miércoles, 20 de enero de 2010

Canciones que merecen sonrisas

Canciones de compositores estadounidenses por Lisa Delan
AND IF THE SONG BE WORTH A SMILE
Songs by American Composers

Lisa Delan, soprano
Kristin Pankonin, piano
Susanne Mentzer, mezzosoprano (en 8)
Matt Haimovitz, violonchelo (en 8, 12-14 y 17)

William Bolcom (1938): Four Cabaret Songs [Arnold Weinstein]
1. Amor
2. Oh Close the Curtain
3. Waitin
4. Toothbrush Time

Gordon Getty (1933): Poor Peter [Gordon Getty]
5. Where is My Lady
6. Tune the Fiddle
7. The Ballad of Poor Peter

Jake Heggie (1961): Four Songs
8. My true love hath my heart [Sir Philip Sydney]
9. Barb’ry Allen [Tradicional]
10. He’s gone away [Tradicional]
11. The Leather-Winged Bat [Tradicional]

David Garner (1954): Annettes-Lieder [Annette von Droste-Hülshoff]
12. Im Grase
13. Am Turm
14. Der Weiher

John Corigliano (1938): Two Cabaret Songs [Mark Adamo]
15. Dodecaphonia
16. Marvelous Invention

17. Luna Pearl Woolf (1973): Odas de Todo el Mundo [Pablo Neruda]
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PENTATONE PTC 5186 099 (Diverdi) [68'45'']
Grabación: S/D


La soprano Lisa Delan ofrece canciones de seis compositores estadounidenses nacidos entre 1933 (Gordon Getty) y 1973 (Luna Pearl Woolf). A su lado, Wiliam Bolcom y John Corigliano (1938), David Garner (1954) y Jake Heggie (1961) presentan un abanico de opciones estéticas que se acercan al jazz, al folk, al territorio del lied romántico y que Delan recorre con una intensa capacidad teatral y expresiva, que se hace cómica en las dos piezas sarcásticas de Corigliano. Acompaña la pianista Kristin Pankonin y colaboran la mezzo Susan Mentzer y el cellista Matt Haimovitz.

[Publicado en Diario de Sevilla el sábado 16 de enero de 2010]


Corigliano: Dodecaphonia. [4'22''] Lisa Delan. Kristin Pankonin

I was a cop on the (off-) beat,
Assigned the strangest case:
Some morbid seductress, some sinister
vamp
Was stalking composers of every camp.
I'd very few clues for the chase.
(The PIANIST plays six seemingly unrelated pitchess. The SINGER mulls...)

Her coat: a battered ermine,
One victim recollected:
Her accent, faintly German,
Another one suspected:
She'd left no other trace.

(The PIANIST plays another six pitches, unrelated to the first set. The SINGER mulls...)

I needed to determine
How all this was connected
I started to pace.

(The SINGER paces, as the PIANIST replays all twelve pitches...)

Ermine coat...
German throat...
O, mein Gott!

It hit me so sobtly
It was almost subliminal–
That I was pursuing no less than the
town's most
Notorious
Serial
Criminal...
They call her Twelve-Tone Rose,
And oh! She's cold.
She sounds completely schizoid, but
she's so controlled.
She never quite repeats herself, yet
always sounds the same,
That too-too-Teutonic, that anti-men-
monic, that dodecaphonic dame,

Whose name is Twelve-Tone Rose–
Don't buy her line!
Her ev'ry fey non sequitur is by design,
She lured the likes of Bernstein, even
Copeland to her camp–
That vaguely ethereal, always funereal,
post-Wagnerial vamp–

Sure, she's exotic as a Persian,
Beguiling as a witch,
And all your smartest friends take her
advice.
Buth she'll lead you to inversion
And you'll fall for ev'ry pitch,
'Cause she'll never use the same pitch
twice–

No, no, beware of Twelve-Tone Rose–
ha!
Sh'e no good for laughs,
And she'll take your ev'ry melody and
leave you with graphs!
She'll take your pride, your heart, your
wit, and when she'd done
You, too, will be vaguely bathetic, com-
pletely synthetic, and just no fu–

(Suddenly the PIANIST grabs the singer and whispers urgently in her ear.)

What? Antoher one?
Young... American... stutters?
They call her
Thoroughly
Post-Modern

(The PIANIST lest loose a barrage of minimalist vamping.)

Millie Millie Millie Millie
Millie Millie Millie Millie
Millie Millie Millie Millie
Millie Millie Millie Millie
Millie Millie Millie Millie
Millie Millie Millie Millie–

Sorry:
Gotta run!

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