Dawn Upshaw – The World So Wide

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A few weeks ago I reviewed Renée Fleming’s excellent disc of American opera arias and today I turn to Dawn Upshaw’s disc, which takes its title, The World So Wide, from the first item in the recital, Laurie’s Song from Aaron Copland’s The Tender Land. It makes a lovely opener and Upshaw is perfectly cast as the young girl who yearns to escape and see the world.

At about 45 minutes, the disc is quite short measure, however, and not everything is as good as the first track. The piece from Tanía León’s Scourge of Hyacinths is tediously declamatory and afforded me the least enjoyment on the disc. I’d also suggest that Upshaw’s is not the right voice for Barber’s Cleopatra, a role that was written for the much more opulent voice of Leontyne Price. Upshaw’s lighter, brighter sounds do not conjure up the woman of whom Enobarbus says,

Age cannot wither her, nor custom stale
Her infinite variety. Other women cloy
The appetites they feed, but she makes hungry
Where most she satisfies, for vilest things
Become themselves in her, that the holy priests
Bless her when she is riggish.

I enjoyed the excerpt from John Adams Nixon in China rather more than the Gramophone reviewer, who found it “tediously protracted”, and I suppose you either like Adams’s style or you don’t. Whatever your feelings, Upshaw delivers Pat Nixon’s This is prophetic brilliantly. She is also superb in the more Broadway influenced What a movie from Bernstein’s Trouble in Tahiti, but I thought her singing of Lonely house (an aria sung by the male character of Sam Kaplan in Street Scene) just a little too overtly operatic. Teresa Stratas manages it better on her second disc of Weill songs and arias.

After the Copland and Benstein, the most successful item on the disc is Willow Song from Douglas Moore’s The Ballad of Baby Doe, which responds well to her charming, uncomplicated manner. So too, one would think, does the final item (and the only item she shares with Fleming on her disc), Ain’t it a pretty night from Carlisle Floyd’s Susannah, but here I have to admit I prefer the rather more sensuos tones of Fleming, who suggests a far more highly charged eroticism behind the apparent simplicity of the music.

A mixed bag, then, and not so successful as her disc of Broadway songs entitled I Wish It So, but worth a listen for the unusual repertoire and for some excellent performances.

Renée Fleming – I Want Magic

 

 

 

Renée Fleming was at her peak when this recital was recorded and this is, without doubt, one of her most successful records. The programme is a varied one too, with familiar items like Gershwin’s Summertime and Bernstein’s Glitter and be gay rubbing shoulders with items from more rarely performed works like Hermann’s Wuthering Heights and Floyd’s Susannah. The inclusion of Anne’s No word from Tom from Stravinsky’s The Rake’s Progress rather stretches the subtitle American Opera Arias a bit, but is possibly justified as Auden, Kallman and Stravinsky were all resident in the US at the time of its composition.

The disc opens with a short extract from Bernard Herrmann’s Wuthering Heights, which was written in 1943 but never staged in Herrmann’s lifetime. In fact it was only premiered in 1982 by Portland Opera, but with the ending changed to one Julius Rudel had proposed several years earlier. It wasn’t performed in full until 2011, by Minnesota Opera. I have dreamt, lusciously sung here by Fleming, woud suggest the opera might be worth further investigation.

The excerpts from Douglas Moore’s The Ballad of Baby Doe and Menotti’s The Medium are both lovely in every way, but the Gershwin items from Porgy and Bess suffer from a lack of spontaneity. Fleming introduces all sorts of jazzy slides and glottal attacks which simply sound affected. Leontyne Price sings this music much more simply and allows it to blossom on its own.

The considerable difficulties of Bernstein’s Glitter and be gay are tossed off with ease and here she captures the irony in the piece marvellously. It’s a piece that, unsurprisingly, many opera singers have added to their repertoire but few of them challenge the original interpreter, Broadway star Barbara Cook, who created the role and whose diction is a good deal more clear. To be honest, the only “operatic” version I’ve heard that does is Dawn Upshaw’s, but Fleming’s is certainly amongst the best.

Next we have two pieces from Carlisle Floyd’s Susannah, which brought back happy memories of seeing Fleming in the role at the Met shortly after she recorded these exceprts. She is at her considerable best here, flooding the gratefully lyrical lines with gorgeous tone, but also capturing the character’s longing for adventure in the first, her loneliness in the second.

Finally we have a reminiscence of her Anne Trulove, which she sang at the Aspen Music Festival in 1987 and a taster of her Blanche Dubois in Previn’s A Streetcar Named Desire, which she premiered soon after making this recording. She has a richer voice than most Annes, but negotiates its complexities with ease and her Blanche is simply hors concours. The aria I want magic was an obvious high spot when she sang the role in London with the LSO, but I rather wish they had also included the final aria, I can smell the sea air, which had a huge effect on me each time I heard it whilst waiting in the wings to make my entrance as the doctor. It was one of the most beautiful things I’ve ever heard.

Sandwiched between the Stravinsky and the Previn we have Vanessa’s passionate Act I aria from Barber’s opera, which left me wondering why nobody had thought to revive the opera with Fleming in the title role. It would have suited her perfectly.

If I have any reservations, aside from those I mentioned about the Gershwin pieces, I’d have to say that her diction could be clearer. Other than that, this is an absorbing and rewarding programme stunningly sung and beautifully executed. Don’t hesitate.