82 MID-MONTH RECORDINGS villainy. Also, through the Kurt Weill- Bert Brecht operas, its preoccupation with verbal values. Nevertheless, Puccini is around, and Montemezzi and Alfano and Wolf-Ferrari too, as From "Regina" to "Juno" indeed they also are in the Weill- Brecht operas. They show up here in the wide By VIRGIL THOMSON and thoroughly (quite relentlessly, ranges of the vocal lines and in their indeed) Irish of cast. But for all their way of constantly working all over AEC BLITZSTEIN, a maj or con­ stylistic adherence to the play's back­ those ranges. There is little of the tributor to the English-singing ground they sound to this listener metrical cantilena in arias and still M stage (American branch), is more earth-bound than earthy. Their less of the psalm-like patter in reci­ both composer and word-author of performance, moreover, both by the tative that English texts invite. There two recent Columbia releases. These actors who do not really sing, like is indeed almost no recitative or aria consist of the musical numbers that Shirley Booth and Melvyn Douglas, writing in the classical sense. There framed and ornamented a play-with- and by those who do (though not in is chiefly a treatment of the text's music version of Sean O'Casey's the Irish manner) like Jack Mac- rhymed prose through a special spe­ "Juno and the Paycock," recently Gowran, Monte Amundsen, and Loren cies of arioso, a declamatory setting visible on Broa^vay under the title Driscoll, is nowhere air-borne by any of words and phrases that moves, in of "Juno," (Cclu5n.>ia mono OL 5380, Hibernian afflatus. The whole seems, this work, between actual singing $4.98, Columbia stereo OS 2013, $5.98) indeed, a bit word heavy for taking and actual speaking with utter lack of and "Regina," Mr. Blitzstein's full flight. Orchestrally, thanks to Blitz- embarrassment. Now this casual re­ operatic setting of Lillian Hellman's stein and his aides (Robert Russell lation to the operatic convention and "The Little Foxes," available for Bennett and Hershy Kay), this music the use of wider vocal skips than are several seasons now at the New York has a variety and an evocative power normal to English both betray Ger­ City Opera Company (Columbia far superior to the deafening ways man allegiances. It is the loose struc­ mono O3L260, $14.98, Columbia stereo of the routine Broadway "musical." ture of the orchestral accompaniment, O3S202, $17.98). Like all Blitzstein's music, "Juno" has its busy but subservient role in the opera, its way of underlining an emo­ tional point after the exact event that causes it, rather than before or during, that lead one, in seeking the sources of its method, toward Italy. Certainly its musico-verbal line, though ever clear, save when it goes too high for enunciating, has little indigenous American flavor. Without its words, in fact, little of it would suggest having been composed for English. Similarly, the orchestral composition of the opera is tonally so restless and expressively so eager Melvyn Douglas, Shirley Booth—" 'Juno' has character and savour.' at every moment to serve the verbal phrase that it does not offer to the Also on view still, in the fifth year character and savour. Whether it has scenes much structural continuity or of its run at a small downtown thea­ "hit" quality only time will tell. hardly anything (save for Negro ter, is "The Three Penny Opera," Time has already told us that "Re­ spirituals that begin and end the Blitzstein's powerful translation of gina," which was first presented in play) of local atmosphere. "Die Dreigroschenoper" by Bert 1949, is a repertory piece. Its story Nevertheless "Regina" tells its Brecht and Kurt Weill. If perform­ line is strong; its characters have ances or recordings were still avail­ reality; its music animates and en­ able of "The Cradle Will Rock" and larges them all, as good opera music "No for an Answer," the Blitzstein must. Here is a work that fills an musical theater would be virtually operatic stage and fulfills the listener. complete for inspection. And such an Not a perfect piece, perhaps, but a inspection would show, I think, that machine that runs—that runs, more­ the cardinal inspiration behind it all is over, as an opera must, on music, the Brecht-Weill "Dreigroschenoper." not on words or on situational drama. This is not to allege improper in­ "Regina" is not a necklace of "num­ fluence, merely to point out a source. bers," like "Carmen" or "Porgy and And that source does seem to account Bess." Neither is it a symphonic for both the moralistic sociological structure supporting vocal yelps, like tone of the stories invented or chosen "Wozzeck" or "Electra." Still less is by this composer and the commercial- it a conversation in music, like De­ toward-coUoquial flavor of the mu­ bussy's "Pelleas" or Poulenc's "Car­ sical treatments. melites." Its model, I think, lies some­ Of the two recordings just released, where in Italy, as well as in the "Juno" is the less commanding mu­ Weimar Republic. The latter gives sically. The tunes are picturesque it its hatred-of-the-rich tone, its im­ personal and class-angled view of enough (more so than their lyrics) Blitzstein—"holds the attention." PRODUCED 2005 BY UNZ.ORG ELECTRONIC REPRODUCTION PROHIBITED 83 story. And it is the vocal line that tells it, not the orchestral. It tells it not only by letting the words come out clearly but also by generating through tonal restlessness and rhyth­ A New Massine Ballet mic surprise a state of excitement that never ceases. This vocal line is chiefly loud. Eighty-five per cent of it, I should say, is sung forte or jortis- simo. And it repeats its phrases well MILAN, ITALY. ing to its rightful place in ballet; beyond the needs of clarity. This OME years ago, a ballet based on and his wonderful treatment of the repetitive quality tends to make the Gluck's "Don Juan" music was central character, both in motion whole opera seem wordy and the S given in New York with Fokine and repose, is quite the equal—in "numbers" (of which there are some) choreography. If memory serves, not another sphere—^of da Ponte's, or interminable. But in spite of every­ all of the music was utilized, and the perhaps even superior. This Don Juan thing, the work moves along; and results, though interesting by reason of Massine is no mere philanderer, in moving it holds the attention. It of the ballet's history, had not much gripped by a last-minute terror, but holds the attention, moreover, by intensity. The new treatment by a poetic spirit constantly at war with musical means, even though the in­ Leonide Massine seen at La Scala himself. At one moment in the ban­ terest created by music is used con­ recently is a triumph of theatrical quet scene, after the guests have fled sistently for throwing the weight of invention, extraordinarily vivid, dra­ at the appearance of the Commenda­ attention toward the moral under­ matically, and cohesive architectur­ tore, Don Juan remains with Elvira. standing of the play away from emo­ ally. One had forgotten, after not The pathos of the girl, the tragic con­ tional identification with anybody in having seen a major work by this flict in the soul of Don Juan, have it. master for many years, the impact here been projected incandescently An exception, in this opera, to of his balletic statement, his profound by Massine in a pas de deux which Blitzstein's objective treatment of roles grasp of music. is the legitimate, tragic heir of the brilliant grand duo in "Gaite." I had is that of Birdie, a broken woman The new "Don Juan" is based di­ thought this kind of enkindling emo­ and something of a dipso. Elizabeth rectly upon Moliere's "Festin de tion lost forever to theatrical dance; Carron's reading of this compassion­ Pierre," the play which inspired An- but there it was, burning up the stage ate part is wholly touching. Also, giolini's original ballet. Thus it is and the audience, unashamed, ele­ it is vocally the best performance related only incidentally to the Mo­ mental, imaginative in the highest. present. Carol Brice, as the Negro zart-da Ponte "Don Giovanni" and servant Addie, sounds more beauti­ differs from this masterpiece in many The concluding scene, in the grave­ ful; but the role offers little occasion basic ways, especially in its treat­ yard, was equally effective. Not only for expressive variety. Brenda Lewis, ment of Leporello, who reverts to does the Commendatore exhort Don as Regina herself, is coarsely power­ the light-footed Sganarelle of French Juan to repent, but a wraith bearing ful in the middle and low ranges, tradition. Elvira alone is the heroine. a skull hovers about him hopefully, shockingly harsh at the top. And The scenes are four in number: awaiting the moment of retraction. Helen Strine, as Alexandra, sings the street—Don Juan serenades El­ The wraith is danced by the same with a trembling voice and uncertain vira, is surprised by her father, the performer as Elvira. And here Mas­ pitch, though she speaks beautifully. Commendatore, and kills him in a sine, as choreographer, has taken a Joshua Hecht sings in the bass role duel; the fields—Don Juan has a liberty with the music fully justified of Regina's cardiac husband some fleeting and humorous episode with by his sense of dramatic fantasy.