sign in sign up
<<
Home , Catfish Row, Porgy and Bess, Yours Forever

Gershwin and Bess Highlights

ANGEL BLUE · LESTER LYNCH · CHAUNCEY PACKER KEVIN SHORT · MORGAN STATE UNIVERSITY CHOIR THE PHILADELPHIA ORCHESTRA · MARIN ALSOP

George Gershwin (1898-1937) Act 2

Highlights from (1935) Scene 1: , a Month Later

Lyrics by DuBose Heyward and 7 I Got Plenty o’ Nuttin’ 3. 08 by DuBose Heyward 8 Lo’ Bess, Goin’ to Picnic? 3. 48 based on the play Porgy by Dorothy and DuBose Heyward 9 Bess, You Is My Woman Now 5. 22 10 Oh, I Can’t Sit Down 2. 17 11 Porgy, I Hates to Go 2. 04 Act 1 Scene 2: Kittiwah Island, Evening, the Same Day 1 Introduction 1. 03 12 It Ain’t Necessarily So 4. 05 Scene 1: Catfish Row, a Summer Evening 13 Hear What I Tell You 3. 10 14 What You Want wid Bess? 4. 08 2 Summertime 2. 39 3 A Woman Is a Sometime Thing 2. 17 Scene 3: Catfish Row, before Dawn, a Week Later

Scene 2: Serena’s Room, the Following Night 15 Now de Time, oh Gawd — I Loves You, Porgy 7. 16

4 Where Is Brudder Robbins? He’s a Gone, Gone, Gone 5. 24 5 Overflow 1. 34 6 My Man’s Gone Now 4. 04 Act 3 Bess, Clara, Serena, Choir Soli , Porgy Lester Lynch, Scene 1: Catfish Row, the Next Night Sportin’ Life Chauncey Packer, Crown, Jake, Choir Soli Kevin Short, Bass-Baritone 16 Andantino dolente 1. 20 Maria, Choir Soli Alexandria Crichlow, Soprano 17 Clara, Clara — Jesus Is Walkin’ on de Water 2. 20 Mingo, Choir Soli Darrin Scott, Tenor

Scene 2: Catfish Row, the Next Afternoon Morgan State University Choir Director: Eric Conway 18 Cheer Up, Sistuh 0. 52 19 There’s a Boat dat’s Leavin’ Soon for New York 2. 25 The Philadelphia Orchestra 20 You Low Crawlin’ Hound! 1. 57 Concertmaster: David Kim Assistant Conductor: Lina González-Granados Scene 3: Catfish Row, a Week Later Conducted by Marin Alsop 21 Thank Gawd I’s Home Again! 3. 49 22 Oh Lawd, I’m on My Way 1. 43

Total playing time: 67. 01

Grand : the search for For decades, this gem of American opera Porgy and Bess was the result of a fast a distinct style that originated from the an American sound remained largely under-programmed in friendship that formed between Gershwin descendants of enslaved Africans who were major opera houses, having received a and Southern Renaissance author DuBose brought to the sea islands bordering South “First of all it is American, and I believe lackluster reception upon its premiere Heyward. Heyward was responsible for Carolina, Georgia, and Florida. that American should be based in 1935. Numerous Broadway and the first iteration of the underlying story on American Material” international revivals, and a 1959 movie material, having published his novel Porgy With DuBose Heyward and Gershwin’s – adaptation did little to inspire interest in in 1925. Gershwin wrote Heyward in 1926, brother Ira working on the libretto and bringing this work to the stage. It would not expressing interest in collaborating on an lyrics, Gershwin was intent on staying be until the first commercial recording of opera adaptation of his novel. However, true to the nature and form of Heyward’s For more than 85 years, Gershwin’s the original unedited score in 1976, and the work on what would become Gershwin’s original novel, seeking only to heighten the self-proclaimed “Folk Opera” Porgy and revival in the same opera was initially stalled for several emotional drama of the story. Gershwin Bess has delighted audiences with its year, that Porgy and Bess finally reached a years, due to the fact that Heyward’s set about composing his opera, sourcing immediately recognizable hit tunes, level of recognition that has only seemed wife, Dorothy, had already begun work his newly assimilated styles into a self- flashy and energetic orchestration, and to grow in scope over the decades. In on a staged adaption of his novel. styled “Folk Opera.” In a New York Times quintessential Americana feeling. From recent times, in light of social movements article in 1935, Gershwin explained his the opening glissando and lightning- that have swept across the U.S. and the It would not be until 1933 that DuBose characterization: “Porgy and Bess is a folk fast melody, audiences are world, Porgy and Bess has been used as Heyward and George Gershwin would begin tale. Its people naturally would sing folk transported across time to the Charleston a catalyst for bringing more diverse casts their work in earnest. In the summer of music. When I first began work on the waterfront tenement neighborhood of to the opera stage. It is truly considered 1934, at the author’s invitation, Gershwin music I decided against the use of original Catfish Row. The protagonists of this one of the most popular and enduring traveled to in , folk material because I wanted the music great American story, the easy-going and gems of American Grand Opera, and one hoping to absorb the authentic color to be all of one piece. Therefore I wrote my doting Porgy, and his loving but troubled of the most ambitious works of Gershwin’s and style of the music he hoped to write. own spirituals and folk songs. But they are soul mate Bess, take us on a complex and wide-ranging, if tragically short lifespan of He even attended local church services. still — and therefore, being in multilayered journey of adoration, deceit, output. Gershwin was particularly enamored with operatic form, Porgy and Bess becomes a heartbreak, and hope of redemption. a genre of music known as Gullah Music, folk opera.”

8 9 In many ways, Gershwin’s writing in Porgy in songs they would have gone years ago.” integral role, acting not as window dressing Its roots are in the soil of the people, and Bess is characteristic of the bedrock but active spectators to the action taking whom it interprets with humor, tragedy, ideology of America as a “melting pot.” At Gershwin uses his vocal writing to infuse place before them. penetrating characterizations, dramatic times his music is emblematic of European the humanity of his complex characters, power and sympathy.” It’s important to opera, likely a result of his intensive reflected in the demanding vocal lines. Over the years, Porgy and Bess has earned note that Porgy and Bess also represented training under the influential theorist and For example, Bess’s complicated nature is a wide range of emotions and reception. a surprising historic moment in the United composer ; at others, it directly portrayed through the strength Through the years of the Civil Rights and States — its premieres in Charleston, South echoes Tin Pan Alley songs and idioms of of “I Loves You, Porgy,” which requires Black Power movements, it was criticized Carolina and Washington, D.C. would be jazz and spirituals. The brilliance inherent the legato power emblematic of Manon as racist and playing heavily into racial the first desegregated opera performances in this score is his innate ability to merge in Puccini’s Manon Lescaut. Porgy's stereotypes. Yet influential musicians such to be held in those cities. these seemingly unrelated styles into one dichotomy is emblematic of the darkness as were enamored with cohesive work of art. Gershwin focused on of spirit of Tosca's Scarpia when he kills the music, and later analysis seemed to The success of Gershwin’s opera ultimately the medium of a “Jazz Opera'' because he Crown in Act Three, yet shows incredible embrace the idea that the opera belonged comes down to his ability to write a truly believed that unlike the briefer lifespan of tenderness when he nurses Bess back to as much to the black singers as it did to enrapturing work that draws the audience Broadway shows of his time, he wanted health. Serena’s “My Man’s Gone Now” its all-white authors. In fact, Ira Gershwin into an imaginary and idealized world, to see Porgy and Bess enjoy a more robust at the funeral of her husband in Act I stipulated that all U.S. productions be featuring a unique cast of singers who future. In the same 1935 Times article, he showcases the singer’s virtuosity and brings required to stage Porgy and Bess with an display every range of emotion and human wrote: “I chose the form I have used for on the chills of Musetta from Puccini’s La all-black cast. “This, Gershwin’s last serious complexity, all packaged in a product that Porgy and Bess because I believe that music Bohème. Sportin’ Life, a role that Gershwin work,” wrote David Ewen, “possesses that is catchy, entertaining, and moving all at lives only when it is in serious form. When originally imagined for , richness, vitality and variety of melody, once. I wrote I took and must be a derisive, sarcastic minister in “It that vigor of rhythm, that spontaneity and put them in a larger and more serious form. Ain’t Necessarily So,” and a silver-tongued freshness we associate with Gershwin’s That was twelve years ago and Rhapsody seducer in the jazzy legato stylings of best music. Of all Gershwin’s serious works, in Blue is still pretty much alive, whereas if I “There’s a Boat dat’s Leavin’ Soon for New it is the only one to reveal compassion, had taken the same themes and put them York.” Even the chorus members play an humanity and a profound dramatic instinct.

10 11 Synopsis respects, is shunned by the other members on the island with him, and returns a few off to jail. Sportin’ Life finally entices Bess of Catfish Row, but finds shelter with Porgy, days later, sick and delirious. Porgy nurses with “happy dust” and garish imagery of Porgy and Bess takes place in Catfish the one man who defends her. Porgy and her back to health; he tells her that he their life in New York, and they depart, Row, a fictionalized black settlement Bess fall in love and they are transformed. knows she has been with Crown, and she leaving Clara’s orphan behind. Porgy, finally in Charleston, South Carolina. The is welcome to go with him. Bess declares released from prison, returns to discover opera opens on Clara, a young mother, In Act Two, the people of Catfish Row her love for him, but is afraid that Crown Bess has left and decides for the first time serenading her child with one of the prepare to journey to a nearby island for will make good on his threat to return for to leave the safety of Catfish Row and most recognizable songs from the opera, a church picnic. Porgy, content with his her. Porgy vows to protect her from Crown, follow her to New York in the overwhelming “Summertime.” A host of characters begin new outlook on life and companionship promising her she will never have to be finale “Oh Lawd, I’m on My Way.” to enter the square in Catfish Row, among with Bess, sings the happy-go-lucky tune afraid again. In the final scene, a horrible them our protagonist Porgy. Crown, a “I Got Plenty o’ Nuttin’.” Due to a physical hurricane strikes Catfish Row, incurring Lina González-Granados stevedore, enters with his wife, Bess, along impairment he is unable to join Bess on immense loss of life for the community; with Sportin’ Life, a local dope peddler. the boat to the picnic. Bess hesitates for though it is not confirmed, Crown is Crown joins a dice game organized by Porgy a moment, but leaves for the island with believed to be among the dead. happening nearby, but upon losing kills his the others. Arriving at the picnic, the ever opponent in a drunken rage. He is forced to jovial Sportin’ Life presents to the Greek As Act Three opens, the community of flee until the heat dies down but tells Bess Chorus his cynical take on the scripture in Catfish Row mourns the loss of their loved he will return for her. Sportin’ Life, sensing “It Ain’t Necessarily So.” As the picnic winds ones. Bess takes care of Clara’s orphan Bess’s weakness, attempts to convince her down and everyone prepares to leave, Bess baby, serenading him once more with her to join him in New York, enticing her with lags behind and is accosted by Crown. He reprisal of “Summertime.” Suddenly, Crown “happy dust,” but she eventually rejects tells her that her time with Porgy is only enters under the cover of night, intent on him. As Act One draws to a close, the temporary and that he will never let her stealing Bess away; Porgy confronts him, people of Catfish Row come together to go. Crown prevents Bess from boarding and in the ensuing fight, kills Crown. As mourn for Serena, whose husband has just the boat home and drags her off into the the police confront Porgy over the killing, been killed. Bess, who arrives to pay her woods, his will over her unbroken. Bess stays he is ensnared in the inquiry and hauled

12 13

Libretto Jake 4 Highlights from Porgy and Bess Yo’ mammy is the first to name you, Scene 2 an’ she’ll tie you to her apron string. Serena’s room, the following night. ACT 1 Then she’ll shame you and she’ll blame you till yo’ woman comes to claim you, Woman 1 harm you ‘cause a woman is a sometime thing, Where is brudder Robbins? Introduction (instrumental) with Daddy an’ Mammy standin’ by. yes, a woman is a sometime thing. All 2 All Sportin’ Life He’s a-gone, gone, gone, gone, gone, gone, Scene 1 Ah! Oh, a woman is a sometime thing. gone. Catfish Row, a summer evening. Jake Woman Clara 3 Don’t you never let a woman grieve you, I seen him in de mornin’ wid his work clo’es Summertime and the livin’ is easy, Jake jus’ cause she got yo’ weddin’ ring. on. fish are jumpin’, and the cotton is high. What, that chile ain’t asleep yet? She’ll love you and deceive you, Oh, yo’ daddy’s rich, and yo’ ma is good Give him to me. I’ll fix him for you. then she’ll take yo’ clo’es and leave you, All lookin’, Lissen to yo’ daddy warn you, ‘cause a woman is a sometime thing, But he’s gone, gone, gone, gone, gone, so hush, little baby, don’ yo’ cry. ‘fore you start a-travelling. yes, a woman is a sometime thing. gone, gone. Woman may born you, (Women’s voices in the background: Ooh!) love you, an’ mourn you, All Man One of these mornin’s you goin’ to rise up but a woman is a sometime thing, Yes, a woman is a sometime thing. An’ I seen him in the noontime straight and singin’, yes, a woman is a sometime thing. tall, then you’ll spread yo’ wings an’ you’ll take Jake but death a-come a-walkin’ in the evenin’ the sky. Mingo There now, what I tells you; he’s asleep fall. But till that mornin’, there’s a-nothin’ can Oh, a woman is a sometime thing. already.

16 17 All Maria Woman Serena An’ he’s gone, gone, gone, gone, gone, It’s Porgy, an’ Bess is a-helpin’ him. ‘Cause de Lawd will meet you, What am I goin’ do if I ain’ got de money? gone, gone. yes, de Lawd will meet you at the court- Serena house do’. Porgy Woman What’s dat woman comin’ here for? – Gawd got plenty of money for de saucer. An’ death touched Robbins wid a silver knife. I don’t need yo’ money for to bury my man. All Court-house do’, court-house do’, All All Bess de Lawd will meet you at the court-house Bless de Lord! An’ he’s gone, gone, gone, gone, gone, Dis ain’t Crown’s money. d o’. gone, gone. Porgy give me my money now. Porgy Man An’ he goin’ to soffen dese people heart Man Serena Yes, my Jesus! for to fill de saucer till it spill all over. An’ he’s sittin’ in de garden by de tree of life. All right, then. You can put it in de saucer. Maria All All Woman How de saucer stand now, my sister? Amen, my Jesus! An’ he’s gone, gone, gone, gone, gone, Come on, sister, come on, brudder, gone, gone. fill up de saucer till it overflow. All Porgy Oh, he’s gone, Robbins is gone! Oh, he’s gone! De Lawd will provide a grave for his chillen. Hmm… All Gone, gone, gone, gone, gone. Overflow, overflow, Serena Maria fill up de saucer till it overflow. Fourteen dollars an’ fifty cent. Bless de Lawd! Serena Who’s dat a-comin’ climbin’ up my steps? Man Maria Porgy Yes, my Jesus! Dat’s a-comin’ on, sister, you can bury him An’ he got comfort for de widder. soon.

18 19 All 5 6 Serena Oh, my Jesus! All Serena Since I lose my man. Overflow, overflow, My man’s gone now, Porgy oh, fill up de saucer till it overflow. ain’t no use a-listenin’ All An’ he goin’ feed his fadderless chillen. Everybody helpin’ now for his tired footsteps Ah! sendin’ our brudder to heaven. climbin’ up de stairs. Ah! All Send down yo’ angels, Lawd, oh Lawd! Serena Yes Lawd, truth Lawd! Lawd, oh Lawd, send down yo’ blessing! Ole Man Sorrow’s Ole Man Sorrow Robbins is rising to heaven! come to keep me comp’ny, sittin’ by de fireplace, Porgy whisperin’ beside me lyin’ all night long An’ he goin’ raise dis poor sinner up out of Porgy when I say my prayers. Ah! by me in de bed. de grave. Oh, sufferin’ Jesus! You knows right from wrong. Ain’t dat I min’ workin’, Tellin’ me de same thing Man You knows Robbins was a good man, work an’ me is travellers, mornin’, noon an’ eb’nin’, Allelujah! an’ now he’s weary an’ he’s goin’ home. journeyin’ togedder that I’m all alone now Reach down yo’ lovin’ han’ to de promise land. since my man is dead. Porgy an’ take our brudder to yo’ bosom. Ah, since my man is dead. An’ set him in de shinin’ seat ob de Thank you, Lawd! Bless you, Lawd! But Ole Man Sorrow’s righteous. marchin’ all de way wid me, All Porgy and all tellin’ me I’m ole now Ah! Maria Lawd fill de saucer till it overflow! since I lose my man. Amen, my Jesus! Serena All All Ah! Gone, gone, gone, gone, gone, gone. Since she lose her man.

20 21 ACT 2 an’ nuttin’s plenty fo’ me. I got de sun, got de moon, Porgy I got my gal, got my song, got de deep blue sea. …got my song! 7 got Hebben de whole day long! De folks wid plenty o’ plenty, Scene 1 Hey, no use complainin’! got to pray all de day. 8 Catfish Row, a month later. Got my gal, got my Lawd, got my song. Seems wid plenty you sure got to worry Sportin’ Life how to keep de debble away. ‘Lo, Bess, goin’ to picnic? Porgy Women Oh, I got plenty o’ nuttin’, Porgy change since dat woman I ain’t afrettin’ ‘bout hell Bess an’ nuttin’s plenty fo’ me. come to live with he. till de time arrive. No, guess I’ll stay home. I got no car, got no mule, I got no misery. Never worry long as I’m well, De folks wid plenty o’ plenty Serena never one to strive Sportin’ Life got a lock an dey door, How he change! to be good, to be bad, Picnics is all right for these small-town ‘fraid somebody’s a-goin’ to rob ‘em what de hell, I is glad l’s alive. suckers, while dey’s out a-makin’ more. All but we is use to the high life, you know. What for? He ain’t cross with chillen no more, (all humming along) You an’ me, we understands each other. an’ ain’t you hear how he an’ Bess Oh, I got plenty o’ nuttin’, I can’t see for the life of me I got no lock an de door, all de time singin’ in their room? Happy! an’ nuttin’s plenty fo’ me. what you is hangin’ roun’ this place for; dat’s no way to be, I got my gal, I got my Lawd, why, with yo’ looks, Bess, dey kin steal de rug from de floor, Maria got Hebben de whole day long. an’ yo’ way with the boys, dat’s okeh wid me, I tell you dat cripple’s happy now. Hey, no use complainin’! there’s big money for you an’ me in New ‘cause de things dat I prize, Got my gal, got my Lawd… York. like de stars in de skies Porgy all are free. (the men humming along) All Bess I got plenty o’ nuttin’, Got his gal, got his Lawd! I can’t remember ever meetin’ a nothin’ Oh, I got plenty o’ nuttin’, an’ nuttin’s plenty fo’ me. what I likes less than I does you.

22 23 Sportin’ Life Porgy Jake Porgy Oh, come on, now, how about a little touch Sportin’ Life, you keep away from my Honey, we sure goin’ strut our stuff today! Mornin’ time an’ evenin’ time of happy dus’ for old time sake? woman, Be sure to come ‘long to de picnic, Bess. an’ summertime an’ wintertime, or I’ll break yo’ damn neck! Bess, you got yo’ man. Bess 9 l’s through with that stuff! Sportin’ Life Porgy Bess I’d like to see a lousy cripple like you Bess, you is my woman now, you is, you is! Porgy, l’s yo’ woman now, I is, I is! Sportin’ Life break my neck. An’ you mus’ laugh an’ sing an’ dance An’ I ain’ never goin’ nowhere Come on, give me yo’ han’. for two instead of one. ‘less you shares de fun. Porgy Want no wrinkle on yo’ brow, nohow, Dere’s no wrinkle on my brow, nohow, Bess If I get my hands on you once more, because de sorrow of de past is all done, done. but I ain’ goin’! You hear me sayin’, I tells you, l’s through! you’ll see quick enough. Oh, Bess, my Bess! if you ain’ goin’, wid you I’m stayin’. De real happiness is jes’ begun. Porgy, l’s yo’ woman now! I’s yours forever, … Sportin’ Life Bess Oh, just a pinch, not enough to hurt a flea. Go ‘long now. Bess Porgy Porgy, l’s yo’ woman now, I is, I is! Bess, you is my woman now an’ forever. Bess Sportin’ Life An’ I ain’ never goin’ nowhere Dis life is jes’ begun, No, no, I done give up dope. All right, yo’ men frien’s come an’ they go, ‘less you shares de fun. Bess, we two is one now an’ forever. but remember ole Sportin’ Life Dere’s no wrinkle on my brow, nohow, Oh, Bess, don’ min’ dose women. Sportin’ Life an’ de happy dus’ here all along. but I ain’ goin’! You hear me sayin’, You got yo’ Porgy, you loves yo’ Porgy, Tell that to somebody else, if you ain’ goin’, wid you I’m stayin’. I knows you means it, I seen it in yo’ eyes, nobody ever gave up happy dus’. Porgy Porgy, l’s yo’ woman now! Bess. Oh, come on! Get out, you rat, you louse, you buzzard! I’s yours forever, We’ll go swingin’ through de years Mhm! Leggo, you dam’ cripple! mornin’ time an’ evenin’ time a-singin’, … Gawd, what a grip for a piece of a man! an’ summertime an’ wintertime. Hmm…

24 25 Bess 10 Maria Bess …mornin’ time an’ evenin’ time All What’s de matter wid you, sister? Yes, Porgy, I know. an’ summertime an’ wintertime. Oh, I can’t sit down! Ain’t you know you goin’ be late for de Hmm… Got to keep agoin’ like de flowin’ of a song. picnic? Porgy Oh, I can’t sit down! Go, chile, go. Porgy Guess I’ll take my honey an’ her sunny smile Bess …mornin’ time an’ evenin’ time along! I stayin’ with Porgy. Maria an’ summertime an’ wintertime. Today I is gay an’ I’s free, Come on, chile! Get into dese clo’es. jes’ a-bubblin’, nothin’ troublin’ me. Maria You stay roun’ here an’ you’ll die Bess Oh, I’s gwine to town. I can’t sit down! Sho’ you’re goin’. Ev’rybody’s goin’. of de lonesome blues. Oh, my Porgy, my man Porgy, You got to help me wid my basket. Come on now, hurry up. from dis minute I’m tellin’ you, Happy feelin’ in my bones a-stealin’, Come now, where’s yo’ hat? We’ll be late for dat boat. I keep dis vow: no concealin’, dat is picnic day. What’s dis talk about stayin’ home Porgy, I’s yo’ woman now. Sho’ is dandy, got de licker handy. when ev’rybody’s goin’ to de picnic? Bess Me an’ Mandy, we is on de way Goodbye, Porgy. Porgy ‘cause dis is picnic day. My Bess, my Bess, 11 Porgy from dis minute I’m tellin’ you, Oh, I can’t sit down! Bess Goodbye, honey. I keep dis vow: Got to keep a-jumpin’ to de thumpin’ of de Porgy, I hates to go an’ leave you all alone. Oh, my Bessie, we’s happy now, drum! Bess we is one now. Oh, I can’t sit down! Porgy Goodbye, Porgy, goodbye. Full of locomotion like an ocean full of rum! Bess, my honey, I so glad to have you go, Today I is gay an’ l’s free, I been wantin’ you to be so happy Porgy jes’ a-bubblin’, nothin’ troublin’ me. here in Catfish Row. Oh, I got plenty o’ nuttin’, Oh, l’s gwine to town. I can’t, jes’ can’t sit down! an’ nuttin’s plenty fo’ me.

26 27 I got my gal, got my Lawd, Sportin’ Life Sportin’ Life whenever it’s pos’ble, got Hebben de whole day long. He fought big Goliath who lay down an’ And he floated on water but wid a grain of salt. Got my gal, got my Lawd, got my song! dieth. till Ole Pharaoh’s daughter Li’l David was small, but oh my! she fished him, she says, from dat stream. Methus’lah lived hundred years…

12 Sportin’ Life and all Sportin’ Life and all All Scene 2 Wadoo – zim bam boodle-oo, Wadoo – zim bam boodle-oo, Methus’lah lived nine hundred years… Kittiwah Island, evening, the same day. hoodle ah da wa da – scatty wah. hoodle ah da wa da – scatty wah. Sportin’ Life Sportin’ Life Sportin’ Life Sportin’ Life An’ now but who calls dat livin’ It ain’t necessarily so… Yeah, yeah, yeah! Yeah, yeah, yeah! when no gal’ll give in, Oh, Jonah, he lived in a whale, … Oh, it ain’t necessarily so… to no man what’s nine hundred years? All lt ain’t necessarily so… All All I’m preachin’ dis sermon to show, Oh, Jonah, he lived in a whale, … It ain’t necessarily so… it ain’t nessa…, ain’t nessa…, Sportin’ Life ain’t nessa…, ain’t nessa... De t’ings dat yo’ li’ble Sportin’ Life Sportin’ Life to read in de Bible, Now, he made his home Now, dey tell all you chillun Sportin’ Life and all it ain’t necessarily so. in dat fish’s abdomen. de debble’s a villun, …ain’t necessarily so. Oh, Jonah, he lived in in a whale. but it ain’t necessarily so. Li’l David was small, but oh my! Sportin’ Life Li’l Moses was found in a stream, … To get into Hebben, Dadadada! All don’ snap for no sebben! Li’l David was small, but oh my! All Live clean, don’ have no fault. Sportin’ Life and all Li’l Moses was found in a stream, … Oh, I take dat gospel I’m preachin’ dis sermon to show,

28 29 it ain’t nessa…, ain’t nessa…, Crown, I got something to tell you. l’s the only woman Porgy ever had, take a fine young gal for to satisfy Crown. ain’t nessa…, ain’t nessa..., an’ l’s thinkin’ now, how it will be tonight Look at this chest ain’t necessarily… Crown when all these other people an’ look at these arms you got. What dat? get back to Catfish Row. You know how it’s always been with me, 13 He’ll be sittin’ an’ watchin’ the big front gate, these five years I been yo’ woman, Serena Bess a-countin’ ‘em off, waitin’ for Bess. You could kick me in the street, Hear what I tell you, I... I livin’ wid Porgy now, and I livin’ decent. An’ when the las’ woman goes home to then when you wanted me back it’s high time you was goin’. her man an’ I ain’ there... you could whistle, an’ there I was Crown back again, lickin’ yo’ han’. Maria You hear what I tol’ you, Crown There’s plenty better lookin’ gal than Bess. Hurry up, Bess! Dat boat’s gettin’ de I say in a couple ob weeks l’s comin’ for you, Ha ha ha! whoopin’ cough. an’ you is goin’ tote fair, Can’ you see, I’m with Porgy, Ha ha ha! lessen you wants to meet yo’ Gawd, Bess now and forever. you gets dat? Lemme go, Crown! I am his woman, he would die without me. Bess You can get plenty other women. Oh, Crown, won’t you let me go to my man, Crown! Bess to my man. Take yo’ han’s off me, Crown He is a cripple an’ needs my love, all my Crown I goin’ miss dat boat. What I wants wid other woman? love. You know very well dis Crown. I gots a woman an’ dat’s you, see! What you want wid Bess? I seen you lan’ an’ I been waitin’ all day for Crown Oh, let me go to my man! see you. You tellin’ me dat you’d rather have 14 I mos’ dead on this damn island. dat cripple dan Crown? Bess Crown Oh... What I wants wid other woman, Bess Bess What you want wid Bess? I gots a woman, yes, an’ dat is you, You ain’ looks mos’ dead, you bigger’n ever. It’s like dis, Crown, She’s gettin’ ole now; yes, dat is you, yes,

30 31 I need you now an’ you’re mine 15 Porgy Bess jus’ as long as I want you. Scene 3 You been very sick. How you know? No cripple’s goin’ take my woman from me. Catfish Row, before dawn, a week later. But now I got you back, Bess. You got a man tonight an’ that is Crown, Porgy yes Crown. Porgy Bess Gawd give cripple to understan’ You’re my woman, Bess, Now de time, oh Gawd, now de time… How long I been sick? many thing he ain’ give strong men. I’m tellin’ you, now I’m your man! Bess Porgy Bess Bess Porgy, Porgy, dat you there, ain’ it? Over a week now. You ain’ want me to go ‘way? What you want with Bess? You come back from Kittiwah Lemme go, hear dat boat, Porgy with eye like fireball, Porgy it’s goin’ without me! Thank Gawd, thank Gawd! an’ Maria get you into bed, No, no, I ain’ want you to go. an’ you ain’ know me. How things stan’ ‘tween you an’ Crown? Crown Bess What’s de matter, Bess? You ain’t goin’ nowhere! I lonesome here all by myself, Bess it’s hot in there, Bess He’s comin’ for me Bess let me sit here with you in the cool. I guess I ain’ know nuttin’ wid de fever, when de cotton come to town. Take yo’ hands off me, I say, or I ain’ come back at all. yo’ hands, yo’ hands, yo’ hands! Porgy Porgy Oh, Bess! Bess! Porgy You goin’? Crown Dat’s all right, honey, I know you ain’ change – Bess don’t you worry, honey, Bess wid you and me it always be the same. I been sick, ain’t I? I know you been with Crown. I tell ‘im, yes. Get in dat thicket! Porgy, Gawd, man! Why yo’ muscle pull up like that?

32 33 lt make me afraid. Bess steal my woman? ACT 3 I loves you, Porgy, don’ let him take me, If you wants to stay wid Porgy, you goin’ Porgy don’ let him handle me an’ drive me mad. stay. 16 You ain’ got nuttin’ to be afraid of; If you kin keep me, I wants to stay here You got a home now, Honey, an’ you got Scene 1 I ain’ try to keep no woman wid you forever, an’ I’d be glad. love. Catfish Row, the next night. what don’t want to stay. So no mo’ cryin’, can’t you understan’? If you want to go to Crown, Porgy You goin’ to go about yo’ business, singin’ Andantino dolente (instrumental) dat’s for you to say. There, there, Bess, ‘cause you got Porgy, you got a man. you don’ need to be afraid no mo’, 17 Bess You’s picked up happiness and laid yo’ All I wants to stay here, but I ain’t worthy. worries down, Clara, Clara, You is too decent to understan’. you goin’ live easy, you goin’ live high, don’t you be downhearted, For when I see him he hypnotize me, you goin’ outshine every woman in dis town. Clara, Clara, when he take hold of me with his hot hand. An’ remember, when Crown come, don’t you be sad an’ lonesome. Someday I know he’s coming back to call that’s my business, Bess! Jesus is walkin’ on de water, me. rise up an’ follow Him home. He’s goin’ to handle me an’ hold me so. Bess Oh, Lawd, oh my Jesus, It’s goin’ to be like dyin’, Porgy, deep inside I loves you, Porgy, don’ let him take me, rise up an’ follow Him home. me – don’ let him handle me with his hot han’, but when he calls, I know I have to go. if you kin keep me I wants to stay here Jake, Jake, wid you forever. I got my man. don’t you be downhearted, Porgy Jake, Jake, If dere warn’t no Crown, Bess, Porgy don’t you be sad an’ lonesome. If dere was only jus’ you an’ Porgy, what What you think I is anyway, to let dat dirty Jesus is walkin’ on de water, den? houn’dog rise up an’ follow Him home.

34 35 Oh, Lawd, oh my Jesus, 19 come wid me, All rise up an’ follow Him home. Sportin’ Life dat’s where we belong, sistuh, Welcome home, Porgy. There’s a boat dat’s leavin’ soon for New York, dat’s where we belong! We’re all so glad you is back again. 18 come wid me, dat’s where we belong, sister. Come on, Bess! Scene 2 You an’ me kin live dat high life in New York, Porgy Catfish Row, the next afternoon. come wid me, dere you can’t go wrong, 20 Why, hello, if dere ain’t Serena, sister. Bess you sho’ work fast, sistuh. Sportin’ Life You low crawlin’ hound! I jus’ been gone a week, Cheer up, sistuh, I’ll buy you de swellest mansion Get away from my door, an’ here you are wid a new baby. ole Sportin’ Life givin’ you de stuff up on upper Fi’th Avenue, I tells you, leave it, you rattlesnake, for scare away dem lonesome blues. an’ through Harlem we’ll go struttin’, dat’s what you is, rattlesnake! Here, hol’ on, let me see dat chile, we’ll go a-struttin’, dat’s Bess’ baby ain’ it? Where you get it? Bess an’ dere’ll be nuttin’ Sportin’ Life Where Bess anyhow? She ain’ answer me. Happy dus’! I ain’ want none of dat stuff, too good for you. Rattlesnake!? – I tells you, take dat stuff away, Buzzard! Don’t want a second shot, eh! Bess, ain’ you here? Bess! I’ll dress you in silks and satins All right, I’ll leave it here. Maria, Maria, where’s Bess, tell me quick! Sportin’ Life in de latest Paris styles. Maybe you’ll change yo’ mind. Buzzard?! All de blues you’ll be forgettin’, Maria Mhmm… that’s the thing, ain’ it? you’ll be forgettin’, 21 Bess is gone. An’ Serena take dis chile An’ membuh there’s plenty more there’ll be no frettin’, Scene 3 to give ‘im a Christian raisin’. where that came from. jes’ nothin’ but smiles. Catfish Row, a week later. Listen: Come along wid me, dat’s de place, Porgy don’t be a fool, come along, come along. Porgy You ain’ mean Bess dead? Thank Gawd l’s home again! There’s a boat dat’s leavin’ soon for New York,

36 37 Serena Porgy She worse than dead, Porgy. Bring my goat! She gave herself to de debbil, but she still livin’, All an’ she gone far away. Where you goin’, Porgy?

Porgy Porgy Alive, Bess is alive! Where Bess gone? Ain’t you say Bess gone to Noo York? Dat’s where I goin’, I got to be wid Bess. Mingo Gawd, help me to fin’ her. Noo York. I’m on my way!

Porgy 22 I hear you say Noo York. Where dat? Porgy Oh Lawd, I’m on my way… Mingo A thousand mile from here. Porgy and all I’m on my way to a Heav’nly Lan’. Porgy I’ll ride dat long, long road, Which way Noo York? if You are there to guide my han’.

Maria Oh Lawd, I’m on my way. It’s way up North pas’ de custom house. I’m on my way to a Heav’nly Lan’. Oh Lawd, it’s a long, long way, but You’ll be there to take my han’.

38 The Philadelphia Orchestra Erina Yashima Jason DePue Paul Arnold 2019–2020 Season Assistant Conductor Larry A. Grika Chair Lorraine and David Popowich Chair Jennifer Haas Dmitri Levin Yannick Nézet-Séguin Lina González-Granados Miyo Curnow Boris Balter* Music Director Conducting Fellow Elina Kalendarova Amy Oshiro-Morales Walter and Leonore Annenberg Chair Daniel Han Yu-Ting Chen Frederick R. Haas Julia Li Jeoung-Yin Kim President and CEO: Matías Tarnopolsky Artistic Advisor William Polk Christine Lim Executive Director: Ryan Fleur Fred J. Cooper Memorial Organ Experience Mei Ching Huang Vice President, Communications: Violas Ashley Berke First Violins Second Violins Choong-Jin Chang, Principal Vice President, Artistic Production: David Kim, Concertmaster Kimberly Fisher, Principal Ruth and A. Morris Williams Chair Tanya Derksen Dr. Benjamin Rush Chair Peter A. Benoliel Chair Kirsten Johnson, Associate Principal Vice President, Artistic Planning: Juliette Kang, First Associate Paul Roby, Associate Principal Kerri Ryan, Assistant Principal Jeremy Rothman Concertmaster Sandra and David Marshall Chair Judy Geist Director, Publications and Content Joseph and Marie Field Chair Dara Morales, Assistant Principal Renard Edwards Development: Darrin T. Britting Marc Rovetti, Assistant Concertmaster Anne M. Buxton Chair Anna Marie Ahn Petersen Director, Digital Content and Barbara Govatos Philip Kates Piasecki Family Chair Communications: Natalie Lewis Robert E. Mortensen Chair Mitchell and Hilarie Morgan Family David Nicastro Jonathan Beiler Foundation Chair Burchard Tang Stéphane Denève Hirono Oka Booker Rowe Che-Hung Chen Principal Guest Conductor Richard Amoroso Joseph Brodo Chair, given by Peter A. Rachel Ku Robert and Lynne Pollack Chair Benoliel Marvin Moon Gabriela Lena Frank Yayoi Numazawa Davyd Booth Meng Wang Composer-in-Residence

40 41 Cellos David Fay Hai-Ye Ni, Principal Duane Rosengard Ricardo Morales, Principal David Bilger, Principal Priscilla Lee, Associate Principal Robert Kesselman Leslie Miller and Richard Worley Chair Marguerite and Gerry Lenfest Chair Yumi Kendall, Assistant Principal Samuel Caviezel, Associate Principal Jeffrey Curnow, Associate Principal Wendy and Derek Pew Foundation Chair Some members of the string Sarah and Frank Coulson Chair Gary and Ruthanne Schlarbaum Chair Richard Harlow sections voluntarily rotate Socrates Villegas Anthony Prisk Gloria dePasquale seating on a periodic basis. Paul R. Demers, Bass Robert W. Earley Orton P. and Noël S. Jackson Chair Peter M. Joseph and Susan Rittenhouse Kathryn Picht Read Joseph Chair Robert Cafaro Jeffrey Khaner, Principal Nitzan Haroz, Principal Volunteer Committees Chair Paul and Barbara Henkels Chair Neubauer Family Foundation Chair Ohad Bar-David Patrick Williams, Associate Principal Daniel Matsukawa, Principal Matthew Vaughn, Co-Principal John Koen* Rachelle and Ronald Kaiserman Chair Richard M. Klein Chair Eric Carlson Derek Barnes Olivia Staton Mark Gigliotti, Co-Principal* Blair Bollinger, Bass Mollie and Frank Slattery Chair Erica Peel, Piccolo Angela Anderson Smith Drs. Bong and Mi Wha Lee Chair Alex Veltman Holly Blake, Contrabassoon Basses Peter Smith, Acting Principal Horns Carol Jantsch, Principal Harold Robinson, Principal Samuel S. Fels Chair Jennifer Montone, Principal Lyn and George M. Ross Chair Carole and Emilio Gravagno Chair Jonathan Blumenfeld Gray Charitable Trust Chair Joseph Conyers, Acting Associate Principal Edwin Tuttle Chair Jeffrey Lang, Associate Principal Tobey and Mark Dichter Chair Elizabeth Starr Masoudnia, English Horn Hannah L. and J. Welles Henderson Chair Don S. Liuzzi, Principal Nathaniel West, Acting Assistant Principal Joanne T. Greenspun Chair Jeffry Kirschen Dwight V. Dowley Chair John Hood Ernesto Tovar Torres Angela Zator Nelson, Associate Principal Michael Shahan Shelley Showers

42 43 Percussion Also available Christopher Deviney, Principal on PENTATONE Angela Zator Nelson

Piano and Celesta Kiyoko Takeuti

Keyboards Davyd Booth

Harp Elizabeth Hainen, Principal Patricia and John Imbesi Chair PTC 5186 571 PTC 5186 585

Librarians Robert M. Grossman, Principal Steven K. Glanzmann

Stage Personnel James J. Sweeney, Jr., Manager James P. Barnes Dennis Moore, Jr.

*On leave PTC 5186 562 PTC 5186 778

44 Acknowledgements This album was recorded live in Verizon Hall at the Kimmel Center for the Performing Arts, Philadelphia, in March 2020, in the last concerts performed by The Philadelphia Orchestra PRODUCTION TEAM in front of a public audience before the COVID-19 pandemic. Executive Producers Matías Tarnopolsky (The Philadelphia Orchestra) & Job Maarse ( Classical Recording , SFCRC) The original concerts were sponsored by Elaine W. Camarda and A. Morris Williams, Jr., & Recording Producer Job Maarse (SFCRC) Accordant Advisors. Production Assistant Christina Gembaczka (for SFCRC) Balance Engineer & Mix Mark Donahue (Soundmirror Inc., Boston) Music Copyright: George Gershwin Music, Ira Gershwin Music and Recording Engineer & Editing Dirk Sobotka (Soundmirror Inc., Boston) DuBose Heyward Memorial Fund, administrated by WB Music Corp

Cover image Khari Turner, Untitled (2019), Oil on Canvas, 20 x 16 in. Courtesy of the artist and Iris Project, Venice, California

Concert pictures Matthew Hall Photography (March 7, 2020)

Liner notes Lina Gonzáles-Granados A co-production of the San Francisco Classical Recording Company and Design Marjolein Coenrady The Philadelphia Orchestra Product management Kasper van Kooten Product coordination Christina Gembaczka

PENTATONE TEAM Vice President A&R Renaud Loranger | Managing Director Simon M. Eder A&R Manager Kate Rockett | Product Manager Kasper van Kooten Head of Marketing, PR & Sales Silvia Pietrosanti Sit back and enjoy