You know, I did a paper on the novella this opera’s based on, The Turn of the Screw, back in grad school. Something about the whole thrust of the story having to do with, ultimately, Henry James’s weird revulsion to/fear of sexuality—any sexuality—gay, straight, bi, kinky, whatever. Which in my ignorant prejudice I took to be typical of all English men anytime, anywhere—until I remembered that James was born not just American but, like my son, a native New Yorker (used to take The Kid to the playground in Washington Square near James’s old house) and he turned out fine. It’ll be interesting to see what kind of textual interpretation OperaGlass Works, who’re engaging John for late March 2020, go with.

Luckily my English born-and-bred John has nothing to do with the story (really, James’s story is a creepy creepy story) on stage. He’ll be conducting members of his very own Sinfonia of London in the pit of Screw and this, mes amis, is a big deal, because this will be 1) the Sinfonia’s first public appearance since John (re)formed it a year ago, so it’s a chance for their fans to hear them in person; and 2) they get to play the music of Benjamin Britten together.

During Easter Week, the holiest week of the year for observing Catholics, John will be in Santiago, Chile conducting a me-tic-ulously chosen student orchestra, culminating in a concert on Easter Sunday consisting of the always-favorite Tchaikovsky’s Symphony No 4 and Rachmaninoff’s Piano Concerto No 3.

John Wilson RAM Jan 2020.jpgAbove John: His “Meditation“.

Lastly, re “Meditation”, that short symphonic intermezzo between the scenes in Act 2 in the opera Thaïs (1893) by Jules Massenet, which my beloved John conducts on his new album (10th cut) and in which Andrew Haveron performs his violin solo like an angel:

Everybody, go away. I’m taking this to a private place.

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