I have a lot of toasty warm affection for this underrated movie (which I saw second-run in Minneapolis the summer before I started music school), not least because of Hungarian-born Miklos Rozsa‘s score, which he based on his Violin Concerto op. 24, and on which I’ve based my story, The Rosza Concerto.
Robert Stephens as the great detective and Genevieve Page as his latest client. Yes, that’s Sherlock Holmes embracing a beautiful, nude, warm and willing woman while attempting to keep his cool.
This is Austrian-born Wilder and Romanian-born Diamond at their best, examining—through impish Hollywood eyes, of course—that weird combination of emotional reticence and superciliousness that makes English men just sooo attractive. Their great detective, however, turns out in the end (not to give anything away) to be a lonely man, unsophisticated, profoundly vulnerable, and something of a loser. Stephens’ highly original performance makes this my favorite Holmes of all.
Here’s the trailer from the latest theatrical re-release of The Private Life of Sherlock Holmes. It’s also now on Amazon Prime in entirety.
Shimmy alert at 6:26. Whoever would stifle that shimmy in years to come, my bonny, would stifle your spirit.
Excerpts by composer and band: “Skyliner” – Barnet / Charlie Barnet; “Take the A Train” – Billy Strayhorn and vocalist Joya Sherrill / Duke Ellington; “Let’s Dance” – Gregory Stone (based on von Weber’s “Invitation to the Dance”, orchestrated by Hector Berlioz) / Benny Goodman; “I’ve Got My Love to Keep Me Warm” – Irving Berlin / Ray Noble; “Begin the Beguine” – Cole Porter / Artie Shaw; “I’m Getting Sentimental Over You” – Ned Washington and George Bassman / Tommy Dorsey; “Midnight Sun” – Hampton and Sonny Burke / Lionel Hampton; “You Made Me Love You” – Monaco and McCarthy / Harry James; “Moonlight Serenade” – Miller / Glenn Miller; “Peanut Vendor” – Moisés Simons / Stan Kenton; “Woodchoppers Ball” – Joe Bishop / Woody Herman; “One O’Clock Jump” – Count Basie / Count Basie. Orchestral arrangement by composer Andrew Cottee.
Didn’t work at ASCAP for nothing…
John and his orchestra don’t always perform semi-staged musicals badly at the BBC Proms—their 2012 My Fair Lady was pretty much all right, no shenanigans there (although The Guardian wrote, “John Wilson’s adapted score—which borrows from Andre Previn‘s movie arrangements—adds a sparkle to even the most drearily expository songs: the flutes somehow sound cheekier, the brass ruder, the strings zingier”); and their 2014 Kiss Me Kate was big, sexy and playful, as it was meant to be. Winsome John even gets a speaking part!
The entire production is available to watch here.
Cheshire-born Alice Coote and Kansan Joyce DiDonato, both lyric mezzos, play Prince Charming and Cinderella in The Met’s production of Massenet’s whimsical opera.
Actor/director Fiona Shaw’s production of La Cendrillon makes its Glynbourne Festival debut in August, 2019, conducted by John Wilson, with Australian-American soprano Danielle de Niese in the title role. (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 climax when I was 18.)
In the Revolution of 1848, Johann Strauss Jr had sided with the dissidents—the anti-Habsburg faction—while Strauss Sr his father had been an avowed royalist, composing the Radetsky March in honor of the great general who played a large part in suppressing the Revolution. For some time the court looked with misgivings and suspicion at Strauss Jr, however important he proved to the Austrian image.
There’s a file of a police interrogation where the younger Strauss was asked why he had dared to play the ‘Marseillaise’. In an Austria of strict censorship, that was a loaded question. Strauss answered, ‘Because it is good music and good music is what concerns me’.”
But the wounds of the revolution gradually healed. Soon Austria had a new emperor. When the emperor celebrated the 40th anniversary of his accession in 1888, Strauss composed a waltz in honor of Franz Josef.
My signal, my flame, my beloved John Wilson is slated to conduct this piece in Stockholm 29 March 2019.
If this music doesn’t get you breaking down and weeping then laughing for joy I don’t know what would. My beloved John Wilson will be conducting this masterpiece with the BBC Scottish Symphony Orchestra in Glasgow in March, 2019.
My beloved John Wilson conducted this masterpiece with the London Symphony Orchestra in 2017.
Said Classical Source: “The LSO was behind Wilson in every particular; the conductor’s technique is immaculate, expressive and detailed, and curiously—for this member of the audience—the one conductor Wilson reminded me of was André Previn: clear, crisp and beautifully controlled. The result was a performance of considerable and consistent stature: one is often amazed at the quality of the LSO—on this occasion, as just one example, the woodwind chording was breathtaking, though I found the timpani more than a shade overbearing—it was difficult to identify which note was being played.”