Porgy and Bess at the English National Opera, Conducted by John Wilson, Fall 2018

In a podcast interview for the English National Opera, this is what my bonny had to say:

“There are very few pieces I can say I’ve been waiting all my life to conduct, and this is one of them. In my, kind of, college years or whenever that was, I got the Simon Rat’le LP and I kind of wore out the groove of those records and had to buy ‘em on CD…”

Of course it’s known for the hit tunes that have been extracted from it, but it’s much more than that… And I would even say that the most interesting music in the opera is the ariosos, the small pieces which link everything together and the incidental music… It’s really very ambitious… It’s George Gershwin at his most inventive, and as Gershwin was arguably the greatest tunesmith of the twentieth century, you’re looking at melodic material from the very very top drawer…”

ENO Porgy and Bess

Said The Spectator: “The thrill of musical recognition as the curtain rises on an unfamiliar world is replaced by astonishment at the dramatic instinct that allows Gershwin to expend a melody like that before his story has even started, in the certain knowledge that what follows can, and absolutely will, live up to what for any composer other than Gershwin would be a once-in-a-lifetime inspiration…

“Director James Robinson has grasped two essentials: firstly, that with an opera which is still far from being a repertoire piece, it doesn’t pay to muck about with the setting and spirit…

“Or perhaps it’s just the generosity and compassion of Gershwin’s score, and the alternating dazzle and tenderness of the ENO orchestra under John Wilson.

All that energy, all that style and all that loving but unobtrusive care for the music’s inner voices merely served what Wilson has always insisted is his overriding artistic goal: to find a sound that lets the music speak.

Porgy and Bess at the London Coliseum, produced by the English National Opera, closes with a matinee on the 17th.

Tunesmith. Sheesh.

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Two “Summertimes” from The Gershwins’ Porgy and Bess, One Conducted by John Wilson, 2018

…The other conducted by John Mauceri back in 2006 with the Nashville Symphony & Chorus, in a production based (in part) on the original score markings of composer George Gershwin:

For those who are familiar with the score, the very opening will seem slower. It is clear from Gershwin’s metronome markings and from the articulations in the orchestral parts that he intended the opening to be moderately fast (marked ‘Risoluto e Ben Marcato’ in the composer’s hand), exposing its inner syncopation and then accelerating. ‘Summertime’ is faster than we are accustomed. It is not a sad song, after all, and ‘A Woman is a Sometime Thing’ is slower. In fact, these two ‘lullabies’ by the mother and the father of their nameless child, are at the same metronome marking. In other words, Gershwin wanted to link the daddy and the mommy to each other by the speed of their music, even if their words and styles are quite (humorously) different.” On Porgy & Bess ©John Mauceri

John Wilson Conducts Porgy and Bess

Anthony Tommasini in his New York Times review of the English National Opera’s production of Porgy and Bess described my bonny as the “excellent John Wilson, who led a performance that had sweep, shape and vitality, as well as rarer qualities: precision and restraint”. Here’s our John from this past summer rehearsing “Summertime“. Performances of ENO’s Porgy and Bess run to 17 November.

“Changing My Tune” from The Shocking Miss Pilgrim by George & Ira Gershwin, Sung by Betty Grable

Castles were crumbling
And daydreams were tumbling
December was battling with June
But on this bright afternoon
Guess I’ll be changing my tune

We can thank composer/arranger Kay Swift, George Gershwin’s secret lover, for making sure this song found its perfect setting in this 1947 20th Century Fox musical after his untimely death ten years earlier.

Betty Grable.jpg

John, if you were going to choose one song from the film The Shocking Miss Pilgrim for your Gershwin in Hollywood album, what made you choose that boring Dick Haymes-led duet “For You, for Me, for Evermore” rather than the much more melodic and clever “Changing My Tune”?

Gershwin Plays Gershwin: 3 Preludes

I don’t have the clip, but “3 Preludes” was on the program of the John Wilson Orchestra’s 2015 BBC Proms show Salute to Sinatra—yes I swear, that was the theme of that show, featuring (ugh) Seth MacFarlane, on account of he can sing like Brian the Dog. The connection is that the version my clever John and his orchestra played is the Nelson Riddle arrangement of Gershwin’s “3 Preludes”, Nelson Riddle having been one of Frank Sinatra’s most important musical collaborators. Such a stretch, pet.

But here‘s Riddle’s arrangement…and here’s Gershwin himself. Compare and contrast.

Gershwin at Piano