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It was based on the novel,  \u003ci\u003eCry the\u003c\/i\u003e  \u003ci\u003eBeloved Country\u003c\/i\u003e by the South African writer, Alan Paton (1903-1988) and represents a very speedy adaptation, since Paton’s book was only published in 1948. Yet by the following year Weill and his librettist, Maxwell Anderson (1888-1959), had written the musical, which opened on Broadway in October 1949, where the original production ran for 273 performances. \u003cbr\u003e   \u003cbr\u003e In brief, the story concerns Stephen Kumalo, an African pastor, serving in a South African country parish, whose son, Absalom, has gone off to find work and a better life in Johannesburg. There he meets Irina, who conceives their child, but he also falls in with some less suitable male company and with these men he takes part in a burglary, during the course of which a white man – ironically, a campaigner for racial equality in Paton’s novel - is killed. When Stephen, unaware of these events, arrives in Johannesburg to search for his son he eventually finds the pregnant Irina and then locates his son, who is in jail, awaiting trial. \u003cbr\u003e   \u003cbr\u003e Inevitably Absalom is found guilty and sentenced to death. Not only are father and son reconciled but Stephen realises Irina’s worth. He marries the couple in jail so that their child will have Absalom’s name, and then takes Irina back to the family home and his parish where she is taken into the family’s care before the death sentence on Absalom is carried out. \u003cbr\u003e   \u003cbr\u003e This is emphatically not a conventional subject for a Broadway musical – like the earlier groundbreaking  \u003ci\u003eShowboat\u003c\/i\u003e, which addressed the issue of miscegenation, it tackles a tough subject but it’s much more gritty than Jerome Kern’s great show. As David Kilroy observes in his excellent note,  \u003ci\u003eLost in the Stars\u003c\/i\u003e created in 1949 “a musico-dramatic parable of a new social order for an American public floundering with its own racial prejudices in the immediate postwar era.” In fact, in many ways it takes us back to the world of Weill’s collaborations with Bertolt Brecht. For example, there are some similarities in the musical styles. The scoring is for a small ensemble of some sixteen players and quite often the instrumental writing is pungent in a way that recalls those Brecht shows. \u003cbr\u003e   \u003cbr\u003e  \u003ci\u003eLost in the Stars\u003c\/i\u003e was Weill’s last completed work and it’s a fine creation, its quality emphasised by this excellent performance. We only get the musical numbers together with some of the spoken dialogue but the story line is not compromised. \u003cbr\u003e   \u003cbr\u003e The musical invention is strong; there are several memorable numbers in the show. The best of them fall to the character of Stephen and, in a strong cast, Arthur Woodley is one of the best performers of all. He has a fine, firm voice. His tone is consistently strong and round and his diction is excellent – though the libretto is printed it’s almost superfluous since all the cast enunciate very clearly. Woodley brings dignity and intensity to the role and among the highlights of the entire performance are his renditions of ‘Little Gray House’ and the title song. He also gives an excellent account of the emotionally charged soliloquy, ‘O Tixo, Tixo, Help Me!’ in Act II. \u003cbr\u003e   \u003cbr\u003e The other principal character is Irina, Absalom’s girlfriend. Cynthia Clarey gives a strong account of Irina’s music, singing ‘Stay Well’ expressively and delivering the touching ‘Trouble Man’ with real feeling. My one reservation is that her voice is a big, mature instrument and it might be thought rather too heavy to suggest a young, frightened and vulnerable girl. \u003cbr\u003e   \u003cbr\u003e Also impressive is Gregory Hopkins as the Leader of the chorus. He has a ringing, pliant tenor voice, which serves the opening number ‘The Hills of Ixopo’ very well. Even better is the ardent song, ‘Cry the Beloved Country’. Incidentally, great trouble has evidently been taken to ensure authentic pronunciation by all the cast; an adviser from the South African embassy, Tuli Demikude, was retained specially for this purpose \u003cbr\u003e   \u003cbr\u003e The chorus and orchestra are very fine indeed, bringing out all the tension and bite in Weill’s score but providing the right emotional charge. Julius Rudel directs proceedings with evident commitment to the score. The rhythms are kept tight and the memorable tunes flow most convincingly. \u003cbr\u003e   \u003cbr\u003e The recorded sound is perhaps a little close but not in any troubling way. Indeed, there’s rather a feel of the performance being mounted in a small theatre. Perhaps, though, that feeling is more down to the dramatic flair of this performance. The work clearly matters a great deal to Rudel, who says in a brief introductory comment that he regards it as “a composition of great depth, deceptively couched in simple settings.” That belief in the score shines through in his fine, dramatic reading. \u003cbr\u003e   \u003cbr\u003e Originally made for the MusicMasters catalogue, it’s excellent news that the recording has now been reissued by Nimbus. 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Hugh's finale, too, generates starker contrasts than Wallfisch's, particularly during the unexpected slow episode part way through, and in the scurrying passagework elsewhere, where soloist and orchestra achieve a chamber-like intimacy. \u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e Peter Donohoe is soloist in Finzi's two works for piano and orchestra, the Eclogue (1929--accompanied by strings alone) and Grand Fantasia and Toccata (1927), both of which were conceived for a piano concerto that never materialized. Donohoe's direct, un-mannered treatment of the Eclogue results in a finely controlled performance that casts ample light on the text without sentimentalizing it. The Nimbus version with Martin Jones and the English String Orchestra under William Boughton is well played too, but the washy acoustic robs the music of inner detailing that registers clearly on the Naxos disc. The Grand Fantasia and Toccata is a demanding virtuoso work inspired by Finzi's love of Bach. What's so compelling about Donohoe's account is that he sees the piece as a kind of neo-Baroque refraction, more closely associated with the 20th century than the 18th. It's a keenly incisive performance; Donohoe's strident accents and penetrating clarity seem ideal, but the loudest passages could still gain from fuller-sounding orchestral support. Phillip Fowke recorded the piece for EMI with Richard Hickox in 1988, but his version hasn't the austere power of Donohoe's. This Naxos release combines performances of impressive stature with pleasingly natural and well-balanced recorded sound. It'll prove hard to beat, especially at budget price.\u003cbr\u003e --Michael Jameson, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46039776854250,"sku":"747313576623","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/398335.jpg?v=1778810615"},{"product_id":"howard-shore-anthology-the-paris-concerts","title":"HOWARD SHORE: ANTHOLOGY - THE PARIS CONCERTS","description":"In my opinion, film music is one of the rare territories where a composer can write freely, providing that he chooses the films and subjects that suit his personality. This is the ideology that Howard Shore, one of the most innovative film composers, has embraced for more than 40 years. This album provides the perfect synthesis of three Paris concerts, which aimed to define the mysterious contours of the composer's multifaceted output. 2 LP set.","brand":"DEUTSCHE GRAMMOPHON","offers":[{"title":"Vinyl","offer_id":46055172767978,"sku":"028948662371","price":44.89,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4404116-3377749.jpg?v=1780079801"},{"product_id":"tellefsen-kalkbrenner-piano-concertos","title":"TELLEFSEN \u0026 KALKBRENNER: PIANO CONCERTOS","description":"A fascinating new name bursts into our Romantic Piano series with the two concertos by Thomas Tellefsen, here coupled with an extended concert piece by series stalwart Friedrich Kalkbrenner. All three works here enjoy Howard Shelley's trademark dexterity and exuberant bravura technique.","brand":"HYPERION","offers":[{"title":"CD","offer_id":46055179387114,"sku":"034571283456","price":18.33,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4263437-3078836.jpg?v=1780080287"}],"url":"https:\/\/arkivmusic.com\/collections\/arnett-howard.oembed?page=2","provider":"ArkivMusic","version":"1.0","type":"link"}