FANTASY BLUE PURCELL&Gershwinin

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FANTASY BLUE PURCELL&Gershwinin FANTASY BLUE PURCELL&GERSHWINin RINAT SHAHAM MEZZO-SOPRANO FUOCOeCENERE JAY BERNFELD DIRECTION Classique ACD2 2253 ATMA Livret Fantasy 6/6/01 9:35 AM Page 1 FANTASY BLUE in 1 Summertime (George Gershwin, 1898-1937) 2:24 2 “Cold Song” (Henry Purcell, 1659-1695) 2:27 3 Hornpipe (Henry Purcell)*1: 11 4 Bess, you is my woman (George Gershwin)*4:04 5 Someone to watch over me (George Gershwin) 3:29 6 Fantasy 5 (Henry Purcell)*2:47 7 Prelude I (George Gershwin)*1:40 8 Strike the Viol (Henry Purcell) 2:44 9 Round-O (Henry Purcell)*1: 11 10 Embraceable you (George Gershwin) 2:45 11 How blest are shepherds (Henry Purcell)*1:36 12 But Not For Me (George Gershwin) 3:20 PURCELL & 13 Ground (William Croft, 1678-1727)*2:33 GERSHWIN 14 Oft she visits (Henry Purcell) 2:20 15 Sweet and low down (George Gershwin)*1: 31 16 A foggy day (George Gershwin) 3:23 17 Impromptu (George Gershwin)*1:21 18 Chaconny (Henry Purcell)*3:56 19 Three Waltzes in C (George Gershwin)*2:59 20 My man’s gone now (George Gershwin) 3:16 RINATMEZZO SHAHAM-SOPRANO FUOCOeCENERE 21 Prelude II (George Gershwin)*3:26 22 Dido’s Lament (Henry Purcell) 2:57 JAY BERNFELDDIRECTION * Instrumental Arrangements : Jay Bernfeld Livret Fantasy 6/6/01 9:35 AM Page 3 FANTASY BLUE in Purcell et Gershwin ont chacun avaient imprégné ma vie. «My time of day is the dark time… laissé un opéra-phare : Dido and Les nombreuses règles qui gou- …when the smell of rain-washed pavement comes up sweet and fresh and cold Aeneas et l’opéra américain par excel- vernent l’interprétation sur les instru- and the streetlamp light fills the gutter with gold.» lence Porgy and Bess. Il est clair que ments anciens cachent parfois le FRANK LOESSER l’air de la mort de Didon et visage passionnel et passionnant de 1991. Paris, 3 heures du matin, Ma mémoire musicale trouve Summertime, joyaux du répertoire, Purcell et ne sont d’aucune aide pour dans le quartier de Montparnasse alors quelque chose de Gershwin sont peut-être les airs en langue la musique de Gershwin. cher à Hemingway et sa clique, tou- dans le thème de Purcell… anglaise les plus enregistrés. Ces Je lève mon verre à mes amis jours un centre de la vie nocturne Purcell et Gershwin, étranges compositeurs, tous deux morts avant musiciens, qui m’ont accompagné parisienne. La tristesse du dernier compagnons… un peu comme ces leur quarantième anniversaire, ont dans l’odyssée Purcell–Gershwin verre accompagne les derniers batte- Mozart et ces Tchaïkovski en plâtre été amèrement pleurés par leurs (mais qui ne sont pas tous présents ments des ailes papillonnantes qui se retrouvent en cohabitation publics respectifs. Ils sont également sur ce disque). Ils ont tous fait preuve d’espoir dans la nuit profonde. maladroite à travers le monde sur des liés par l’immortelle popularité de d’énergie et de générosité et Notre décision d’ajouter une des pianos d’appartement. Mais à trois leur musique. surtout… de grande patience. Ils ont grandes fantaisies pour violes à un heures du matin… rien de plus 1999. Transcrire les œuvres de été des merveilleux compagnons de enregistrement consacré à l’œuvre de naturel. Messieurs Purcell et Gershwin était route; ensemble nous avons frémi Purcell que nous avions presque ter- Célébrissimes pour leurs un moment de grâce ainsi que l’é- devant ce monde jeune, passionnel, miné, nous fait travailler tard dans la musiques de théâtre, tous deux coute de superbes voix telles que de printemps éternel… Le monde de nuit. préféraient cependant leur musique Leontyne Price, Ella & Louis, Fred Purcell et de Gershwin. — comme les sons se transfor- «savante». Purcell couronne l’histoire Astaire et Judy Garland ou encore ment la nuit… de la «Fantaisie» au moment où celle- Klaus Nomi (dans une version éton- JAY BERNFELD Chaque nouvelle prise nous rend ci sonne son agonie, et qui d’autre nante de l’air du froid extrait du Roi plus téméraires — insouciants —, et que Gershwin pouvait faire briller des Arthur). Tout coulait de source. Je le motif initial prend une tournure formes fanées comme les valses, n’avais jamais soupçonné à quel résolument «moderne». impromptus et préludes. point les chansons de Gershwin 4 5 Livret Fantasy 6/6/01 9:35 AM Page 5 FANTASY BLUE in «My time of day is the dark time… theater music, both composers found To obey the many rules deemed …when the smell of rain-washed pavement comes up sweet and fresh and cold greater satisfaction in their “serious” useful for the performance of old and the streetlamp light fills the gutter with gold.» work. Each left one landmark opera— music and still let shine the insolent FRANK LOESSER Purcell his Dido and Aeneas and youthful fervor of Purcell is rough Gershwin his singular labor of love work. To let go of these rules and find 3 a.m. Paris, Montparnasse: Each reprise makes us more Porgy and Bess. If London adored the Gershwin’s music is no easier. I would fabled haunt of Hemingway and his adventurous (reckless?) and the Orpheus Britannicus, New York like to toast (olive martinis all pack and still a center of Parisian opening motif takes a decidedly reveled in the infectious beat of its around) the workhouse musicians nightlife. modern turn. My musical memory golden boy, Gershwin. who have accompanied me on this Alcohol-sodden despair and the finds something quite Gershwin in Sadly, both composers were dead journey. Some are heard on this last flittings of the butterfly wings of Purcell’s theme. before their fortieth birthday leaving recording—others at earlier perform- hope walk side by side through deep Purcell and Gershwin? devoted and doting publics bereft. ances. All have been generous of time night. At first it seemed like the type of And how can one ignore the undying and energy—no, I haven’t forgotten A last minute decision to add one clumsy pianotop cohabitation that popularity shared by the two! patience! of the great viol fantasies to a record- keeps plaster busts of Mozart in eter- The truth is I was stunned at just All have been the grandest of ing devoted to Purcell has us working nally uneasy company with plaster how well I knew Gershwin, perhaps company and the best of friends with late. To capture the viol’s throaty res- Tchaikovskys, but my 3 a.m. state of better than the arty old music whose whom to share the first blush of onance and the fantasy’s intricate mind had already begun searching study I had undertaken as a viol play- genius, a world of eternal spring- polyphony many microphone checks the parallels between the two: er. These songs, in a way, were the time… are necessary, and so we play the I had already picked up on the soundtrack of my life. My ears filled …The world of Purcell and opening bars over and over again, similarity in their melodic and har- with snippets of Foggy Day, The Man Gershwin savoring the imprint of those first monic styles (both were renowned I Love, But Not For Me—songs I never notes on the night air—how sound for their harmonic daring though knew. And those voices! Fred Astaire, JAY BERNFELD seems changed at night, somehow separated by hundreds of years!). Garland, Sinatra, Ella & Louis, more charged! Justly famous for their brilliant Gertrude Lawrence and Leontyne Price! 6 7 Livret Fantasy 6/6/01 9:35 AM Page 7 RINAT SHAHAM inat Shaham est une nouvelle figure éclatante inat Shaham is a glowing new presence on the vocal scene, an Rde la scène vocale, une artiste à l’aise dans une Rartist at home in a multitude of genres. Following a 1994 debut as multitude de genres. Suite à ses débuts en 1994 Zerlina, Miss Shaham has been heard as Cherubino (Nozze di Figaro) and dans le rôle de Zerlina, on a pu l’entendre en Idamante (Idomeneo) and has performed in Poulenc’s La Voix Humaine Cherubino (Nozze di Figaro) et en Idamante and Rossini’s Viaggio a Reims. A gala performance designed by Hanae (Idomeneo), ainsi que dans des productions de La Mori and conducted by Seiji Ozawa marked her debut with the Boston Voix Humaine de Poulenc et Viaggio a Reims de Symphony Orchestra. Miss Shaham has appeared in Ravel’s L’Enfant et Rossini. Elle fit ses débuts avec l’Orchestre sym- les Sortilèges with the Los Angeles Philharmonic under the direction of phonique de Boston lors d’une soirée gala conçue Sir Simon Rattle, with the Minnesota Orchestra and Eiji Oue, and has par Hanae Mori et dirigée par Seiji Ozawa. recorded this work with Andre Previn and the London Symphony Madame Shaham a chanté dans L’Enfant et les Orchestra. In October 2000, she was chosen by maestro Kurt Masur to Sortilèges de Ravel avec la Philharmonie de Los interpret Bernstein’s Jeremiah Symphony with the New York Angeles sous la direction de Sir Simon Rattle, Philharmonic. l’Orchestre du Minnesota avec Eiji Oue, et a enregistré cette œuvre avec Miss Shaham was chosen to incarnate the title role in Purcell’s Dido Andre Previn et l’Orchestre symphonique de Londres. En octobre 2000, and Aeneas for the inaugural season of the Festival d’Art Lyrique d’Aix- elle a été choisie par Kurt Masur pour interpréter la Jeremiah Symphony en-Provence. Recitals as emissary of the Marylin Horne Foundation as de Bernstein avec la Philharmonie de New York.
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