Conductor John Wilson’s Reading List, Rouben Mamoulian, Crying Violins, and the First Porn Movie I Ever Did, Part 3

Well John, flame of my heart, if there’s one thing that can absolutely be said about our relationship at this point, it’s that you know how to spell my name correctly.

John Wilson Wanted.jpg

Ecoute: I know you’ve known about my blog for a few months now although you haven’t really read any of it, opting instead to let your friends/fans/acquaintances describe it to you in an offhanded way as thoughtfully or not as they care to, giving you all something to genteelly snigger at on a Sunday…and that’s cool by me, I can’t stop you. You’ve got your mates. (Know what my mates call you? “Some English guy who does that thing over there.”)

Anyway, for a little while at the beginning of my feelings for you (this would have been around July of last year) I was quite content to simply go on slavering after you adolescently but unobtrusively, in that old Tiger Beat way (you know, “Win a Date With Conductor John Wilson!!!” etc etc)—but when I finally caught up with your 2017 video clips that all changed, because you put Mamoulian back inside my head, thank you very much.

Don’t get me wrong, I was always intending to talk about The Old Man one of these days, in my own time. But you kind of forced my hand when you started to blather about the original production of Oklahoma. Now, there were productions of his Mamoulian liked to talk about, CarouselPorgy and BessThe Song of SongsQueen Christina…but he one he talked about the most was Oklahoma. We’ll go into that in an upcoming post, which I think I will call “John Wilson Conducts Oklahoma at the 2017 BBC Proms, Rouben Mamoulian Howls In Protest from His Grave, Part 2”. (Part 1 here.)

For now John, let me give you something nice because I’m in love with you and I want to give you nice things. You might be interested in this story Mamoulian told me about crying violins.

[more later, fixing dinner, will get to porn asap]

 

My Bonny John Wilson and His Eponymous Orchestra Present The Warner Bros Story at the BBC Proms 9 August 2019

From The JWO website: “John Wilson and The John Wilson Orchestra present The Warner Bros Story, an evening of sumptuous Technicoloured scores from the Golden Age of Hollywood cinema. Friday 9 August 2019 3.00pm & 7.30pm at London’s Royal Albert Hall. Tickets go on sale at 9am for Prom 29 and 30 on Saturday 11 May. Royal Albert Hall Box Office: 020 7589 8212. The evening show will be live on BBC Radio 3 and recorded for future broadcast on BBC Radio 2.”

Claire of the John Wilson Fan Club says for me to tell you all that reserved tickets for both shows are still available as of 16 Jun 2019. (Bloomsday! That’s luck.)

Bugs as Leopold.jpgLeopold! Leopold!

But “Technicolored”—sheesh. (Do you write your own copy, John my love? I truly hope you don’t.) At any rate, here are the numbers culled from the BBC site, John’s management’s website and the Irish News [updated 16 June 2019]:

  • The Sea Hawk (suite?; from the 1940 film) / Erich Korngold
  • “We’re In the Money” (from Gold Diggers of 1933 / Harry Warren, Al Dubin
  • “The Desert Song” (from the 1953 film) / Sigmund Romberg, Oscar Hammerstein II
  • The Treasure of the Sierra Madre (excerpts; from the 1948 film) / Max Steiner
  • “The Old Man and the Sea” (suite?; from the 1958 film) / Dmitri Tiomkin
  • “Seventy-Six Trombones” (from The Music Man (1962)  / Meredith Willson
  • “Blues in the Night” (from Blues In the Night, 1941) / Harold Arlen, Johnny Mercer
  • My Fair Lady (songs from the 1964 film) / Frederick Loewe, Alan Jay Lerner
  • Now, Voyager(!!!) (suite?; from the 1942 film) / Max Steiner
  • The Deadwood Stage(!!)” (from Calamity Jane, 1953) / Sammy Fain, Paul Webster [as a tribute to Doris Day]
  • “It’s Magic” (from Romance on the High Seas, 1948) / Jule Styne, Sammy Cahn* [the BBC doesn’t say so, but probably ditto for this tune as well, since Doris did sing this in the picture, to a goofy grinning Jack Carson as I remember]
  • A Streetcar Named Desire (excerpts; 1951) / Alex North
  • Camelot (songs from the 1967 film) / Frederick Loewe, Alan Jay Lerner
  • “Days of Wine and Roses” (from Days of Wine and Roses, 1962) / Henry Mancini, Johnny Mercer
  • The Constant Nymph (excerpts; from the 1943 film) / Erich Korngold

Additionally, the Irish News announced the addition of

  • “Born In a Trunk” (from A Star is Born, 1954) / Roger Edens, Leonard Gershe [in a nod to the movie’s latest remake]

*Ah, Sammy Cahn, that altekocker. I rode up in an elevator with him and Warner Bros cartoonist Robert Clampett once and had nothing to say to him; at the time Cahn was siding with management and against us ASCAP solfeggists when we tried to unionize. So I just stood there quietly, listening to the both of them natter on to each other about their respective accomplishments. “And I wrote that Jackie Gleason song!” exclaimed Cahn, while Clampett was adamantly proud of Tweety Bird, and rightly so.

My Amazon Review of Waving, Not Drowning by “Barrington Orwell” and Lev Parikian

There must be 17 people in the entire world for whom this book has any relevance. I am not one of them.

I, however, have fallen hopelessly in love with an English, middle-ranking orchestra conductor, and this book was on his Facebook Likes List, and since nowadays I will follow (almost) anywhere my beloved John Wilson leads me, here we are. Why else would I not only purchase, but listen to, Freakin 58 Fanfares Played by the Onyx Brass and Geraldo’s Greatest Dance Hits—which nevertheless I have come to adore?

What the argument of the esteemed late fictional dirigent, Barrington Orwell speaking through his still-living amanuensis, Lev Parikian, seems to be is that the career of an orchestral conductor is not a happy one. It is of course a hazardous profession, notorious for causing insanity, emotional instability, ruined health and, in at least one case I read about in Slipped Discwhen a woman in Brighton rushed the stage during a performance of Rodgers & Hammerstein and stabbed the conductor with a no.2 Dixon-Ticonderoga shrieking, “You have desecrated the music of my people!”—homicide. But Orwell, or Sir Barry if you prefer, so reverences the lofty position he himself holds that he places the blame for dirigental woes everywhere but on the dirigent himself: on the uncooperative/disrespectful weather; or concertmaster; or soloist; or composer; or entire orchestra—choose one. Or all. I’m surprised he didn’t bring up Bernstein vs the BBCSO, but maybe the English were right on that one.

Unfortunately, in no way has this slight volume helped me better grasp the mind of my beloved, although it managed to identify his type. When not on the podium he wears neither Armani nor Hugo Boss but rather attires himself in jeans, trainers, horn rimmed glasses and, because of his preternaturally long arms, blue bespoke shirts. I think he’s about 11 stone. Apparently off the podium he’s a combination of The Scholar and Mister Shouty-Scary. On the podium, in full formal dress, he is a god.

Waving Not DrowningFind my review on Amazon here.

Which brings me to the theory of which I am the author: The conductor exists not for the orchestra, not for the composer living or dead (Good grief! Whoever had that idea?), but for the audience. Whether from a box at the opera or from the floor at the Royal Albert, the conductor is the friend, philosopher and guide we require and as such (except for that dishy second-desk violinist with the golden locks) ought to be our sole focus. Yes, it is a weighty role that demands an enormous amount of conviction and honest purpose in those foolhardy enough to accept it. But remember that it is We, the People, aka The Audience, who ultimately hold a conductor’s success or failure in our own sweaty hands.

For John Wilson, Conductor: Marlene Dietrich Sings “Happy Birthday, Johnny” from The Song of Songs, Directed by My Old Boss, Rouben Mamoulian (1933)

25 May, 2019. This afternoon someone in Glyndebourne will be cutting my beloved John Wilson’s cake into tiny little slices, and so I wish them all well at the gathering.

The Song of Songs
La Dietrich inspires a handsome young English orchestra conductor to artistic heights with her transfiguring and deeply sexual love in this erotically frank pre-Code movie from Paramount.

If only you understood dirty German, my bonny…

PS—A special shout-out to my old boss, Rouben Mamoulian, who once told me, “Love with style, but also with a little sadness for the suffering involved.”

 

On Conductor John Wilson’s Full Dress and the First Porn Movie I Ever Did, Part 1

Just so you don’t go on thinking this is some kind of fanblog (it’s not, because I’m not a fan*, just crazy in love with the bloke) I thought I’d spend a posting to tell you all how I got my first gig in pictures…

John Wilson.jpegImmaculate white full dress shirt with detachable wing collar, white dickey, white bow tie, white waistcoat, studs, cufflinks, striped trousers, and a spare tailcoat in the dressing room—my bonny lad is set

This happened in San Francisco—in the 70s a paradise for the sexually adventurous—and coming after the time I worked as Rouben Mamoulian‘s amanuensis, which was after the time I posed nude for a blind sculptor in St-Paul-de-Vence, which was after the time I danced topless in a mob-run bar in Red Hook, which was after the time I was the night solfeggist at ASCAP

So anyway. One lovely summer evening about six weeks after I hit the city I went with a (legit) actress friend to a house party up on Potrero Hill, mostly because she enticed me with the information that the party would be featuring a hot tub. (Am such a pushover for hot tubs.) Well, at the party there was this cute but obvious older guy from London (trimmed ginger beard, open shirt, bead bracelet—no one goes California like the English) named Peter, who owned the house and who invited me seulement for a session of coke+quaaludes and a nice soak later, after all the other guests have left. Then he gave me his card. (This was the first time a man ever gave me his business card before we had sex, but it wouldn’t be the last)…

Part 2 here.

*No, really, I’m in love with John but he plows through Gershwin like a bull moose and treats Bernstein like Bernstein’s Saruman and he’s Frodo. How could any red-blooded American woman countenance such effrontery to her national pride?**

**He does, however, conduct Elgar and Vaughan Williams like an angel.

John Wilson Conducts Jules Massenet’s Comic Opera Cendrillion at Glyndebourne, 8 June – 2 August 2019

My name is John Wilson [so says my bonny] and I’m going to be conducting Cendrillion at the Glynebourne Festival 2019. It has elements of comic opera, it has ardent love music, solos, duets, and this element of fantasy which runs through the whole thing, a fairy tale which he conjures up expertly in the score. It’s instantly attractive music, and the reason I said I would do this piece is when I first heard it I was struck with just how high the level of invention is all the way through. It may not be done very often but I think it’s one of his best pieces, I really do [fades]. Everyone knows the story of Cinderella and I think his orchestral palette and his harmonic and melodic palette really conjured up very clearly—you can think of isolated parts of the ballet and the Fairy Godmother’s music which are full of that kind of glittering fantasy… Really gorgeous inspired music! And of course I love all the pulling it all together. I love the fact that in an opera, let’s say you have a staging problem or you have a sort of question hanging over of how you should, you should represent something on stage. The answers nearly always is [sic] to be found in the score. But he was [sic] a great masterpiece. There will be a sforzando chord or an inflection in the vocal writing which will give you the kind of…the dramatic point*, and it’s great to be a part of something which is so organic where everything affects the other. The influences of Wagner, Tchaikovsky aren’t very far away, there are lots of glowing melodies there that really, really stir you. I really can’t wait to get started on it.”

Actor/director Fiona Shaw’s production of Cendrillion makes its Glyndebourne Festival debut summer 2019, conducted by John Wilson, with Australian-American soprano Danielle de Niese in the title role. (Picture courtesy of Glyndebourne Festival 2019.)

Danielle de Niese, John Wilson.jpg

Later on in the year de Niese will be starring, with Kelsey Grammer, in the first West End staging of Man of La Mancha in fifty-three years, produced by the man who was the first to bring me to orgasm when I was 18.

*See below, “John Wilson Discourses Upon Leonard Bernstein at Birmingham Symphony Hall, 24 January 2018” and let’s have a one-pound argument, John.

Royal Gala at Windsor Castle

On Thursday 16 May 2019, His Royal Highness The Prince of Wales, President of the Royal College of Music (RCM), held a special gala concert at Windsor Castle. The concert showcased some of the RCM’s most acclaimed alumni, including Sir Thomas Allen, Dame Sarah Connolly and Conductor John Wilson, performing alongside Maxim Vengerov, Polonsky Visiting Professor of Violin, and the talented young musicians in the RCM Chamber Orchestra. The evening included a performance of George Frideric Handel’s Overture to an English Opera “Windsor Castle”.

Windsor Castle Gala 2019 news itemI’d know the back of that head anywhere.