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BUSONI: Concerto after Bach; see REGER


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

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