The intermission talk with Cendrillon‘s director Fiona Dunn, my beloved John Wilson, mezzo Kate Lindsey, and soprano Danielle de Niese. The “topic of debate”: What should Prince Charming look like in the 21st century?
I’m only here for the shoes. Above: Frederica von Stade sings “Que mes sours sont heureuses” from Act I.
My bonny John: “I think having Prince Charming as Massenet stipulated, it fits beautifully within the whole kind of sonic picture of the whole thing. It’s not a piece that you could say fits on one musical plane, it’s got lots of colors. It’s one of the most colorful pieces he ever wrote… When I said I was doing this piece to people, they would say, Oh yeah, that’s a nice light sort of sweet little piece. It’s not a sweet little piece, it’s a big piece, there’s always another layer to get to and there’s always more detail to explore, always more depth every time. It’s not lightweight…”
UPDATE: Just found the most John Wilson-ish piece in Cendrillon. It’s like Massenet wrote it just for my beloved. Tell me I’m wrong:
“Marche des princesses”
from Cendrillon, Act I
Jules Massenet, composer
Academy of St Martin in the Fields
Neville Marriner, conductor
- “The Story So Far, with Conductor John Wilson”
- “The Story So Far; Or, Conductor John Wilson—His Limits”
- Kindle ebook of my Hollywood comedy-mystery COLD OPEN here.
- Free pdf of my book JOHN WILSON: AN ENGLISH CONDUCTOR here.
- Free pdf of my memoir re the Gyllenhaals A POET FROM HOLLYWOOD here.