CARLSON: Anna Karenina CAGE: Concert; Freeman Etudes 1-5; Kelly Kaduce (Anna), Sarah Coburn (Kitty), Chris- tine Abraham (Dolly), Dorothy Byrne (Lydia), Dream; Ryoanji; Radio Music Stefano Scodanibbio, db; ensembles Rosalind Elias (Agafia), William Joyner (Stiva), Wergo 671366 minutes Brandon Jovanovich (Levin), Robert Gierlach (Vronsky), Christian Van Horn (Karenin);Opera An outstanding program that couples early Theatre of St Louis/ Stewart Robertson Cage with late. The composer praised Sco- Signum 154 [2CD] 140 minutes danibbio for his masterly performance of Ryoanjia glorious microtonal composition David Carlsons Anna Karenina was first seen whose score consists of elegantly curving lines in July and August 2007 at Florida Grand that often intersect, which must be realized by Opera. With a few adjustments and an almost a solo musician performing one line in concert identical cast and production it was performed with the others pre-recorded. Cages score and recorded at Opera Theater of St Louis. includes an optional percussion part, which Librettist Colin Graham retained enough of the player performs on a dry-sounding combi- Tolstoys plot and details to create a coherent nation of instruments and at a tempo so slow story line. Carlsons music is middle-of-the- that no regular patterns can be discerned. The road modern: tactfully tonal with enough percussion part appears on this release but wrong notes to push it into the modern era. sounds more like a bell than anything else; Most of all, the music supports the singers aside from this misinterpretation of Cages with an atmospheric setting and commentary. instructions, the performance is powerful. In It outlines the raw emotion in Karenins bitter the bass range, the intertwining microtonal reproach to Anna in the horrific line, My love lines suggest a mournful dirge; the generous for him (our son) is buried in my loathing of performance duration of 18 minutes gives you! Annas aria Can life be so kind? is a ample time for the listener to be enveloped soaring impassioned plea with swooning fully in the incredible sounds. strings, the bright glint of harp and celeste, Scodanibbio also leads a spirited perfor- and enough passion that one wants to applaud mance of the famous Concert for Piano and every phrase. It is an emotionally and musical- Orchestra (1957-58) with various instrumental- ly satisfying opera that is easily accessible but ists (including an unnamed saxophonist). The also needs to be heard a second time for full performance lasts 15 minutes and seems to enjoyment. That opportunity is now readily privilege no one instrument; its variety of available. sound and the performers obvious commit- To ensure success for this opera an out- ment to the music make it one of the most standing cast was signed, with some of Ameri- effective performances Ive heard. Radio Music cas finest young artists and a couple of veter- (1956), for five performers, catches whatever an singers. The Karenins, Anna (Kelly Kaduce) happens to be on air when its performedin and Alexei (Christian Van Horn) in particular this case, lots of static, human voices, and are outstanding. Kaduce is musically precise, occasional euro-pop. Though this sounds like dramatically smoldering with passion, a voice a barren recipe for a serious composition, I of pure gold. Van Horns assertive, dark, cut- must report that the complex textures supplied ting burr of a baritone is ripe with pain and by the multiple radio signals retain their tim- anger. Sarah Coburn (Kitty) magically com- bral complexity and depth, at least from my bines her glittering coloratura lines with heart- past hearings. breaking emotion. The object of the ladies lust The earliest piece here, Dream (1948), is Vronsky (Robert Gierlach). But neither Gier- appears in an arrangement for contrabass and lachs voice or characterization merits such piano; the bass part merely sustains certain fascination. Hes dull. In the battle of the notes already in the original and offers an eerie tenors (Anna has three major tenor roles), but effective gloss of the work rather than a Gierlach comes in a distant third to the bril- full-scale sonic overhaul. Last but not least are liance of William Joyner as Stiva and the com- brilliant and rather frightening transcriptions manding, forthright Levin of Brandon of the first five Freeman Etudes (1977-1980), Jovanovich. whose difficulty, Cage said, offered the per- There is an aura of regal control in the former a metaphor for the individuals political Countess Lydia of Dorothy Byrne. Sincere action in spite of overwhelming social prob- sympathy is the keynote of Christine Abra- lems. A must have. hams Dolly. Veteran Rosalind Elias creates a HASKINS compelling character study as the old nurse Agafia. Conductor Stewart Robinson strikes a nice balance between the need for textual clar- ity from the singers and the emotionally 78 September/October 2009