tag:blogger.com,1999:blog-6956070.post8900033151606412018..comments2023-11-03T11:37:13.579-04:00Comments on Something Old, Nothing New: Respected Mitteleuropean Conductor Conducts Wha'???Jaime J. Weinmanhttp://www.blogger.com/profile/15128500411119962998noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-6956070.post-72802496479577969122009-07-22T18:39:47.696-04:002009-07-22T18:39:47.696-04:00Anonymous # 1: I would basically second the recomm...Anonymous # 1: I would basically second the recommendations of Anonymous # 2. <br /><br />The 1951 recording is perhaps the most exciting performance, where the performers aren't afraid to throw in ad-libs and other traditional bits of theatrical business that Gershwin would have approved of; it cut, I think, too much material but it was much more complete than any stage performances at the time. And it's the only recording that has a high baritone Porgy (Lawrence Winters), which I think is more appropriate than for the role, both historically and musically, than the basses and bass-baritones who usually get the part.<br /><br /> The Houston Grand Opera recording is the best of the uncut versions, and has terrific stereo "staging" and sound effects (which I love; others don't). Probably the first choice overall.<br /><br />The first of the complete recordings, the 1976 Cleveland Orchestra recording on Decca under Lorin Maazel, is very studio-bound (made after concert performances with a very polite-sounding chorus), but has some fine singing (a young Barbara Hendricks as Clara) and the Cleveland Orchestra is the best ever recorded in this music. <br /><br />The most recent Decca recording, by John Mauceri, is interesting for using the version that was performed on Broadway in 1935 (not as heavily cut as the 1951 version, but shorter than the full score, which is really too long), but the performance isn't competitive with the others.Jaime J. Weinmanhttps://www.blogger.com/profile/15128500411119962998noreply@blogger.comtag:blogger.com,1999:blog-6956070.post-48327705550037586032009-07-22T17:15:36.612-04:002009-07-22T17:15:36.612-04:00"little moses was found in a straim"????..."little moses was found in a straim"????<br /><br />No recording beats the 1951 Columbia album which at 2 hours was considered to be complete. The cast and chorus has the roughness that Gershwin wanted and Ira supervised. The "Where's my bess" to the end is the best of any recording.<br />For genuinely complete-I'd go with the 1976 Houston Grand Opera-the point being that a cast which has LIVED the show onstage always beats a purer studio recording.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6956070.post-29707703477123241392009-07-21T20:44:50.156-04:002009-07-21T20:44:50.156-04:00I enjoy the Simon rattle recording quite a bit, bu...I enjoy the Simon rattle recording quite a bit, but it's the only one I have heard (not counting things like Louis and Ellas recording. Her "my mans gone now" gives me chills every time.). What recordings of the complete opera do you recommend?<br />I saw a college production at oberlin years ago, and the trio at the end "where's my bess" left me shaking. Haven't heard a recording of that section that moves me so much, but I would like to...Anonymousnoreply@blogger.com