacing infallible. His gift of balancing large forces clearly is significantly enhanced by Decca\u2019s excellent recording, which has a classic analogue richness.<\/p>\n<p>Around the time this set was released in 1976, one critic spoke of Porgy as \u2018not just a great American opera\u2019 but \u2018the single great American opera\u2019. More than any other version available, Maazel\u2019s recording seems to justify that verdict.<\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/Gershwin-Porgy-Bess-George\\\/dp\\\/B00DI5E816\\\/ref=sr_1_fkmr1_2&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;14-26&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <p>\u00a0<\/p>\n<iframe title=\"&quot;Spotify\" embed:=\"\" gershwin:=\"\" porgy=\"\" bess=\"\" style=\"&quot;border-radius:\" width=\"&quot;100%&quot;\" height=\"&quot;380&quot;\" frameborder=\"&quot;0&quot;\" allowfullscreen=\"\" allow=\"&quot;autoplay;\" clipboard-write=\"\" encrypted-media=\"\" fullscreen=\"\" picture-in-picture=\"\" loading=\"&quot;lazy&quot;\" src=\"&quot;https:\/\/open.spotify.com\/embed\/album\/0xbkChTlXqCrTyrqWhHIpO?utm_source=oembed&quot;\"\/>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h3>John DeMain (conductor)<\/h3>\n<p><strong>RCA 88697985112<\/strong><\/p>\n<p>\u2018The whole truth at last\u2019 was one reviewer\u2019s verdict when Houston Grand Opera\u2019s epochal production of Porgy and Bess hit the stage in 1976. It was the first time the opera had been staged absolutely complete, and this cast recording crackles with theatrical energy. Donnie Ray Albert and Clamma Dale are excellent in the title roles, and conductor John DeMain\u2019s swashbuckling players sound more like a Broadway pit band than a symphony orchestra. Slightly dry, occasionally harsh sound puts this just behind Maazel in the ratings.<\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/music\\\/player\\\/albums\\\/B006NA4UL6&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;0.7-1.3&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <p>\u00a0<\/p>\n<h3>Simon Rattle (conductor)<\/h3>\n<p><strong>Warner Classics 9029590064<\/strong><\/p>\n<p>Simon Rattle\u2019s Porgy derives from Glyndebourne\u2019s classic 1986 production and has been widely lauded. Compared to Maazel, however, Rattle\u2019s tempos are more extreme, at times over-excitable. Act I, for instance, scoots off at Keystone Cops velocity, sounding scrambled. Slow music is occasionally over-milked too, the great \u2018Bess, you is my woman now\u2019 sounding alarmingly like Puccini. But there\u2019s no doubting the sparks that Rattle strikes, with a solid cast that includes Willard White and Cynthia Haymon in the title roles and an excellent chorus.<\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/Sir-Simon-Rattle-Porgy-Bess\\\/dp\\\/B07L1VWRW2\\\/ref=sr_1_1&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;7.7-14.3&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <h3>Alexander Smallens (conductor)<\/h3>\n<p><strong>Naxos 8110219-20<\/strong><\/p>\n<p>Ever wondered what the original Porgy and Bess sounded like? This priceless Naxos reissue includes the eight tracks recorded by role creators Todd Duncan and Anne Brown for Decca in 1940, plus other historic Porgy performances. Both Brown and Duncan sing with a remarkable tenderness and dignity hard to find today, and Alexander Smallens (who conducted the premiere) accompanies with easeful flexibility. This is a highlights package,\u00a0 but any Gershwin lover will want it in their library.<\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/Porgy-Bess-Wallenstein-Lapo-Heifetz\\\/dp\\\/B00007FKPX\\\/ref=sr_1_fkmr0_1&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;5.6-10.4&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <p><strong>And one to avoid\u2026<\/strong><\/p>\n<p>This boisterous 2006 Porgy is fine as far as it goes, but it doesn\u2019t go far enough. Conductor John Mauceri\u2019s aim was to reconstruct the version of Gershwin\u2019s opera heard by its original Broadway audiences, and record only that. At least 40 minutes of cuts are the consequence, including most of the \u2018Jazzbo Brown\u2019 piano music and Porgy\u2019s wonderful \u2018Buzzard Song\u2019. Historically interesting, perhaps, but<br\/>\nno more than that.<\/p><\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Terry Blain Published: Thursday, 01 September 2022 at 12:00 am The year was 1926, and it had been a busy day for George Gershwin. His new musical comedy Oh, Kay! was in rehearsal, and when the composer went to bed that evening he reached for some light reading material to lull himself to sleep. [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":19306,"template":"","categories":[1],"acf":{"readingTimeMinutes":"8"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings.jpg",591,591,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings-300x300.jpg",300,300,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings.jpg",591,591,false],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings.jpg",591,591,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings.jpg",591,591,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/porgy-and-bess-a-guide-to-gershwins-popular-opera-and-its-best-recordings.jpg",591,591,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Terry Blain Published: Thursday, 01 September 2022 at 12:00 am The year was 1926, and it had been a busy day for George Gershwin. His new musical comedy Oh, Kay! was in rehearsal, and when the composer went to bed that evening he reached for some light reading material to lull himself to sleep.&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/19305"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/19306"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=19305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=19305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}