{"title":"Peter Pears","description":"\u003cp\u003ePeter Pears was an English tenor, one of the defining British singers of the twentieth century and the closest vocal collaborator of Benjamin Britten.\u003c\/p\u003e\u003cp\u003eIn the Pristine catalogue he appears in Britten, Beethoven, Walton and English opera, including \u003cem\u003eBilly Budd\u003c\/em\u003e, \u003cem\u003eWar Requiem\u003c\/em\u003e, \u003cem\u003eNocturne\u003c\/em\u003e and Horenstein’s \u003cem\u003eMissa solemnis\u003c\/em\u003e.\u003c\/p\u003e\u003cp\u003ePears’s singing combined verbal precision, intellectual focus and a uniquely personal tenor colour. His voice could sound fragile, piercing, ironic and deeply human within a single phrase.\u003c\/p\u003e\u003cp\u003eHis page is essential. Pears gives the British vocal shelf its most unmistakable line: narrow as a beam, bright as thought.\u003c\/p\u003e","products":[{"product_id":"pasc291","title":"WALTON Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954) - PASC291","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eFaçade\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003ePortsmouth Point\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eSiesta\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003eScapino\u003cbr\u003e\u003cb\u003eBACH\/WALTON\u003c\/b\u003e The Wise Virgins - Ballet Suite\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1954\u003cbr\u003eTotal duration: 76:42\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDame Edith Sitwell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEnglish Opera Company Ensemble\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnthony Collins\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEdith Sitwell began publishing the poems that make up the collection that was eventually called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaçade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n shortly after World War I. For a while, William Walton was sharing a \nhouse with the Sitwell family and someone thought of adding music to \nsome of the poems. The eventual result was that 21 of Sitwell’s poems \nended up with musical accompaniments by Walton. After Sitwell’s death, \nWalton produced accompaniments to several of the poems that had been \ndropped between the 1922 private performance and the publication of the \ndefinitive score in 1951. This particular recording, like other \n“complete” ones, consists of the 21 poems that made the cut, so to \nspeak. It was previously issued on CD a few years ago on the Alto label \nin very good transfers. The Eloquence reissue is of comparable quality \nand, because it is authorized by Decca, includes Sitwell’s original \nannotations for the 1954 LP. What it does not have are the texts of the \npoems, which were also provided with the original LP. Let me point out \nthat you don’t really have to understand the words in order to enjoy the\n piece. The meaning of the poems is much less important than the sheer \nsound of the words; Sitwell treats the narrators as extra \ninstrumentalists. Perhaps people who acquire this release will already \nown a recording that includes the texts. The narration is sometimes \nperformed by a single speaker, but the first (incomplete) recording, \nwhich was conducted by Walton in 1929, used two speakers, Constant \nLambert and Sitwell herself (she read four of the poems). I admire this \n1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaçade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a \ngreat deal (Peter Pears does a virtuoso turn rattling off some of \nSitwell’s nonsense), but my all-time favorite recording featured \nHermione Gingold and Russell Oberlin with Thomas Dunn conducting. I \nsuppose everything comes out again sooner or later, so I have hopes that\n it will finally make it to CD.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere’s yet another excellent transfer of the \nCollins recording that you would not go wrong with. The three shorter \npieces had been previously released in an excellent Decca Eloquence CD \ncollection with works by Bax and Bliss. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScapino \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was written for the 50th anniversary of the Chicago Symphony Orchestra \nand recorded shortly after the premiere with Frederick Stock conducting.\n In the event that you know the piece and manage to ever hear the \npioneering Stock recording, you will notice some unfamiliar passages. \nSure enough, Walton, as was his custom, continued to fuss over the music\n after it had been published. All the subsequent recordings use the \nrevised edition, and Boult’s, single channel or not, is as good as any \nof them. The same can be said of his recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiesta\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the bustling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePortsmouth Point \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture, which occupied the same LP as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScapino \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePortsmouth Point \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was considered sufficiently tricky that, in 1932, Constant Lambert made\n an arrangement (presumably authorized) for reduced orchestra and \nsimplified the multiple time signatures “which, in the original version,\n afforded a certain source of vexation to both orchestra and conductor,”\n as Lambert put it. If you’re curious, Bryden Thomson’s recording of \nLambert’s edition is on Chandos 9148. In a previous issue, I expressed \nmy disappointment that Decca Eloquence had not included the three \npieces’ LP discmate, Boult’s stately but sufficiently spirited recording\n of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Wise Virgins \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eballet\n suite, all that survives from a Bach-derived score Walton wrote in 1940\n for the Sadler’s Wells Ballet. Good for Pristine for returning it to \ncirculation. I learned the piece on Walton’s 78s, which I thought \nsuffered from what seemed to be an attempt to squeeze the piece onto \nfour sides. Boult’s isn’t the only good one, and those who must have two\n channels have an excellent EMI alternative by Robert Irving. This would\n be my narrow choice over the Alto and Eloquence reissues, largely \nbecause of the inclusion of Boult’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Wise Virgins. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:3 (Jan\/Feb 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC291.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1954 Decca recording of Walton's Façade is perhaps the closest thing we have to an authentic performance, not least thanks to the recitals from the author of the poems, Dame Edith Sitwell. Although Walton, an eternal fiddler and reviser of his works, was later to add further to his Façade numbers, the version here is the definitive version published with Sitwell in 1951, and unaltered until after her death.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIf Decca's recording sounds just a little dim and dusty some 57 years later, this was easily lifted by an XR remastering which brings a new clarity and directness to these performances - they really burst into life!\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Boult recordings here are among the finest I've heard from the mono era - full-bodied, rich and deep (and I'm in danger here of describing a bottle of fine wine!), they're also bursting with vivacity and possess a fabulously clear top end. Pristine's 32-bit XR remastering has worked here on further definition of the fine inner detail, while leaving the overall impact of the original largely intact and unchanged.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eFaçade - \u003ci\u003eAn Entertainment\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFanfare\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Hornpipe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. En famille\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Mariner man\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Long steel grass\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Through gilded trellises\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Tango-Pasodoble\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e7. Lullaby for Jumbo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e8. Black Mrs. Behemoth\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e9. Tarantella\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e10. A man from a far countree\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e11. By the lake\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e12. Country dance\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e13. Polka\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e14. Four in the morning\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e15. Something lies beyond the scene\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e16. Valse\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e17. Jodelling song\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e18. Scotch Rhapsody\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e19. Popular song\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e20. Fox-trot 'Old Sir Faulk'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e21. Sir Beelzebub\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003ePortsmouth Point - \u003ci\u003eAn Overture\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWalton: Portsmouth Point — An Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eSiesta\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWalton: Siesta\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScapino - \u003ci\u003eA Comedy Overture\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWalton: Scapino — A Comedy Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTracks 23–25:\u003c\/b\u003e\u003cbr\u003eRecorded 19 October, 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\/WALTON \u003c\/b\u003eThe Wise Virgins - \u003ci\u003eBallet Suite\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. What God hath done is rightly done\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Lord, hear my longing\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. See what His love can do\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Ah! how ephemeral\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e5. Sheep may safely graze\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e6. Praise be to God\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 October, 1954\u003cbr\u003eProducer: James Walker\u003cbr\u003eEngineer: Kenneth Wilkinson\u003cbr\u003eKingsway Hall, London\u003cbr\u003eTransfers from Decca LXT5028\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer: Peter Andry\u003cbr\u003eRecorded 7\/8 July \u0026amp; 10\/11 August, 1954, West Hampstead Studios, London\u003cbr\u003eTransfer from Decca LXT2977\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDame Edith Sitwell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEnglish Opera Company Ensemble\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnthony Collins\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, May 2011\u003cbr\u003eCover artwork based on a photograph of Edith Sitwell\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 76:42\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC291.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC291.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\"It was time for a new edition of what is now \nseen by all (\"even by the firemen\" as Dame Edith would say) as much more\n than a highbrow jape. Façade, popularised by the ballet made from the \nmusic, is now accepted and has weathered the indifference which usually \nsits on once ultramodern manifestations for a space after they have \npassed into history. The truth is the music and the poetic experiment in\n the use of melodrama (in the strict sense of the word) are both of \nlasting value, quite apart from the nostalgic smiles they will bring to \nthe now greying Bright Young Things of the twenties, and also the \namazement which the voices of these two intensely English narrators will\n occasion in the ladies' clubs of Maryland and the cultural unions of \nNew South Wales. For that alone, for these examples of poetic diction by\n Dr. Sitwell and Mr. Pears, of whom the lightest criticism would be \nlèse-majesté, but who happily for the reviewer earn no rebuke, this \nissue is to be prized. \u003cbr\u003e\u003cbr\u003eThe other reason why a new edition is \nwelcome is that with modern full frequency recording it is at last \npossible really to balance the music and the voices so that the words \nget through clearly and one does in fact listen to sound and sense in \nboth departments simultaneously. There were still a few places where I \nwould have liked to have by me the pamphlet of words priced at 9d. and \nobtainable from the Decca Company, but generally the texture is \nbeautifully clear. \u003cbr\u003e\u003cbr\u003eAs in the older version, the author shares \nthe narration: here it is Mr. Pears instead of the late Constant Lambert\n ; where the latter was inclined to shout, the former is inclined to \nsound nasal, even \"coldified\". Dame Edith's interpretation of her own It\n paterns \" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e[\u003cem\u003esic. - from Gramophone's scans\u003c\/em\u003e]\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e of\n poetry which on the record's sleeve she compares with the \ntranscendental studies in pianism by Liszt remains unique. No \ndisappointment in any respect.\"\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cb\u003eP. H.-W. The Gramophone, Nov. 1954\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34591370381,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34591370445,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34591370509,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34591370637,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC291_3a7928e9-9619-4bc3-b907-f6ebfd8a5e52.jpg?v=1490190023"},{"product_id":"pasc291-cd","title":"WALTON Façade, Portsmouth Point, Siesta, Scapino, The Wise Virgins (1954) - PASC291 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478256141,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC291_dbf574f1-2de0-4cd8-8a5b-0c2879ab1fff.jpg?v=1658247102"},{"product_id":"paco138","title":"SARGENT Walton: Troilus and Cressida (1954) - PACO138","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eTroilus and Cressida (original version)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive recording, 1954\u003cbr\u003eTotal duration: 2hr 18:27\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRichard Lewis\u003c\/b\u003e, Troilus\u003cbr\u003e\u003cb\u003eMagda Laszlo\u003c\/b\u003e, Cressida\u003cbr\u003e\u003cb\u003eFrederick Dalberg\u003c\/b\u003e, Calkas\u003cbr\u003e\u003cb\u003eGeraint Evans\u003c\/b\u003e, Antenor\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, Pandarus\u003cbr\u003e\u003cb\u003eCovent Garden Opera Chorus \u0026amp; Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO138.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDrawn from unbroadcast 33rpm acetate disc recordings, this release offers quite reasonable sound quality for a live performance, though some surface noise and a less than totally \"hi-fi\" frequency range puts it at lower than state-of-the-art for the mid-fifties. That said it's significantly better than the AM radio broadcast that has surfaced elsewhere from the same series of performances. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOur dating of 21 December 1954 is based on detective work centred around the use of stand-in Barbara Howitt for Monica Sinclair in the role of Evadne. Click on the tabs here for extensive additional notes and historic information.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRecorded 21 December 1954, Covent Garden, London\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of the death of Troilus (Act 3) from the Covent Garden production\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eTroilus and Cressida\u003c\/b\u003e\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eTroilus and Cressida (original version)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVirgin of Troas\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBack to your hovels\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIs Cressida a slave_\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMorning and evening\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eForgive me Pandarus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAsk me no more\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMy father! My father!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSlowly it all comes back\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWhy niece in tears\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSweet sir, there's something on your mind\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Introduction to Act II\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDoes talking put you off\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHow can I sleep\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAt the haunted end of the day\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNot so loud! don't be alarmed\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIf one last doubt, one lurking\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNew life, new love!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNow close your eyes\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThe Storm\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFrom isle to isle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWho would go drumming\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMy name is Diomede\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThis thing shall be revoked\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Introduction to Act III\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAll's well!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo answering sign\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCressid, daughter, why so heavy-hearted_\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eYou gods, you deathless gods\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eProud, wondrous Cressida\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTake it, take it\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEvadne! Evande!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTroilus! Dear Cressid, I rejoice\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWhat is this sudden alarm_\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSextet\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eShe has brought shame on Argus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e37.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDiomede! Diomede!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e38.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBBC Conclusion and credits\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eOpera in three acts\u003cbr\u003eLibretto by \u003cb\u003eChristopher Hassall\u003c\/b\u003e\u003cbr\u003eMusic by \u003cb\u003eWilliam Walton\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eScenery by \u003cb\u003eHugh Casson\u003c\/b\u003e\u003cbr\u003eCostumes by \u003cb\u003eMalcolm Pride\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer: \u003cb\u003eGeorge Devine\u003c\/b\u003e\u003cbr\u003eFirst performance: 3 December 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCovent Garden Opera Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eConductor:\u003cb\u003e Sir Malcolm Sargent\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCalkas, High Priest of Pallas - \u003cb\u003eFrederick Dalberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eAnterior, Captain of Trojan Spears - \u003cb\u003eGeraint Evans\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eThe Voice of the Oracle - \u003cb\u003eBarbara Howitt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTroilus, Prime of Troy - \u003cb\u003eRichard Lewis\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCressida, daughter of Calkas, a widow - \u003cb\u003eMagda Laszlo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003ePandoras, brother of Calkas - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eEvadne, servant of Cressida - \u003cb\u003eBarbara Howitt\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eHoraste, a friend of Pandarus - \u003cb\u003eForbes Robinson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eDiomede, Prince of Argos - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eA Priest -\u003cb\u003eGordon Farrell\u003c\/b\u003e\u003cbr\u003eFirst Soldier -\u003cb\u003eClifford Starr\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSecond Soldier - \u003cb\u003eStanley Cooper\u003c\/b\u003e\u003cbr\u003eLadies in attendance on Cressida - \u003cb\u003eNorah Cannell, Jeanne Bowden, Jacqueline Brown, Lilian Simmons\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO138.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO138.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eTroilus and Cressida\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Walton's \u003cem\u003eTroilus and Cressida\u003c\/em\u003e,\u003cem\u003e \u003c\/em\u003ewhich reflects the\n    composer’s great love of romantic Italian opera, was the closest to his\n    heart of all his works. It had the longest period of gestation - over seven\nyears - but it was to be beset with problems. The première of Britten’s    \u003cem\u003ePeter Grimes\u003c\/em\u003e at Sadler’s Wells in June 1945 had revitalised hopes\n    for British opera. Walton felt keenly the rivalry of fellow composers and\n    John Ireland wrote to a friend: ‘Walton was there, with Lady Wimborne. He\n    must have felt rather a draught, I fancy!’ The spur had come from the BBC,\n    its Director of Music writing informally to Walton on 8 February 1947: 'The\n    BBC has decided to commission an opera and would like you to compose it. I\n    do not at all know how you are placed as regards time, but I very much hope\n    that you will be interested in the idea.' The fee was fixed at £500 - with\n    £175 for the libretto.\n\u003c\/p\u003e\n\u003cp\u003e\n    Walton’s librettist was the actor, poet, playwright and lyricist\n    Christopher Hassall whose name had possibly been put forward by the BBC.\n    Alice Wimborne, whom Walton ‘loved very dearly’, had been the muse behind\n    his violin concerto. She was ‘very intelligent, very kind and very musical\n    . . . and very good at making me work’. She knew and admired Hassall, best\n    known for his lyrics for the songs of six of Ivor Novello's musical plays,\n    from \u003cem\u003eGlamorous Night\u003c\/em\u003e (1935) to \u003cem\u003eKing's Rhapsody\u003c\/em\u003e (1949).\n    (Hassall was later to work with Sir Arthur Bliss and Sir Malcolm Arnold.\n    His association with Novello has caused some commentators to be perhaps\n    unfairly critical of his libretto for Walton.)\n\u003c\/p\u003e\n\u003cp\u003e\n    Alice was closely involved in the early stages of the opera commission,\n    helping in the search for a suitable subject. Her critical perception and\n    understanding of Walton had made her an admirable companion, and on 15 June\n    1947 she had written to Hassall who, after a number of proposals, had come\n    up with \u003cem\u003eTroilus and Cressida\u003c\/em\u003e: 'The difficulty is to find the\n    perfect subject. Many that would suit his music have other drawbacks, as a\n    case in point, Byron. For apart from suitability for him the story or plot\n    must be so easy and clear and flowing and scenic. Troilus and C. has got\n    that.'\n\u003c\/p\u003e\n\u003cp\u003e\n    Throughout 1947 and into 1948 the synopsis was slowly thrashed out. But\n    there were delays when Alice contracted cancer for which treatment was\n    sought in a Swiss clinic. Despite her increasingly serious illness Alice's\n    sympathetic hand was there in support of what she referred to Hassall as\n    'our child' right up to her death in April 1948. Walton was utterly\n    devastated. An attack of jaundice put him in hospital, after which he\n    recuperated on the island of Capri. Later that year on a trip to Argentina\n    to attend an international conference of the Performing Rights Society, he\n    met his future wife Susana Gil Passo and their whirlwind marriage took\n    place in Buenos Aires in December. They arrived in England in February 1949\n    and by November they were settled in Ischia, living initially in a building\n    that was too uncomfortable to be any more than a temporary residence before\n    moving to another, a derelict building that they rebuilt and made habitable\nas their home for eight years. (The land for their final home,    \u003cem\u003eLa Mortella\u003c\/em\u003e, was purchased in 1956.) It was against the background\nof these living conditions that Walton took up again the threads of    \u003cem\u003eTroilus and Cressida\u003c\/em\u003e. Travel, personal tragedy, marriage and the\n    move to Italy had caused a serious disruption to the schedule. As a\n    librettist Hassall was not at first conversant with the style, rhythm and\n    wording of grand opera, but Walton suggested he looked at the libretti of\n    operas like Verdi’s \u003cem\u003eRigoletto\u003c\/em\u003e and \u003cem\u003eUn ballo in maschera\u003c\/em\u003e\n    and study verses of varying lengths and the use of appropriate words. He\n    offered \u003cem\u003eOtello\u003c\/em\u003e and \u003cem\u003eAida\u003c\/em\u003e as models for the timings of the\n    acts, and even suggested that Cressida’s ‘At the haunted end of the day’ in\n    Act II should correspond in length to the aria ‘Celeste Aida’.\n\u003c\/p\u003e\n\u003cp\u003e\n    Living several months of each year in Ischia did not make working with his\n    librettist at all easy. Much of it was done by correspondence because of\n    the lack of a telephone in his Italian home, and contact by post was slow\n    and laborious. Hassall described their working method:\n\u003c\/p\u003e\n\u003cp\u003e\n    We naturally worked in close collaboration, either by a stream of letters\n    between London and Italy, or together at Sir William's home in Ischia. . .\n    [He] copied out the initial synopsis so as to examine it the more closely\n    and check on every detail. I then redrafted it and broke it up into\n    numbered sections, and began the actual text on the same pattern, numbers\n    being necessary for easy reference since the work continued by\n    correspondence once the composition of the music began. I kept a pile of\n    envelopes ready stamped and addressed for prompt reply, and our rather\n    extraordinary correspondence over a long period would fill, I should\n    imagine, several volumes. The exact motive or mood at any point was\n    discussed, also the stanza - shape and style of the utterance, for the\n    libretto ranged from measured rhyme to free verse (for instance, the\n    passage in hexameter rhythm in Act 1 was not my idea, but was a 'special\n    request'.) Such requests make a task of this kind all the more stimulating.\n\u003c\/p\u003e\n\u003cp\u003e\n    There were advantages in this partnership. They got on remarkably well.\n    Changes could be carefully considered over a period of time. Each was\n    sensitive to the other’s ideas, Walton being particularly good at coming up\n    with suggestions for dramatic improvements and Hassall keen to respond. In\n    April 1948 the BBC issued a statement to the effect that it had\n    commissioned Walton to write an opera, and that the libretto had been\n    ‘written by Christopher Hassall in active collaboration with Dr Walton on\n    the theme of \u003cem\u003eTroilus and Cressida\u003c\/em\u003e, but not using Shakespeare's\n    words or following his play. It is 3 acts.' But this was far from the\n    truth. Ten months later little progress had been made with the libretto,\n    and in February 1949 Stanford Robinson, Opera Director at the BBC, wrote to\n    Walton: 'Warmest congratulations to you on your marriage. . . Will this new\n    happiness have the effect of making you finish your opera quick or slower?\n    . . . So far as I can judge you have not actually got down any Act in\n    anything like a final form.'\n\u003c\/p\u003e\n\u003cp\u003e\n    On 28 March 1949 Walton wrote to Stanford Robinson: 'The opera position is\n    perhaps a little brighter. At last Christopher \u0026amp; I . . . have really\n    got the libretto into shape so it only now needs the music. The idea at the\n    moment is to get it ready for the 1951 [Festival of Britain] Exhibition.'\n    But by 4 February 1950 it seems that problems with the libretto were still\n    not entirely solved: ‘[It] bristles with difficulties especially libretto\n    ones,’ he wrote to Steuart Wilson, head of the BBC Music Department.\n\u003c\/p\u003e\n\u003cp\u003e\n    Wilson replied: ‘I would like to know whether you think that we could do -\n    or that you would like to do - it as a public performance in the RAH or\n    South Bank as a first 'concert' performance with or without narrator.’ But\n    Walton, who now seemed to be harbouring some doubts about the work,\n    responded on 1 March: ‘On the whole I'm not keen about a concert\n    performance of Troilus during 1951. For one thing I don't think it would\n    stand the cold hard light of a concert performance, \u0026amp; it may, with\n    luck, just get away with it on the stage. Though for me, it has progressed\n    fairly well, I've been fairly stuck for the last fortnight \u0026amp; I shall be\n    pleased if I get it finished in sketch by this time next year. I aim for a\n    Cov[ent] Gar[rden] performance about June '52.’\n\u003c\/p\u003e\n\u003cp\u003e\nThe BBC became increasingly impatient at the non-appearance of    \u003cem\u003eTroilus\u003c\/em\u003e. Nevertheless, it recommended 'that the commission remains\n    in force and that the commission fee is paid in respect of the first\n    performance despite the fact that it would be a stage performance'. The\n    Director-General’s feeling that 'We don't want to negotiate with him' was\n    perhaps forgotten when Walton received a knighthood in the Festival of\n    Britain year honours.\n\u003c\/p\u003e\n\u003cp\u003e\n    The idea for its subject had come to Christopher Hassall after reading a\n    chapter in C. S. Lewis's \u003cem\u003eThe Allegory of Love. \u003c\/em\u003eAnalysing the\n    character of Cressida (or Criseide), Lewis had written that from the 'fear\n    of loneliness, of old age, of death, of love, and of hostility . . .\n    springs the only positive passion which can be permanent in such a nature,\n    the pitiable longing, more childlike than womanly, for protection, for some\n    strong and stable thing that will hide her away and take the burden from\nher shoulder.' Hassall turned to Chaucer's epic poem    \u003cem\u003eTroilus and Criseide \u003c\/em\u003eset amidst the Trojan war, 'with the order of\n    Chaucer's events rearranged, new details introduced, and the whole\n    compressed within much narrower limits of time, until the latter half of\n    Act III where the opera bears no relation to the medieval poem. There is\n    nothing of Shakespeare in the libretto, beyond a similarity of situation\n    here and there inevitable in two works derived from the same source.'\n\u003c\/p\u003e\n\u003cp\u003e\n    At different stages the libretto was looked at by Ernest Newman, Walter\n    Legge, Ernest Irving and, while staying on Ischia, Wystan Auden to whom\n    Walton played through \u003cem\u003eTroilus\u003c\/em\u003e. All made valuable comments and\n    criticisms, and it was Auden who solved the problem of ending Act III by\n    suggesting a quintet. This became the sextet which Newman hailed as a\n    successor to the \u003cem\u003eRosenkavalier\u003c\/em\u003e trio, the \u003cem\u003eMeistersinger\u003c\/em\u003e\n    quintet and the \u003cem\u003eRigoletto\u003c\/em\u003e quartet. ‘I now understand why no-one\n    has attempted an opera with “love” interest since Puccini. Scyllas and\n    Charybdises surround one at every bar. Give me Buddery every time – or even\nplain rape,’ he naughtily wrote to Walter Legge in March 1952. (Britten’s    \u003cem\u003eBilly Budd\u003c\/em\u003e had been premièred at Covent Garden the previous\n    December.)\n\u003c\/p\u003e\n\u003cp\u003e\nThere were interruptions with commissions for the    \u003cem\u003eCoronation Te Deum\u003c\/em\u003e and \u003cem\u003eOrb and Sceptre\u003c\/em\u003e Coronation March,\n    and in August 1953 Walton sailed to the United States for conducting\n    engagements. But for the remainder of that year and all the following one\n    he was occupied with \u003cem\u003eTroilus \u003c\/em\u003ewhich was finished by September 1954.\n    Although dedicated 'To my wife', it must nevertheless have stirred\n    anguished memories of Alice. 'I sweated blood over it - in fact it nearly\n    killed me,' he once remarked in an interview.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct I\u003c\/strong\u003e\n    opens in the citadel of Troy. Calkas, high priest and father of Cressida,\n    is convinced that further resistance to the besieging Greeks is useless and\n    tries to persuade the people that the Oracle of Delphi has advised\n    surrender. Antenor, a young captain and friend of Troilus, accuses Calkas\n    of being in the pay of the Greeks, but Troilus gives assurance of the\n    priest’s good faith. Unconvinced, Antenor sets off on a foray against the\n    enemy. Troilus meets up with Cressida to whom he declares his love - but to\n    no avail. He is overheard by Pandarus, Calkas’s brother, who promises to\n    plead his cause. Pandarus then hears Calkas bidding farewell to Cressida\n    and discovers that his brother is deserting Troy. He tries to console\n    Cressida with the thought of Troilus’s love but he is interrupted by the\n    announcement of Antenor’s capture. Troilus sends a message to his father\n    King Priam saying that if he fails to regain his friend Antenor by force\n    then an exchange of prisoners must be arranged with the Greeks whatever the\n    cost. Pandarus meanwhile invites Cressida to a supper party at his house\n    the following evening and persuades her to give him the scarf she is\n    wearing which he delivers to Troilus, now convinced of Calkas’s treachery,\n    as a token of her affection.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct II\u003c\/strong\u003e\n    takes place at Pandarus’s house the next evening; Cressida and the other\n    guests are playing chess. A storm develops and, as part of his plan,\n    Pandarus sends for Troilus and persuades Cressida not to risk going home in\n    such weather but to stay instead. Her servants prepare her for the night\n    and then, alone, she admits to herself that she has fallen in love again.\n    Pandarus then comes with the news that Troilus is in the house because, as\n    he falsely explains, he is racked with jealousy. Overhearing this, Troilus\n    bursts in disclaiming such nonsense. Pandarus slips away and on his return\n    is delighted to see that his plan is working and the two are reconciled.\n\u003c\/p\u003e\n\u003cp\u003e\n    After a night of passion Troilus and Cressida are disturbed by the sound of\n    an approaching drum. It is Diomede, commander of the Greeks, who has come\n    for an exchange of prisoners. The lovers conceal themselves behind some\n    curtains and Pandarus takes it on himself to conduct the parley. Calkas, it\n    seems, has done the Greeks some good service and will accept no reward\n    other than that his only child be restored to his care, which can be done\n    to meet King Priam’s plea for the return of Antenor whom Troilus failed to\n    snatch back from the Greeks. Diomede produces the seals of Troy and of\n    Greece as proof of the agreement. Searching the room, he sees Cressida and\n    is struck by her beauty. He tells her to prepare for a journey and meet him\n    in the yard. Troilus enters in despair and promises to smuggle messages\n    through the enemy lines, and as a show of his fidelity gives back to\n    Cressida the scarf she gave him the day before.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct III\u003c\/strong\u003e\n    opens in the Greek encampment ten weeks later, during which time Cressida\n    has received no word from Troilus: her servant Evadne has been destroying\n    all his messages under orders from Calkas who now reproaches Cressida for\n    her coldness towards Diomede. Having heard nothing from Troilus she\n    ultimately yields to Diomede’s advances and allows him to take her scarf as\n    a token of her favour. That very night she is to be proclaimed Queen of\n    Argos. However, during an hour of truce Troilus and Pandarus appear and\n    urge Evadne to fetch Cressida whose ransom is being arranged. Seeing\n    Diomede carrying Cressida's scarf, Troilus claims her as his own. Enraged,\n    he attacks Diomede but is stabbed in the back by Calkas. Diomede orders\n    Calkas to return to Troy but declares that Cressida must stay behind as a\n    prisoner. Seizing Troilus's sword, she takes her own life.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    The first performance of \u003cem\u003eTroilus and Cressida\u003c\/em\u003e, which was\n    broadcast, took place at the Royal Opera House on 3 December 1954. Even\n    once the composition had been completed, the opera seemed plagued with\n    problems. There were initial doubts as to who would be designer and\n    director – ultimately Hugh Casson and George Divine, after such names as\n    Henry Moore, Isobel Lambert and Laurence Olivier had been considered. Then\n    there were casting difficulties, and the greatest disappointment was with\n    the role of Cressida which Walton had written with Walter Legge’s wife\n    Elisabeth Schwarzkopf in mind. After problems in fixing dates she\n    eventually declined with varying excuses that her English was not good\n    enough and ‘the text was Ivor Novello-ish and in English’. How\n    magnificently she would have taken on that role can be surmised from the\n    extracts she recorded in 1955 with Walton conducting [Pristine ****]. Her\n    replacement, the Hungarian soprano Magda Laszlò, could speak little English\n    and had to be coached. Contrary to what one might have expected, the rather\n    camp role of Pandarus, with its occasional Brittenesque phrasing and\n    suggestions of falsetto, was not written with Peter Pears in mind though he\n    proved admirable in the part. Parry Jones was the first suggestion (just as\n    Nicolai Gedda had been for Troilus). Perhaps for Pears’s sake the lines:\n    ‘Come, Troilus, confide in me. I have much experience in these things . .\n    What do you know of love?’ were removed soon after the first performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    The first orchestral rehearsal nearly had to be abandoned because the parts\n    were littered with so many inaccuracies that had not been properly checked\n    by the publishers. Sargent, who had little experience in the opera pit,\n    clearly did not know the score well enough and for reasons of vanity would\n    not wear glasses, making reading the manuscript score even more difficult.\n    He also refused to beat when the orchestra was not playing, leaving whole\n    ensembles to fend for themselves without setting a tempo. However, whatever\n    problems there were in rehearsal, the first night was counted a success and\nwhile the work had a mixed reception in the musical journals the    \u003cem\u003eDaily Express\u003c\/em\u003e critic called it 'the proudest hour of British music\n    since the première of Benjamin Britten's \u003cem\u003ePeter Grimes\u003c\/em\u003e nine years\n    ago'.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eTroilus\u003c\/em\u003e\n    had seven Covent Garden performances before going to Glasgow, Edinburgh,\n    Leeds, Manchester and Coventry where the conductor was Reginald Goodall\n    (‘worse than hell’ in Walton’s words), and then returning to London for a\n    further five. The American première, which Walton attended, took place in\n    San Francisco on 7 October 1955 with Richard Lewis and Dorothy Kirsten in\n    the title roles and Erich Leinsdorf conducting, and on 12 January 1956 it\n    opened to a reception of boos, cheers and hisses at La Scala, Milan, with\n    David Poleri and Dorothy Dow, Nino Sanzogno conducting.\n\u003c\/p\u003e\n\u003cp\u003e\n    There were five more Covent Garden performances between December 1955 and\n    February 1956 with Laszlò and Lewis, and \u003cem\u003eTroilus\u003c\/em\u003e did not return to\n    the repertoire until it was revived, with some alterations and cuts, for\n    five performances in 1963, with Marie Collier a magnificent Cressida, André\n    Turp Troilus and John Lanigan Pandarus. Once again Sargent conducted. (It\n    was on the way to catch a train to see this production of \u003cem\u003eTroilus\u003c\/em\u003e\n    that Christopher Hassall collapsed and died.) A few years later Walton,\n    much taken by the singing of Janet Baker, tried to breath fresh life into\n    the opera by revising the part of Cressida to accommodate her mezzo voice -\n    transposing down the vocal line as well as reshaping it, and making further\n    changes and cuts elsewhere. Even this production was dogged with problems,\n    especially when at the last minute André Previn, who was to have conducted,\n    had to withdraw because of bursitis. Lawrence Foster stepped in for the six\n    performances and while the singing and playing did much to redeem the\n    opera, the production was let down by sets that spoke only too clearly of\n    tight budgets. Walton nonetheless seemed delighted: 'It was a very special\n    evening for me because I've been waiting for the last twenty years and more\n    to get this opera vindicated. Of course, Janet Baker to me is so beautiful\n    on the stage, and the way she acts and moves is really wonderful, and her\n    singing is divine: there is no other word for it. And it just made me cry.'\n    Sadly more tears were likely reserved for the failure of \u003cem\u003eTroilus\u003c\/em\u003e\n    to establish itself in the general operatic repertoire. At Covent Garden in\n    1995 Opera North performed a version that restored the role of Cressida to\n    a soprano voice but nonetheless incorporating many of the cuts made in the\n    ‘Janet Baker’ version.\n\u003c\/p\u003e\n\u003cp\u003e\n    In between the first performance and the publication of the vocal score, as\n    was Walton's habit, numerous revisions, deletions and changes were made.\n    Most of these were minor details, here and there a bar or two was cut to\n    tighten continuity, a line or two of dialogue omitted, some adjustments\n    made to the scoring. In the first performance early in Act 1 the spoken\n    female voice of the Oracle was heard a second time (she speaks only once in\n    the VS), but that part was cut completely in the final revision. In the\n    performance issued on these CDs that was recorded by the BBC Transcription\n    Service on 21 December 1954 (and not broadcast) there are some substantial\n    sections that have been cut in the final version (and were also cut in the\n    version for Janet Baker) and therefore no longer heard today. The most\n    significant of these are, in Act I Calkas’s long monologue ‘Launching at\n    dead of night’ right up to and including the voice of the Oracle; in Act II\n    the women’s chorus ‘Put off the serpent girdle’ up to Cressida’s ‘How can I\n    sleep?’; Pandarus’s ‘Jealousy, the carrion crow . .’ up to Troilus’s cry of\n    ‘Enough of this damnable lying!’; and several incisions from Act III,\n    Cressida’s ‘He was challeng’d!’ up to ‘ “My Cressida!” ’, Calkas’s rebuking\n    of Cressida: ‘Prince Diomede honours you’ up to ‘The future is what we make\n    it’, and the dialogue between Diomede and Cressida: ‘Would you make a\n    harlot of your captive?’ until Diomede’s ‘I know some Trojans linger in\n    your thoughts’, and soon afterwards Diomede’s six lines beginning ‘Now she\n    is mine . . .’\n\u003c\/p\u003e\n\u003cp\u003e\n    The inclusion of these cuts, together with the fine singing of Magda\n    Laszlò, Richard Lewis and Peter Pears and (despite his other failings)\n    Sargent’s urgent pacing, makes this recording a document of unusual\n    historic interest.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e\u003cb\u003eStephen Lloyd\u003c\/b\u003e\u003cbr\u003eauthor of \u003cem\u003e\u003ca href=\"https:\/\/www.amazon.co.uk\/William-Walton-Muse-Fire-Music\/dp\/085115803X\/ref=sr_1_1?ie=UTF8\u0026amp;qid=1493906926\u0026amp;sr=8-1\u0026amp;keywords=William+Walton%3A+Muse+of+Fire\" target=\"_blank\"\u003eWilliam Walton: Muse of Fire\u003c\/a\u003e\u003c\/em\u003e (Boydell 2001)\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fFirst Night578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eFrom THE TIMES \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSir William Walton’s opera \u003ci\u003eTroilus and Cressida\u003c\/i\u003e was originally commissioned by the B.B.C. as an opera for broadcasting, but the conception grew in the composer’s mind, which has always worked slowly in each of his symphonic works to make a single decisive utterance in the chosen form, and in the long period of its gestation it has formed itself into a great tragic opera.\u003cbr\u003e\u003cbr\u003eThe Greeks from Homer to Euripides themselves knew that the bitterness of war is revealed only to women, and from the long line of their heroines, Hecuba, Cassandra, and the Argive queens, they made their tragedies. Cressida, a Trojan woman, caught in the storm of the world and the toil of circumstance, is a tragic figure who moves the spectator with tear for the fragility of human happiness and pity for our lot. Walton has satisfied Aristotle’s canons, not only of pity and fear, but of the dignity and magnitude of the issues, and in so doing he has satisfied one of opera’s demands—the creation of a great soprano role. The text which has provided him with his skeleton is Mr. Christopher Hassall’s reading, not of Shakespeare but of Chaucer, from which he has built up for the composer some firmly drawn characters.\u003cbr\u003e\u003cbr\u003ePandarus is both odious, laughable, and recognizably true to type. He serves the operatic function of comic relief. The opera is laid out conventionally as a music-drama with one or two concerted movements like the sextet In the last act. Walton has been content to write the same sort of music as in his other works: there are the terse figures reiterated in the orchestra to work up propulsive power, the darkly shaded melodies from lower strings, the huge climaxes with an edge on them obtained from the ordinary large orchestra. There is no attempt at innovation, formal or harmonic, no deliberate evas\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":36900055437,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205556650318,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205556683086,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO138_7d04136e-368b-4ee0-82ce-f43174d26929.jpg?v=1493907734"},{"product_id":"paco138-cd","title":"SARGENT Walton: Troilus and Cressida (1954) - PACO138 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":55205556617550,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO138_baf43c70-f7ea-4403-a25d-86f7d9b02798.jpg?v=1658496481"},{"product_id":"paco149","title":"SUTHERLAND Handel: Acis \u0026 Galatea, Two Recitals (1959, 1961) - PACO149","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eAcis and Galatea\u003cbr\u003e\u003cb\u003eTWO SONG RECITALS\u003c\/b\u003e\u003cbr\u003eMusic by: \u003cb\u003eARNE, BOYCE, DALAYRAC, HANDEL, HAYDN, HORN, MAYR, PAISIELLO, PERGOLESI, RECLI, SHIELD, SOLER, SPOHR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and broadcast recordings\u003cbr\u003eTotal duration: 2hr 24:10\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eDavid Galliver\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eOwen Brannigan\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003eThe St. Anthony Singers\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilomusica of London\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThurston Dart\u003c\/b\u003e, harpsichord\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRichard Bonynge\u003c\/b\u003e, piano \u0026amp; harpsichord\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO149.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"Joan Sutherland is a perfect Galatea; her voice conveys magisterially that somewhat difficult ideal - not a simple country girl, but an eighteenth-century actress playing in a slightly sophisticated manner at being what she knows perfectly well she is not. Her singing of \"\u003ci\u003eHush the pretty warbling choir\u003c\/i\u003e\" and \"\u003ci\u003eAs when the dove\u003c\/i\u003e\" puts her on a pedestal of classic elegance, and even the short recitatives are given with due regard for their place in the scheme as a whole. Winton Dean finds this \"formal regularity\" of the masque its only discoverable blemish, but I have a feeling that hundreds of ardent Handelians will gladly overlook it and offer up their thanks for the fine performances ofJoan Sutherland and Peter Pears. As Acis, Pears brings something of the same combination of qualities already enumerated in connection with the heroine; his gentle roulades in \"\u003ci\u003eLove in her eyes sits playing\u003c\/i\u003e\", his brisk and valiant prowess in \"\u003ci\u003eLove sounds th' alarm\u003c\/i\u003e\", and his sad and touching demise (when even the friendly sound of the harpsichord is suppressed by Handel's own command) leave the listener in no doubt about the high quality of his portrayal of an endearing character.\"\u003cbr\u003e\u003cb\u003eD.S., The Gramophone\u003c\/b\u003e, March 1960\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJoan Sutherland's 1959 recording of Acis and Galatea is widely regarded as a classic. For many it's the greatest recording of Handel's operatic masterpiece, but over recent years it's become increasingly difficult to find in many parts of the world. This new transfer by Andrew Rose for Pristine has required minimal intervention from near mint discs, with the gentle touch of XR remastering bringing subtle improvements to an excellent 1959 recording. CD purchasers should note that full and vocal scores of the work are available with your free MP3 download, together with a copy of the libretto.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two recitals presented here were, we believe, both recorded in 1961 by the BBC. The first was broadcast on Christmas Eve, 1961, exactly a year after a similar broadcast featuring Joan Sutherland and Richard Bonynge. A recital of 18th and early-19th century music, here it is accompanied by piano. The second recital was recorded and prepared by the BBC Transcription Service but did not receive a domestic broadcast - we have been unable to determine where and when it might have been transmitted, but understand it to have been another 1961 recording session. Here the music has harpsichord accompaniment yet draws from material from a similar era to the first recital.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTechnically both suffered from a degree of wow and flutter which has required careful intervention to cure or ameliorate. Some upper-frequency peak distortion in the voice marred the piano recital disc, which has largely been fixed. Otherwise both were recorded to the high technical standards one expects from the BBC.\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eHANDEL \u003c\/b\u003eAcis and Galatea\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003ePart 1\u003c\/b\u003e - Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e O the pleasure of the plains\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Ye verdant plains\u003cspan style=\"font-size: 12px;\"\u003e (1:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Hush, ye pretty warbling choir\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Where shall I seek the charming fair?\u003cspan style=\"font-size: 12px;\"\u003e (2:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Stay, shepherd, stay\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Shepherd, what art thou pursuing?\u003cspan style=\"font-size: 12px;\"\u003e (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Lo! here my love\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Love in her eyes sits playing\u003cspan style=\"font-size: 12px;\"\u003e (6:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e O didst thou know\u003cspan style=\"font-size: 12px;\"\u003e (0:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e As when the dove laments her love\u003cspan style=\"font-size: 12px;\"\u003e (4:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Happy we\u003cspan style=\"font-size: 12px;\"\u003e (2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003ePart 2\u003c\/b\u003e - Wretched lovers\u003cspan style=\"font-size: 12px;\"\u003e (5:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e I rage, I melt, I burn\u003cspan style=\"font-size: 12px;\"\u003e (1:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e O ruddier than the cherry\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Whither, fairest, art thou running?\u003cspan style=\"font-size: 12px;\"\u003e (1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Cease to beauty to be suing\u003cspan style=\"font-size: 12px;\"\u003e (3:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Would you gain the tender creature\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e His hideous love\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Love sounds the alarm\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Consider, fond shepherd\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Cease, O cease\u003cspan style=\"font-size: 12px;\"\u003e (0:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e The flocks shall leave the mountains\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Help, Galatea\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Mourn, all ye Muses\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Must I my Acis still bemoan?\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 'Tis done\u003cspan style=\"font-size: 12px;\"\u003e (0:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Heart, the seat of soft delight\u003cspan style=\"font-size: 12px;\"\u003e (4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Galatea, dry thy tears\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e O ruddier than the cherry (alternative version)\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e (soprano), Galatea, a sea-goddess\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e (tenor), Acis, a shepherd\u003cbr\u003e\u003cb\u003eDavid Galliver\u003c\/b\u003e (tenor), Damon, a shepherd\u003cbr\u003e\u003cb\u003eOwen Brannigan\u003c\/b\u003e (bass), Polyphemus, a giant\u003cbr\u003e\u003cb\u003eThe St. Anthony Singers\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilomusica of London\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThurston Dart\u003c\/b\u003e, harpsichord\u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSong Recital No. 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eDALAYRAC \u003c\/b\u003eQuand la bien aimé reviendra (\u003ci\u003eNina\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (3:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBONONCINI \u003c\/b\u003ePer la gloria (\u003ci\u003eGrisleda\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (4:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eBOYCE \u003c\/b\u003eTell me lovely shepherd (\u003ci\u003eSolomon\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cb\u003eARNE \u003c\/b\u003eThe traveller benighted (\u003ci\u003eLove in a Village\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003ePAISIELLO \u003c\/b\u003eNel cor più non mi sento (\u003ci\u003eLa bella molinara\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003eSHIELD \u003c\/b\u003eLight as thistledown (\u003ci\u003eRosina\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eSHIELD \u003c\/b\u003eWhilst with village maids I stray (\u003ci\u003eRosina\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eSHIELD \u003c\/b\u003eWhen William at Eve (\u003ci\u003eRosina\u003c\/i\u003e)\u003cspan style=\"font-size: 12px;\"\u003e (2:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRichard Bonynge\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSong Recital No. 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cb\u003ePERGOLESI \u003c\/b\u003eNina\u003cspan style=\"font-size: 12px;\"\u003e (2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cb\u003eSOLER \u003c\/b\u003eDolce mi parve un di\u003cspan style=\"font-size: 12px;\"\u003e (3:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cb\u003eMAYR \u003c\/b\u003eChe dici\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cb\u003eHANDEL \u003c\/b\u003eWith plaintive notes\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cb\u003eARNE \u003c\/b\u003eWhen daisies pied\u003cspan style=\"font-size: 12px;\"\u003e (2:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cb\u003eHAYDN \u003c\/b\u003ePastoral Song\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cb\u003eHAYDN \u003c\/b\u003eShe never told her love\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cb\u003eSPOHR \u003c\/b\u003eRose, softly blooming\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cb\u003eHORN \u003c\/b\u003eCherry Ripe\u003cspan style=\"font-size: 12px;\"\u003e (1:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cb\u003eRECLI \u003c\/b\u003eBergerette\u003cspan style=\"font-size: 12px;\"\u003e (1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as L'Oiseau-Lyre SOL60011-12\u003cbr\u003e\u003cb\u003eSong Recitals\u003c\/b\u003e\u003cbr\u003eBBC Radio recordings, 1961\u003cbr\u003eRecital No. 1 was first broadcast on BBC radio on 24 December 1961\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRichard Bonynge\u003c\/b\u003e, harpsichord\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a 1962 photograph of \u003cb\u003eJoan Sutherland\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL Acis \u0026amp; Galatea\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Watford Town Hall, 31 May \u0026amp; 2-4 June 1959\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 24:10\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO149.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":8572818817085,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205547016526,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205547049294,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO149_3cab7ff5-da72-46e0-a414-5ff021c84037.jpg?v=1528299130"},{"product_id":"paco149-cd","title":"SUTHERLAND Handel: Acis \u0026 Galatea, Two Recitals (1959, 1961) - PACO149 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO149.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205546950990,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO149.jpg?v=1658496798"},{"product_id":"paco166","title":"BRITTEN War Requiem - Nocturne - Our Hunting Fathers (1959-62) - PACO166","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eWar Requiem\u003cbr\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eNocturne\u003cbr\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eOur Hunting Fathers\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive and studio recordings, 1959-62\u003cbr\u003eTotal duration: 2hr 20:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eHeather Harper\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eDietrich Fischer-Dieskau\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eCoventry Festival Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBoys Of Holy Trinity, Leamington\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBoys Of Holy Trinity, Stratford\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMelos Ensemble\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCity Of Birmingham Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAldeburgh Festival Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBenjamin Britten\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eMeredith Davies\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO166.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In May 1962 Coventry hosted an arts festival to mark the consecration of a\n    new cathedral. The medieval cathedral, and large parts of the surrounding\n    city, had been very badly damaged during an air raid on 14 November 1940.\n    Rather than attempt to rebuild it, the shell of the old cathedral was left\n    as a symbol of the destruction caused by war (the ruin is one of Coventry’s\n    most notable tourist attractions today), and a new building was built\n    nearby. Notable British composers were commissioned to produce new works\n    for the arts festival. Arthur Bliss’s \u003cem\u003eThe Beatitudes \u003c\/em\u003ewas heard on\n    25 May, Michael Tippett’s \u003cem\u003eKing Priam\u003c\/em\u003e on 29 May and Benjamin\n    Britten’s \u003cem\u003eWar Requiem \u003c\/em\u003ethe following day\u003cem\u003e.\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The \u003cem\u003eWar Requiem \u003c\/em\u003eintertwines the traditional Latin mass with the\n    poems of Wilfred Owen who died in the last week of the First World War.\n    Britten wrote the piece for large orchestra and choir, plus a chamber\n    orchestra, a soprano soloist singing in Latin and tenor and baritone\n    soloists performing Owen’s poetry. As a noted pacifist (he had spent the\n    war years in the USA) Britten used the opportunity to make a profound\n    statement about the futility and brutality of war. Even before he had\n    written the music Britten asked German baritone Dietrich Fischer-Dieskau to\n    partner Peter Pears as tenor soloist as a sign of reconciliation. Coventry\n    had forged lasting links with cities that were also heavily bombed during\n    the war (it is twinned with Dresden, Stalingrad, Warsaw, and Caen among\n    others) and Germany had provided some funding towards the new cathedral.\n    Britten tried valiantly to secure Russian soprano Galina Vishnevskaya but\n    the Soviet authorities ultimately refused her permission to sing. English\n    soprano Heather Harper stepped in just ten days before the broadcast.\n    Britten injured his arm shortly before the premiere so he enlisted the help\n    of Meredith Davies to conduct the City of Birmingham Symphony Orchestra\n    while he conducted the Melos Ensemble.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Tenor Peter Pears (1910-1986) was Britten’s partner and was closely\n    associated with his music. Britten wrote many of his operatic tenor roles\n    specifically for Pears and he appeared in opera houses around the world as\n    Peter Grimes, Captain Vere, and Aschenbach. Dietrich Fischer-Dieskau\n    (1925-2012) was one of the pre-eminent baritones of the twentieth century,\n    singing a wide operatic and lieder repertoire with the world’s best\n    conductors and orchestras. This is a rare example of him singing in\n    English. Heather Harper (1930-2019) enjoyed her most consistent success at\n    Covent Garden, where she performed a wide variety of roles between 1962 and\n    1981, but she also appeared in Bayreuth, New York and Buenos Aires.\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eWar Requiem - Nocturne - Our Hunting Fathers (1959-62)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003edisc one\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN\u003c\/b\u003e War Requiem, Op. 66\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e BBC War Requiem Introduction\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e i. Requiem Aeternam - Requiem aeternam\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e ii. Te decet hymnus\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e iii. What passing bells for these who die as cattle\u003cspan style=\"font-size: 12px;\"\u003e (2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e iv. Kyrie eleison\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e v. Dies Irae - Dies irae\u003cspan style=\"font-size: 12px;\"\u003e (3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e vi. Bugles sang saddening the evening air\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e vii. Liber scriptus\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e viii. Out there we've walked quite friendly up to Death\u003cspan style=\"font-size: 12px;\"\u003e (1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e ix. Recordare Jesu pie\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e x. Confutatis maledictis\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e xi. Be slowly lifted up thou long black arm\u003cspan style=\"font-size: 12px;\"\u003e (1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e xii. Dies irae\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e xiii. Move him into the sun\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e xiv. Pie Jesu Domine\u003cspan style=\"font-size: 12px;\"\u003e (2:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e xv. Offertorium - Domine Jesu Christe\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e xvi. Sed signifer Sanctus\u003cspan style=\"font-size: 12px;\"\u003e (2:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e xvii. So Abram rose and clave the wood\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e xvii. Hostias et preces tibi\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e xix. Sanctus Sanctus\u003cspan style=\"font-size: 12px;\"\u003e (6:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e xx. After the blast of lightning from the East\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e xxi. Agnus Dei - One ever hangs where shelled roads part\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003edisc two\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e xxii. Libera Me - Libera me\u003cspan style=\"font-size: 12px;\"\u003e (6:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e xxiii. It seemed that out of battle I escaped\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e xxiv. None said the other\u003cspan style=\"font-size: 12px;\"\u003e (6:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e xxv. Let us sleep now ... In paradisum\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e xxvi. Requiescant in pace\u003cspan style=\"font-size: 12px;\"\u003e (1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e BBC War Requiem Conclusion\u003cspan style=\"font-size: 12px;\"\u003e (1:15)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive BBC Broadcast, Coventry Cathedral, 30 May 1962\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eNocturne, Op. 60\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e BBC Nocturne Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e I. On a poet's lips I slept\u003cspan style=\"font-size: 12px;\"\u003e (3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e II. Below the thunders of the upper deep\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e III. Encinctured with a twine of leaves\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e IV. Midnight's bell goes ting\u003cspan style=\"font-size: 12px;\"\u003e (2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e V. But that night when on my bed I lay\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e VI. She sleeps on soft, last breaths\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e VII. What is more gentle than a wind in summer?\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e VIII. When most I wink, then do mine eyes best see\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e BBC Nocturne Conclusion\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive BBC Broadcast, Orford Church, 21 June 1959\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eOur Hunting Fathers, Op. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e BBC Our Hunting Fathers Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Prologue\u003cspan style=\"font-size: 12px;\"\u003e (1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Rats Away!\u003cspan style=\"font-size: 12px;\"\u003e (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Messalina\u003cspan style=\"font-size: 12px;\"\u003e (6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Dance of Death (Hawking for the Partridge)\u003cspan style=\"font-size: 12px;\"\u003e (6:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Epilogue and Funeral March\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e BBC Our Hunting Fathers Conclusion\u003cspan style=\"font-size: 12px;\"\u003e (0:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1961, BBC Maida Vale Studio 1, TX 15 June 1961\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, tenor \u003ci\u003e(all)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eHeather Harper\u003c\/b\u003e, soprano \u003ci\u003e(War Requiem)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDietrich Fischer-Dieskau\u003c\/b\u003e, baritone \u003ci\u003e(War Requiem)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCoventry Festival Choir\u003c\/b\u003e\u003ci\u003e (War Requiem)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBoys Of Holy Trinity, Leamington\u003c\/b\u003e\u003ci\u003e (War Requiem)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBoys Of Holy Trinity, Stratford\u003c\/b\u003e\u003ci\u003e(War Requiem)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMelos Ensemble\u003c\/b\u003e\u003ci\u003e (War Requiem)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCity Of Birmingham Symphony Orchestra\u003c\/b\u003e\u003ci\u003e(War Requiem)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAldeburg Festival Orchestra\u003c\/b\u003e \u003ci\u003e(Nocturne)\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e \u003ci\u003e(Our Hunting Fathers)\u003c\/i\u003e\u003cbr\u003econducted by \u003cb\u003eBenjamin Britten\u003c\/b\u003e \u003ci\u003e(all)\u003c\/i\u003e\u003cbr\u003econducted by \u003cb\u003eMeredith Davies\u003c\/b\u003e \u003ci\u003e(War Requiem)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Coventry Cathderal, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 20: 20\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e(CD1: 63:01, CD2: 77:19)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e© 2019 Pristine Audio\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO166.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO166.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fRequiem Review 1578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eCoventry Cathedral had its musical christening proper last night when the first major choral concert of the festival to be given there took place - the first performance of Britten's \"War Requiem.\" Like his previous work on a similar theme \"The Sinfonia da Requiem composed during the last war in memory of his parents the War Requiem,\" is an anti-war requiem, and interspersed with the main sections of the Latin Mass for the Dead are nine of Wilfred Owen's anti-war poems. This mass of material makes it the most extended work that Britten has written other than the operas, and it is equally large in all other dimensions, conceived on the scale of the Berlioz and Verdi, and scored for mixed and boys' choirs, three soloists, full orchestra, chamber orchestra and organ. The chamber orchestra accompanies throughout the tenor and baritone soloists, who are cast as the soldiers in the Owen poems, while the soprano soloist sings always in Latin with the choir and full orchestra as one of those at home who mourn them. Although the groups are not mixed until the final movement, the use of them all in the one work points again to the kind of synthesis of chamber and full orchestral music that was a feature of \"A Midsummer Night's Dream,\" which requires a chamber orchestra expandable into a full one.\u003cbr\u003e\u003cbr\u003eIn other aspects, too there are some marked similarities to the opera, notably in the opening \"Requiem Aeternam\" where much of the orchestral music recalls that of Theseus and Hippolyta, where a whole-tone phrase in in the boys' chorus, \"Te decet hymnus\" jerks us sharply into the world of the fairies. This latter is one of several passages in the requiem where Britten toys with twelve-note technique, and as in the opera declares again the ambiguity of his feeling about it by compensating for the so-called \"cerebral\" nature of the technique by making it yield the sweetest music in the work.\u003cbr\u003e\u003cbr\u003eA similar sweetness is a characteristic of much else in the work, notably the final ensemble \"In Paradisum,\" in the hymn-Iike tenor solo in Owen's poem \"At a Calvary\" (where sweetness is combined with bitonality), and in the \"Lacrimosa\" and the \"Benedictus,\" two of the most \"beautiful\" movements in the work, both with Choral harmonies surmounted by a soaring decorative melodic line for the soprano soloist.\u003cbr\u003e\u003cbr\u003eThe interpolation of the Owen poems into the text of the Mass is brilliantly done, and some of the transitions are among the most memorable moments - for instance, the final cadential \"Kyrie Eleison\" to an exquisite progression of soft harmonies, after Owen's \"Anthem for Doomed Youth\" in the first movement; the alternations of the \"Lacrimosa\" with the stanzas of Owen's \"Futility\" the mingling of the \"Agnus Dei\" with \"At a Calvary\"; and above all the gradual diminuendo of the gigantic G-minor chord at the climax of the \"Libera Me\" into the quiet sustained chord, still the same G-minor triad, over which the tenor soloist sings Owen's \"Strange Meeting\" beginning \"It seemed out of battle I escaped down some profound dull tunnel\" – which, hushed as it is, is undoubtedly the emotional climax of the work.\u003cbr\u003e\u003cbr\u003eIt is impossible here even to list, let alone describe all the striking musical ideas in the work. Every movement brings several new ones, particularly the \"Sanctus,\" which is rather like the \"Cantata Academica\" in miniature, every line a marvellous new short movement, but the work is also to a considerable extent \"through-composed,\" with several prominent thematic recurrences – most often and most conspicuously of the \"mourning\" motive, a tritone persistently present both in the harmony and in the melody. This draws together all the abundance and variety of invention in the work, and gives a tight formal unity and tautness, despite its 90 minutes, to what is undoubtedly one of Britten's masterpieces.\u003cbr\u003e\u003cbr\u003eIt received a magnificent performance last night, in which the cathedral revealed itself as accoustically much better for music on this scale than it had promised at rehearsal, with no audience to absorb the resonance. Heather Harper, Peter Pears and Dietrich Fischer-Dieskau were all three superb in the solo parts, and the Festival Choir fully redeemed itself after its unsatisfactory performance in the Bliss last week. The excellent orchestra was the City of Birmingham Symphony Orchestra, and Meredith Davies was the masterly conductor, with the composer as assistant conductor for the sections with chamber ensemble, which were finely played by the Melos Ensemble.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eColin Mason\u003cbr\u003e\u003c\/b\u003e\u003ci\u003eThe Guardian\u003c\/i\u003e, 31 May 1962\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fRequiem Review 2578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eBenjamin Britten’s new \u003ci\u003eWar Requiem\u003c\/i\u003e, a grand and solemn act of prayer and repentance, was commissioned to commemorate the opening of the new Coventry Cathedral, and here tonight it had its first performance. Large forces are employed and these will ensure that performances are rare. One could wish that everyone in the world might hear, inwardly digest, and outwardly acknowledge the great and cogent call to a sane, Christian life proclaimed in this \u003ci\u003eRequiem\u003c\/i\u003e; yet the work is so superbly proportioned and calculated, so humiliating and disturbing in effect, in fact so tremendous, that every performance it is given ought to be a momentous occasion.\u003cbr\u003e\u003cbr\u003eThe performance, which will be repeated on Friday, was certainly that. It had certain special distinctions: first that of its setting, then of Mr. Peter Pears and Mr. Dietrich Fischer-Dieskau as male-voice soloists (a collaboration musically, as well as symbolically, of profound impressiveness), of scrupulously prepared choral and orchestral forces (the Melos ensemble as well as the City of Birmingham Orchestra) under two conductors, the composer for the smaller group, Mr. Meredith Davies, surely and authoritatively directing the full strength, and chiefly the distinction of the work’s novelty.\u003cbr\u003e\u003cbr\u003eAs our music article last week concluded, \u003ci\u003eA War Requiem\u003c\/i\u003e is the most masterly and nobly imagined work that Britten has ever given us; this hearing of the piece only confirmed and intensified the extraordinary impact made earlier by a study of the score. The idea of superimposing Wilfred Owen’s poetry upon the Latin text of the Mass for the Dead was audacious, but it succeeds triumphantly in provoking active meditation upon the meaning of the ritual. But moving as is the compilation of the bilingual text, the power of this \u003ci\u003eWar Requiem\u003c\/i\u003e chiefly resides in Britten’s musical structure: in the transition, by acceleration, retardation, alternation, or a gradual and awe inspiring fade, from one text to another; and in the eloquent growth of the larger sections— notably the \u003ci\u003eLibera me\u003c\/i\u003e — whose prayers, increasingly urgent, are gradually swamped by the terrible, inexorable tramping of a march-figure that, in its turn, disintegrates into stillness from which the chamber orchestra grasps a chord and so initiates the last and most moving poetic interpolation of all.\u003cbr\u003e\u003cbr\u003eSorrow, acknowledgement of our own guilt, prayers of contrition are the principal themes of Britten’s new work; but his \u003ci\u003eWar Requiem\u003c\/i\u003e is now without its consolation and its thanksgiving: in the gentle, lilting melody of \u003ci\u003eBenedictus\u003c\/i\u003e, the remote, eternally strengthening intonation of the boys’ choir (and of the full chorus in the remarkably conceived \u003ci\u003ePleni sum coeli\u003c\/i\u003e) and of chiming bells, and in the flaming brilliance of the D major \u003ci\u003eHosanna\u003c\/i\u003e. There is, too, the sturdy, angelic certainty of the solo soprano part at the beginning of \u003ci\u003eSanctus\u003c\/i\u003e, and here Miss Heather Harper’s voice rang out grandly. Later performances in less resonant buildings will surely reveal some detail, particularly in quick contrapuntal music, that was only suggested in Coventry Cathedral. But tonight’s performance was one which will never be forgotten.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Times Music Correspondent\u003c\/b\u003e\u003cbr\u003e31 May 1962\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":29535995068477,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205538267470,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205538300238,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO166_874115c1-f4ac-4711-9dfa-99e3e3cf6b16.jpg?v=1567750505"},{"product_id":"paco166-cd","title":"BRITTEN War Requiem - Nocturne - Our Hunting Fathers (1959-62) - PACO166 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO166.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205538234702,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO166_41a1ecd2-8c07-4679-86e8-36fc20c641df.jpg?v=1658497270"},{"product_id":"paco168","title":"HORENSTEIN Beethoven: Missa Solemnis (1958) - PACO168","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eMissa Solemnis\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast concert recording, 1958\u003cbr\u003eTotal duration: 77:00\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTeresa Stich-Randall\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eNorma Procter\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eKim Borg\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003eLeeds Festival Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Jascha Horenstein\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO168.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The late 1950s were good for Horenstein in the concert hall, less good in\n    the recording studio. In January 1958 he conducted a memorable performance\n    of Mahler's Ninth in London, followed later by the Fifth and the Eighth\n    that first alerted British audiences of his affinity for this repertoire,\n    and in February he made his long awaited return to Berlin after twenty-five\n    years, substituting for another conductor at a concert without prior\n    rehearsal that included Schoenberg's \u003ci\u003eVerklaerte Nacht\u003c\/i\u003e. Towards the end of\n    1958 he was called upon to take care of another emergency when Klemperer\n    developed bronchitis and then, five days later, nearly died after an\n    accident left severe second and third degree burns over large parts of his\n    body.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKlemperer's misfortune, which put him out of action for around nine months,\n    was Horenstein's gain after a frantic management begged him to take over\n    from his disabled colleague for this live performance of the \u003ci\u003eMissa\n    Solemnis\u003c\/i\u003e, one of the most difficult works in the repertoire and the opening\n    event of the centenary edition of the Leeds Triennial Festival. At a press\n    conference explaining the change of conductor, the Earl of Harewood,\n    Director-General of the Festival, told disappointed members of the\n    320-strong Leeds Festival Chorus that Horenstein “knows the work well – one\n    of the few conductors who do”, an observation that might have amused or\n    terrified him since he had never before conducted the piece! Horenstein\n    accepted the engagement only nine days before the concert and during a\n    period that also included two appearances with the London Symphony\n    Orchestra in Swansea almost 300 miles away, which meant traveling back and\n    forth between the two cities for rehearsals. Critical opinion of the \u003ci\u003eMissa\n    \u003c\/i\u003eperformance was generally favorable, more so in the regional newspapers of\n    the north than in the national press from London, with particular praise\n    directed at the chorus and the soloists, although all found the acoustics\n    of the Victoria Hall in Leeds wanting for clarity and definition.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHorenstein's appearance at the festival, in the presence of several members\n    of the Royal Family, brought him much-needed exposure and recognition,\n    aided by extensive pre- and post-event media coverage that included a BBC\n    relay of his first Swansea concert with the LSO, a nationwide broadcast of\n    his Vox recording of Beethoven's Ninth as well as a live transmission of\n    the \u003ci\u003eMissa Solemnis\u003c\/i\u003e, all within the space of a week.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe concert in Leeds raised his profile with the public (though not with\n    the record companies), and at the BBC, which invited him to conduct the\n    work again and then record it in London in February 1961. In his liner\n    notes to the release of that recording on the BBC's “Legends” label, Joel\n    Lazar, who served as Horenstein's assistant for two years, defined the\n    qualities that enabled him to interpret the work with such conviction: “It\n    called upon his ability to strike a balance between intensely defined\n    episodes and long structural arcs, between formal organization and deeply\n    felt pathos, and offered him the opportunity to elicit both textural\n    refinement and powerful orchestral sonority. It was precisely the size,\n    stylistic diversity and wide affective range of works such as the \u003ci\u003eMissa\n    Solemnis\u003c\/i\u003e which attracted him due to the intellectual and artistic\n    challenges they posed, as well as the profound satisfaction gained by\n    leading performers and audience alike through the complex emotional,\n    spiritual and philosophical voyages they offered. The power of Jascha\n    Horenstein’s performance of the \u003ci\u003eMissa Solemnis\u003c\/i\u003e lay in his ability to accept\n    and characterize to the utmost all the different musics within it without\n    losing track of long-range tonal movement, rhythmic and metric coherence\n    and large-scale formal arch.”\n\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eMisha Horenstein\u003c\/b\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eMissa Solemnis in D major, Op. 123\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Kyrie. Assai sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (7:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Gloria. Allegro vivace\u003cspan style=\"font-size: 12px;\"\u003e (16:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Credo. Allegro ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (20:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Sanctus. Adagio\u003cspan style=\"font-size: 12px;\"\u003e (16:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Agnus Dei. Adagio\u003cspan style=\"font-size: 12px;\"\u003e (15:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e RADIO Applause and conclusion\u003cspan style=\"font-size: 12px;\"\u003e (1:04)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTeresa Stich-Randall\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eNorma Procter\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003ePeter Pears\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eKim Borg\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003eLeeds Festival Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (solo violin: Hugh Bean)\u003cbr\u003econducted by \u003cb\u003eJascha Horenstein\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of the concert\u003cbr\u003eLive BBC recording, 11 October 1958, Victoria Hall, Leeds\u003cbr\u003eSource recording from the Misha Horenstein archive collection\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:00\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO168.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO168.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContemporary Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eMagnificent choral singing in Beethoven work\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eINSPIRING OPENING TO HUNDREDTH LEEDS MUSICAL FESTIVAL\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eWITH the blazing magnificence of Beethoven’s Missa Solemnis, Leeds Centenary Musical Festival opened on Saturday night at the Leeds Town Hall.\u003c\/p\u003e\u003cp\u003eFew more impressive works could have been chosen for opening a festival primarily devoted to choral music, and few festivals could have had a more inspiring opening.\u003c\/p\u003e\u003cp\u003eIn this giant work, a monument as much to his symphonic powers as to his long-tempered faith, Beethoven deliberately forced his style into the liturgical crucible. If both are sometimes strained in the impact, the tremendous power which this fusion generates is both spiritually and musically overwhelming.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eCry to heaven\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eAnd overwhelming was the effect of this opening performance by the Philharmonia Orchestra and the Festival Chorus under Jascha Horenstein. The sheer volume of sound which the chorus was able to sustain was impressive enough, but a much more difficult achievement was that this did not destroy the music’s subtleties. In this Mass, Beethoven raised a great cry to heaven, but he also thought and fought out his faith. Singers and orchestra showed that they knew it.\u003c\/p\u003e\u003cp\u003eEven better did Jascha Horenstein know it. His strong control and firm, penetrating rhythms held the music taut and balanced, even through the arid passages of the middle section of the Credo, and his imperious command of both chorus and orchestra gave them added aggressiveness.\u003c\/p\u003e\u003cp\u003eConsidering that Mr. Horenstein had to take this concert almost at the last minute through the illness of Otto Klemperer, his was a formidable achievement.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eBreathtaking\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eFrom the tremendous fugues of the Gloria and the Credo to the tranquillities of the \u003ci\u003eDona Nobi\u003c\/i\u003es, the performance encompassed the emotional ranges of the work— never easily, since there is no easiness in it, but with majesty and domination. To hear nearly 300 voices drop from the intensities of the \u003ci\u003eGloria \u003c\/i\u003eto the hush of “\u003ci\u003eadoramus te\u003c\/i\u003e” was breathtaking; to feel the gradual building of the finale of the \u003ci\u003eAgnus Dei\u003c\/i\u003e was awesome.\u003c\/p\u003e\u003cp\u003eOf course not everything was perfect. Beethoven did not write that sort of music. The strain of some of the high, fast passages forced the singers into lack of definition, and the chorus was too large to sing quietly without losing distinctness. In the \u003ci\u003ePraludium \u003c\/i\u003ebetween the \u003ci\u003eSanctus \u003c\/i\u003eand the \u003ci\u003eBenedictus\u003c\/i\u003e, Mr. Horenstein for once gave the impression of not being quite clear about the direction of the music, and the organ vibrato spoilt the conclusion of the passage.\u003c\/p\u003e\u003cp\u003eThe four soloists spent much of the work in a struggle against the tremendous forces behind them, and the effort occasionally told on trie quality of their singing. But men liberated, as in the Benedictus, they gave a splendid performance, with the solo violin soaring above them in that superb, beautiful obbligato.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eIncisiveness\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003ePeter Pears was the weakest of the four, perhaps because his particular talents are not suited to choral music of such massiveness. Teresa Stitch-Randall and Norma Procter both sang very well, if rather independently of each other, since Miss Stitch-Randall’s more florid and dramatic voice made an unexpected contrast against Miss Procter’s strong, straightforward contralto.\u003c\/p\u003e\u003cp\u003eKim Borg, the bass, had the strongest of the four voices, and the most memorable of all the individual solo passages was his opening of the \u003ci\u003eAgnus Dei\u003c\/i\u003e, when from the dark desperate music he drew a prayer of true nobility. If, in this Mass, Beethoven faces God as a free man in his dignity, responsible alike for his sins and his triumphs this moment symbolised the whole.\u003c\/p\u003e\u003cp\u003eBut it is the staggering impact of the chorus which leaves the most profound impression. Drive, solidarity, and incisiveness are the characteristics demanded by this Mass, and they are the traditional qualities of Yorkshire choruses. Rarely have they come more dramatically together than they did for the opening of this centenary Leeds Festival.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eJ.M.R. - \u003c\/b\u003eHalifax Daily Courier \u0026amp; Guardian, 13 October, 1958\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31434795581501,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205536235854,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205536268622,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO168_95b08095-09ee-47d5-9f31-ae44b680bbbc.jpg?v=1576221305"},{"product_id":"paco168-cd","title":"HORENSTEIN Beethoven: Missa Solemnis (1958) - PACO168 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO168.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205536203086,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO168.jpg?v=1658497317"},{"product_id":"paco236","title":"BRITTEN Billy Budd (1960) - PACO236","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eBilly Budd\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio broadcast recording, 1960\u003cbr\u003eTotal duration: 2hr 27:09\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eEdward Fairfax Vere - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003eBilly Budd - \u003cb\u003eJoseph Ward\u003c\/b\u003e\u003cbr\u003eJohn Claggart - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Men's Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBenjamin Britten\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003csection data-pristine-review=\"fanfare-1195\"\u003e\u003cp\u003e\u003cstrong\u003eFanfare — Dominic Hartley\u003c\/strong\u003e\u003cbr\u003eIssue 50:2 (Nov\/Dec 2026) · \u003ca href=\"https:\/\/fanfarearchive.com\/articles\/atop\/50_2\/5021840.az_BRITTEN_Billy_Budd.html\"\u003eRead the original review\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eFor lovers of Britten opera, this new release from Pristine is an event. It’s the first recording of the two-act version of Billy Budd. But the broadcast it’s taken from was also the catalyst for that version, which has been the form in which the opera has been seen and heard since. There’s real historical significance here.\u003c\/p\u003e\n\u003cp\u003eSome context. The 1951 premiere of Budd at Covent Garden consisted of four acts separated by three intervals. It was positively received. But for a work whose tension ratchets up moment by moment, the loss of dramatic momentum between acts understandably bothered Britten. He disliked much of what he saw of the German premiere of the work in Wiesbaden in March the next year but he did like the fact that the first two and last two acts were presented together with only a single interval in the middle. A month later he tried the same thing at a Covent Garden performance, convinced that the work’s intensity would be “quite enormously increased.”\u003c\/p\u003e\n\u003cp\u003eIt wasn’t, however, until 1959, when the BBC’s Third Programme proposed to Britten a revival of the work for a radio broadcast, that the composer gave thought to how to formalize the two-act experiment of earlier in the decade. Acts III and IV were relatively easily fused. More work was needed on the ending of act I to ensure dramatic congruence with act II, and Britten worked with the original librettists E. M. Forster and Eric Crozier to come up with a scenario that would lead naturally into the Cabin Scene at the start of act II. Britten wanted “a scene about Vere, but not with him.” The result—cutting the original “Muster” scene, replacing it with one where “Starry Vere” is discussed almost as a legend, and then leading us straight to the man himself alone with his Plutarch—is an inspired piece of dramaturgy. This is the version that the BBC recorded on 8 November 1960 and broadcast five days later. Miraculously, we can all now hear it.\u003c\/p\u003e\n\u003cp\u003eLet me say at this stage that I have tried very hard not to let my excitement get the better of me when listening to this, but in two important ways, I prefer this recording to the one Britten recorded for Decca in 1967. First, the sheer tension and dramatic momentum Britten achieves with the BBC forces is extraordinary. I don’t know that I have ever heard Britten the conductor as possessed and driven as he is here. Second, the three principals sing and act even more convincingly than in 1967. Two are the same, of course, but both Peter Pears as Vere and Michael Langdon as Claggart are in slightly better voice in 1960 and project a positively febrile sense of stress, several notches above that found later in the decade. Joseph Ward’s Billy is a revelation. Twenty-eight at the time of the recording, he’s utterly convincing and makes Peter Glossop in 1967 sound markedly “mature” for the part. The great Peter Heyworth, writing after the broadcast described “a score stripped for action.” My goodness, how well Britten and his forces leaped at the opportunity the revisions permitted.\u003c\/p\u003e\n\u003cp\u003eI would never, ever want to be without the Decca recording, of course, but it’s a surprise and delight to discover how good this “newcomer” is. The venue for the recording was the BBC Camden Theatre—a Victorian venue taken over by the BBC after the Second World War—and the venue’s excellent natural acoustics shine through here. Andrew Rose has again used Pristine’s Ambient Stereo XR to excellent effect on what I assume was a mono off-air recording. I’ll say again: this release is an event. Anyone with an interest in Britten’s music has to hear it. Dominic Hartley\u003c\/p\u003e\u003c\/section\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO236.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBenjamin Britten’s \u003cem\u003eBilly Budd\u003c\/em\u003e has always occupied a curious position among the composer’s operatic masterpieces. Premiered at Covent Garden in 1951, it arrived in the immense shadow of \u003cem\u003ePeter Grimes\u003c\/em\u003e, yet from the beginning many musicians sensed that Britten had created something even more remarkable: a taut, psychologically charged music drama of extraordinary concentration and power.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eYet the original four-act structure posed problems. By 1960 Britten had undertaken a substantial revision, compressing the opera into two acts while tightening transitions and reshaping parts of the score. This BBC studio performance, broadcast on 13 November 1960 under the composer’s own direction, preserves that revised version at a crucial moment in the opera’s evolution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eContemporary critics immediately recognised the significance of the revision. Writing in \u003cem\u003eThe Observer\u003c\/em\u003e shortly after the broadcast, Peter Heyworth described the opera as “a score stripped for action” in which “every incident fulfils a musico-dramatic purpose”. Heard today, the performance still carries precisely that sense of dramatic concentration.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe cast assembled for the broadcast was a distinguished one even by Britten standards. Peter Pears, for whom the role of Captain Vere had been written, brings an inwardness and verbal sensitivity unmatched in this repertoire. Joseph Ward’s Billy is warm-hearted, physically vivid and touchingly direct, while Michael Langdon gives a darkly compelling portrayal of Claggart.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePrepared here in a new Ambient Stereo XR remastering from surviving archive sources, this historically important BBC broadcast emerges in remarkably vivid sound, restoring much of the drama, urgency and orchestral colour of Britten’s original transmission. As part of Pristine Classical’s ongoing series marking the composer’s anniversary year through significant historic recordings, it preserves not merely a performance, but a vital stage in the evolution of one of Britten’s greatest operatic achievements.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBRITTEN \u003c\/b\u003eBilly Budd, Op. 50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eRevised Two-Act Version\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc One: Act I\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Prologue - I am an old man...\u003cspan style=\"font-size: 12px;\"\u003e (4:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Scene 1 - Pull, me bantams!\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Boat ahoy!\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e First man forward!\u003cspan style=\"font-size: 12px;\"\u003e (2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Your name?\u003cspan style=\"font-size: 12px;\"\u003e (2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e Billy Budd, king of the birds!\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e I heard you!\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Come along, kid!\u003cspan style=\"font-size: 12px;\"\u003e (8:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Christ! The poor chap...\u003cspan style=\"font-size: 12px;\"\u003e (1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e What's that? What's those whistles?\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Starry Vere we call him\u003cspan style=\"font-size: 12px;\"\u003e (7:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Boy! Gentlemen, the King!\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Ay, ay, Spithead!\u003cspan style=\"font-size: 12px;\"\u003e (1:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e We are, sir, Claggart is an able one\u003cspan style=\"font-size: 12px;\"\u003e (6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e We're off to Samoa...\u003cspan style=\"font-size: 12px;\"\u003e (3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Hi! You...\u003cspan style=\"font-size: 12px;\"\u003e (2:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Over the water...\u003cspan style=\"font-size: 12px;\"\u003e (6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Come here\u003cspan style=\"font-size: 12px;\"\u003e (4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Billy!... Hist! Billy Budd!\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Dansker, old friend...\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Two: Act II\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (70:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Scene 1 - I don't like the look of the mist...\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e With great regret I must disturb your honour\u003cspan style=\"font-size: 12px;\"\u003e (1:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Deck ahoy!\u003cspan style=\"font-size: 12px;\"\u003e (1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Volunteers! Call for boarding volunteers!\u003cspan style=\"font-size: 12px;\"\u003e (7:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e There you are again, Master-at-Arms\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e Oh, this cursed mist!\u003cspan style=\"font-size: 12px;\"\u003e (4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Claggart, John Claggart\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Master-at-Arms and foretopman...\u003cspan style=\"font-size: 12px;\"\u003e (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e God o' mercy!\u003cspan style=\"font-size: 12px;\"\u003e (1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Gentlemen, William Budd here...\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e William Budd, you are accused...\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Poor fellow, who could save him?\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e I accept their verdict\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Look! Through the port\u003cspan style=\"font-size: 12px;\"\u003e (5:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Here! Baby!\u003cspan style=\"font-size: 12px;\"\u003e (8:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e And farewell to ye...\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Interlude\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e According to the Articles of War\u003cspan style=\"font-size: 12px;\"\u003e (1:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Down all hands!\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Epilogue - We committed his body to the deep\u003cspan style=\"font-size: 12px;\"\u003e (4:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCast\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eEdward Fairfax Vere, Captain - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003eBilly Budd, Foretopman - \u003cb\u003eJoseph Ward\u003c\/b\u003e\u003cbr\u003eJohn Claggart, Master-at-Arms - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eMr Redburn, First Lieutenant - \u003cb\u003eJohn Noble\u003c\/b\u003e\u003cbr\u003eMr Flint, Sailing Master - \u003cb\u003eDenis Dowling\u003c\/b\u003e\u003cbr\u003eLieutenant Ratcliffe - \u003cb\u003eRoger Stalman\u003c\/b\u003e\u003cbr\u003eRed Whiskers, an impressed man - \u003cb\u003eMax Worthley\u003c\/b\u003e\u003cbr\u003eDonald, a sailor - \u003cb\u003eTudor Evans\u003c\/b\u003e\u003cbr\u003eDansker, an old seaman - \u003cb\u003eTrevor Anthony\u003c\/b\u003e\u003cbr\u003eThe Novice - \u003cb\u003eAlexander Young\u003c\/b\u003e\u003cbr\u003eSqueak, a Ship's Corporal - \u003cb\u003eAndrew Gold\u003c\/b\u003e\u003cbr\u003eBosun - \u003cb\u003eGeorge Hancock\u003c\/b\u003e\u003cbr\u003eFirst Mate - \u003cb\u003eStanley Riley\u003c\/b\u003e\u003cbr\u003eSecond Mate - \u003cb\u003eGeorge Packnell\u003c\/b\u003e\u003cbr\u003eMaintop - \u003cb\u003eLloyd Strathsmith\u003c\/b\u003e\u003cbr\u003eThe Novice's Friend - \u003cb\u003eRanken Bushby\u003c\/b\u003e\u003cbr\u003eArthur Jones, an impressed man - \u003cb\u003eGeorge Stern Scott\u003c\/b\u003e\u003cbr\u003eFour Midshipmen - \u003cb\u003eRobert Finlay, David Green, Andrew Pullinger, Nicholas Tong\u003c\/b\u003e\u003cbr\u003eCabin Boy (spoken) - \u003cb\u003eJohn Tibbett\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChoir of Watford Boys' Grammar School\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eMusic Master:\u003c\/i\u003e John Tidcock\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBBC Men's Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eChorus Master:\u003c\/i\u003e Alan G. Melville\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eLeader:\u003c\/i\u003e Paul Beard\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBenjamin Britten\u003c\/b\u003e, conductor\u003cbr\u003eMeredith Davies, associate conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eBasil Coleman, producer\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eBBC Third Programme studio recording, broadcast 13 November 1960.\u003cbr\u003eRevised two-act version prepared by the composer for this BBC production.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Benjamin Britten\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 27:09\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO236.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO236.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59794547310926,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59794547343694,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59794547376462,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO236_64923c14-8f3a-48d6-9b3f-c7021cbbc538.jpg?v=1780567781"},{"product_id":"paco236-cd","title":"BRITTEN Billy Budd (1960) - PACO236 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO236.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59794505040206,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CD only in plastic sleeve (+MP3)","offer_id":59794505072974,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO236_fa43c002-bbe6-4f58-8082-a1d1ad7c1307.jpg?v=1780475664"},{"product_id":"paco243","title":"PRITCHARD: Britten - Gloriana (Première, 1953) - PACO243","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN\u003c\/b\u003e \u003ci\u003eGloriana\u003c\/i\u003e, Op. 53\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eWorld première recording, 8 June 1953\u003cbr\u003eBBC broadcast • Original 1953 version • Ambient Stereo\u003cbr\u003eTotal duration: 2:24:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eQueen Elizabeth I - \u003cb\u003eJoan Cross\u003c\/b\u003e\u003cbr\u003eRobert Devereux, Earl of Essex - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJohn Pritchard\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO243.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eGLORIANA: CEREMONY AND SOLITUDE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBritten’s \u003ci\u003eGloriana\u003c\/i\u003e was written for one of the most conspicuous occasions imaginable: the Coronation season of Elizabeth II. Yet the opera he and his librettist William Plomer produced was anything but conventional pageantry. Their subject was the ageing Elizabeth I, caught between the demands of sovereignty and her dangerous attachment to Robert Devereux, Earl of Essex. The idea had emerged during a skiing holiday early in 1952, when Britten, Peter Pears and George Lascelles, Earl of Harewood, discussed the absence of a modern English “national opera”. Harewood suggested Lytton Strachey’s \u003ci\u003eElizabeth and Essex\u003c\/i\u003e as a possible source, and Britten quickly recognised in it a theme that suited him perfectly: the collision between public duty and private emotion.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePlomer’s libretto drew on Strachey, but also on Elizabeth’s own words and writings, while one of Essex’s lute songs uses verse attributed to Essex himself. Britten responded with his most overtly ceremonial score, employing large choral scenes, dances, pageantry and music suggestive of the Elizabethan period. But beneath the public splendour lies a much more intimate drama. Again and again ceremony gives way to solitude: the Queen is acclaimed by her people, then shown alone; political authority alternates with emotional vulnerability; the brilliant dances and formal entertainments of court life lead eventually to betrayal, rebellion and the signing of Essex’s death warrant.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe opera was composed at remarkable speed between the autumn of 1952 and March 1953. Even the catastrophic North Sea flood of January 1953, which inundated Britten’s Aldeburgh home and threatened his manuscripts, scarcely halted the work. Imogen Holst helped rescue the papers, and Britten continued writing amid the disruption, completing the score less than three months before the first performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat première took place at the Royal Opera House, Covent Garden, on 8 June 1953, six days after the Coronation. John Pritchard conducted, Basil Coleman produced, John Piper designed the sets and costumes, and John Cranko provided the choreography. Joan Cross created Elizabeth, with Peter Pears as Essex, Monica Sinclair as the Countess of Essex, Geraint Evans as Mountjoy and Jennifer Vyvyan as Lady Rich. Many belonged to the circle of performers already closely associated with Britten’s operas.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first night has passed into history as one of British opera’s great disasters, but the truth is more complicated. This was no ordinary première audience. The house was filled with royalty, politicians, diplomats and visiting dignitaries who had remained in London for the Coronation festivities. Britten had been commissioned to write an opera for a national celebration, yet had produced a searching study of an ageing monarch who must sacrifice personal happiness to the office she occupies. The mismatch between occasion and subject was profound. The opera offered neither patriotic reassurance nor a flattering Tudor pageant, but a ruler whose authority is inseparable from age, jealousy and emotional loss. The gala audience was restrained, and sections of the press were openly hostile, objecting as much to Britten’s portrayal of Elizabeth as to the music itself.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOther contemporary reactions were considerably more favourable. Critics listening to the BBC relay praised the work’s invention, pageantry and psychological insight, while Andrew Porter mounted an extensive defence of both its dramatic construction and its music. Reports of the première describe sustained applause from the Queen, and the second performance is said to have received eleven curtain calls. The famous “Gloriana fiasco” was therefore not a simple story of universal rejection, but a difficult first night rapidly hardened into legend.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe opera nevertheless disappeared from Covent Garden after its initial run, and its reputation recovered only gradually. A major revival in 1966, for which Britten revised parts of the score, helped establish that \u003ci\u003eGloriana\u003c\/i\u003e could succeed powerfully once freed from the ceremonial expectations surrounding its birth. The BBC broadcast preserved here is therefore of particular importance. It allows us to hear the original 1953 conception, before those later revisions, and to encounter the work through the very medium in which some of its earliest listeners responded most warmly.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMore than seventy years on, \u003ci\u003eGloriana\u003c\/i\u003e seems far less an embarrassing Coronation miscalculation than a characteristically perceptive Britten opera. Asked to celebrate monarchy, he chose instead to explore its cost. The splendour is certainly there, but so are loneliness, compromise and mortality. In that tension between public image and private truth lies the work’s enduring strength.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBRITTEN\u003c\/b\u003e \u003ci\u003eGloriana\u003c\/i\u003e, Op. 53\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eOpera in Three Acts\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (68:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e RADIO Introduction \u003cspan style=\"font-size: 12px;\"\u003e(0:58)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 1, Scene 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e The Tournament \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Recitative \u0026amp; Fight \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Entrance of the Queen \u003cspan style=\"font-size: 12px;\"\u003e(1:30)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e Recitative \u003cspan style=\"font-size: 12px;\"\u003e(1:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e The Two Lords' Explanation \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Raleigh's Song \u003cspan style=\"font-size: 12px;\"\u003e(1:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Ensemble of Reconciliation \u003cspan style=\"font-size: 12px;\"\u003e(4:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Recitative \u0026amp; Final March \u003cspan style=\"font-size: 12px;\"\u003e(1:30)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 1, Scene 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Prelude \u0026amp; Dialogue \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Queen's Song \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Cecil's Song of Government \u003cspan style=\"font-size: 12px;\"\u003e(1:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Recitative \u0026amp; Essex's Entry \u003cspan style=\"font-size: 12px;\"\u003e(2:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e First Lute Song \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Second Lute Song \u003cspan style=\"font-size: 12px;\"\u003e(3:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e The First Duet for the Queen \u0026amp; Essex \u003cspan style=\"font-size: 12px;\"\u003e(3:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Soliloquy \u0026amp; Prayer \u003cspan style=\"font-size: 12px;\"\u003e(4:56)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 2, Scene 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Prelude \u0026amp; Welcome \u003cspan style=\"font-size: 12px;\"\u003e(3:53)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e The Masque \u003cspan style=\"font-size: 12px;\"\u003e(9:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Finale \u003cspan style=\"font-size: 12px;\"\u003e(2:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 2, Scene 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Prelude \u0026amp; Song \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Duet \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e Double Duet \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e Quartet \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 2, Scene 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e Pavane \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e Conversation \u003cspan style=\"font-size: 12px;\"\u003e(1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e Galliard \u003cspan style=\"font-size: 12px;\"\u003e(2:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e Conversation \u0026amp; the Queen's Entrance \u003cspan style=\"font-size: 12px;\"\u003e(1:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e Lavolta \u003cspan style=\"font-size: 12px;\"\u003e(1:29)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e Conversation \u003cspan style=\"font-size: 12px;\"\u003e(0:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e Morris Dance \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e Recitative \u003cspan style=\"font-size: 12px;\"\u003e(0:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e The Queen's Burlesque \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e Quartet \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e March \u003cspan style=\"font-size: 12px;\"\u003e(0:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e37.\u003c\/span\u003e The Queen's Announcement \u003cspan style=\"font-size: 12px;\"\u003e(2:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e38.\u003c\/span\u003e Ensemble \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e39.\u003c\/span\u003e Coranto \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 3, Scene 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e40.\u003c\/span\u003e Prelude \u0026amp; Chatter \u003cspan style=\"font-size: 12px;\"\u003e(2:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e41.\u003c\/span\u003e Essex's Intrusion \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e42.\u003c\/span\u003e The Second Duet of the Queen \u0026amp; Essex \u003cspan style=\"font-size: 12px;\"\u003e(7:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e43.\u003c\/span\u003e The Dressing-Table Song \u003cspan style=\"font-size: 12px;\"\u003e(2:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e44.\u003c\/span\u003e The Entrance of Cecil \u003cspan style=\"font-size: 12px;\"\u003e(1:09)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e45.\u003c\/span\u003e Cecil's Report \u003cspan style=\"font-size: 12px;\"\u003e(0:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e46.\u003c\/span\u003e Discussion \u003cspan style=\"font-size: 12px;\"\u003e(0:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e47.\u003c\/span\u003e The Queen's Decision \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 3, Scene 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e48.\u003c\/span\u003e Ballad - Rondo \u003cspan style=\"font-size: 12px;\"\u003e(9:38)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 3, Scene 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e49.\u003c\/span\u003e Prelude \u0026amp; Verdict \u003cspan style=\"font-size: 12px;\"\u003e(5:12)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e50.\u003c\/span\u003e Cecil's Warning \u003cspan style=\"font-size: 12px;\"\u003e(1:09)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e51.\u003c\/span\u003e The Queen's Dilemma \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e52.\u003c\/span\u003e Trio \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e53.\u003c\/span\u003e Lady Essex's Pleading \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e54.\u003c\/span\u003e Penelope Rich's Pleading \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e55.\u003c\/span\u003e Epilogue \u003cspan style=\"font-size: 12px;\"\u003e(9:09)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e56.\u003c\/span\u003e RADIO Conclusion \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCast\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eQueen Elizabeth I - \u003cb\u003eJoan Cross\u003c\/b\u003e\u003cbr\u003e\nRobert Devereux, Earl of Essex - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\nFrances, Countess of Essex - \u003cb\u003eMonica Sinclair\u003c\/b\u003e\u003cbr\u003e\nCharles Blount, Lord Mountjoy - \u003cb\u003eGeraint Evans\u003c\/b\u003e\u003cbr\u003e\nPenelope, Lady Rich - \u003cb\u003eJennifer Vyvyan\u003c\/b\u003e\u003cbr\u003e\nSir Robert Cecil - \u003cb\u003eArnold Matters\u003c\/b\u003e\u003cbr\u003e\nSir Walter Raleigh - \u003cb\u003eFrederick Dalberg\u003c\/b\u003e\u003cbr\u003e\nHenry Cuffe - \u003cb\u003eRonald Lewis\u003c\/b\u003e\u003cbr\u003e\nLady-in-Waiting - \u003cb\u003eAdele Leigh\u003c\/b\u003e\u003cbr\u003e\nBlind Ballad-Singer - \u003cb\u003eInia Te Wiata\u003c\/b\u003e\u003cbr\u003e\nRecorder of Norwich - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003e\nHousewife - \u003cb\u003eEdith Coates\u003c\/b\u003e\u003cbr\u003e\nSpirit of the Masque - \u003cb\u003eWilliam McAlpine\u003c\/b\u003e\u003cbr\u003e\nMaster of Ceremonies - \u003cb\u003eDavid Tree\u003c\/b\u003e\u003cbr\u003e\nCity Crier - \u003cb\u003eRhydderch Davies\u003c\/b\u003e\u003cbr\u003e\nSir John Harington - \u003cb\u003eLeonard Law\u003c\/b\u003e\u003cbr\u003e\nFrench Ambassador - \u003cb\u003eRonald Firmager\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCovent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJohn Pritchard\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eBasil Coleman, producer\u003cbr\u003eJohn Piper, designs\u003cbr\u003eJohn Cranko, choreography\u003cbr\u003eDouglas Robinson, chorus master\u003cbr\u003eCharles Taylor, leader\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eWorld première recorded live by the BBC at the Royal Opera House, Covent Garden, London, 8 June 1953.\u003cbr\u003eOriginal 1953 version.\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2:24:56\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO243.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO243.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":61209803686222,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":61209803850062,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":61209803882830,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO243.jpg?v=1791981248"},{"product_id":"paco243-cd","title":"PRITCHARD: Britten - Gloriana (Première, 1953) - PACO243 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRITTEN\u003c\/b\u003e \u003ci\u003eGloriana\u003c\/i\u003e, Op. 53\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eWorld première recording, 8 June 1953\u003cbr\u003eBBC broadcast • Original 1953 version • Ambient Stereo\u003cbr\u003eTotal duration: 2:24:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eQueen Elizabeth I - \u003cb\u003eJoan Cross\u003c\/b\u003e\u003cbr\u003eRobert Devereux, Earl of Essex - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJohn Pritchard\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO243.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eGLORIANA: CEREMONY AND SOLITUDE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBritten’s \u003ci\u003eGloriana\u003c\/i\u003e was written for one of the most conspicuous occasions imaginable: the Coronation season of Elizabeth II. Yet the opera he and his librettist William Plomer produced was anything but conventional pageantry. Their subject was the ageing Elizabeth I, caught between the demands of sovereignty and her dangerous attachment to Robert Devereux, Earl of Essex. The idea had emerged during a skiing holiday early in 1952, when Britten, Peter Pears and George Lascelles, Earl of Harewood, discussed the absence of a modern English “national opera”. Harewood suggested Lytton Strachey’s \u003ci\u003eElizabeth and Essex\u003c\/i\u003e as a possible source, and Britten quickly recognised in it a theme that suited him perfectly: the collision between public duty and private emotion.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003ePlomer’s libretto drew on Strachey, but also on Elizabeth’s own words and writings, while one of Essex’s lute songs uses verse attributed to Essex himself. Britten responded with his most overtly ceremonial score, employing large choral scenes, dances, pageantry and music suggestive of the Elizabethan period. But beneath the public splendour lies a much more intimate drama. Again and again ceremony gives way to solitude: the Queen is acclaimed by her people, then shown alone; political authority alternates with emotional vulnerability; the brilliant dances and formal entertainments of court life lead eventually to betrayal, rebellion and the signing of Essex’s death warrant.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe opera was composed at remarkable speed between the autumn of 1952 and March 1953. Even the catastrophic North Sea flood of January 1953, which inundated Britten’s Aldeburgh home and threatened his manuscripts, scarcely halted the work. Imogen Holst helped rescue the papers, and Britten continued writing amid the disruption, completing the score less than three months before the first performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat première took place at the Royal Opera House, Covent Garden, on 8 June 1953, six days after the Coronation. John Pritchard conducted, Basil Coleman produced, John Piper designed the sets and costumes, and John Cranko provided the choreography. Joan Cross created Elizabeth, with Peter Pears as Essex, Monica Sinclair as the Countess of Essex, Geraint Evans as Mountjoy and Jennifer Vyvyan as Lady Rich. Many belonged to the circle of performers already closely associated with Britten’s operas.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first night has passed into history as one of British opera’s great disasters, but the truth is more complicated. This was no ordinary première audience. The house was filled with royalty, politicians, diplomats and visiting dignitaries who had remained in London for the Coronation festivities. Britten had been commissioned to write an opera for a national celebration, yet had produced a searching study of an ageing monarch who must sacrifice personal happiness to the office she occupies. The mismatch between occasion and subject was profound. The opera offered neither patriotic reassurance nor a flattering Tudor pageant, but a ruler whose authority is inseparable from age, jealousy and emotional loss. The gala audience was restrained, and sections of the press were openly hostile, objecting as much to Britten’s portrayal of Elizabeth as to the music itself.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOther contemporary reactions were considerably more favourable. Critics listening to the BBC relay praised the work’s invention, pageantry and psychological insight, while Andrew Porter mounted an extensive defence of both its dramatic construction and its music. Reports of the première describe sustained applause from the Queen, and the second performance is said to have received eleven curtain calls. The famous “Gloriana fiasco” was therefore not a simple story of universal rejection, but a difficult first night rapidly hardened into legend.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe opera nevertheless disappeared from Covent Garden after its initial run, and its reputation recovered only gradually. A major revival in 1966, for which Britten revised parts of the score, helped establish that \u003ci\u003eGloriana\u003c\/i\u003e could succeed powerfully once freed from the ceremonial expectations surrounding its birth. The BBC broadcast preserved here is therefore of particular importance. It allows us to hear the original 1953 conception, before those later revisions, and to encounter the work through the very medium in which some of its earliest listeners responded most warmly.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMore than seventy years on, \u003ci\u003eGloriana\u003c\/i\u003e seems far less an embarrassing Coronation miscalculation than a characteristically perceptive Britten opera. Asked to celebrate monarchy, he chose instead to explore its cost. The splendour is certainly there, but so are loneliness, compromise and mortality. In that tension between public image and private truth lies the work’s enduring strength.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBRITTEN\u003c\/b\u003e \u003ci\u003eGloriana\u003c\/i\u003e, Op. 53\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eOpera in Three Acts\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (68:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e RADIO Introduction \u003cspan style=\"font-size: 12px;\"\u003e(0:58)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 1, Scene 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e The Tournament \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Recitative \u0026amp; Fight \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Entrance of the Queen \u003cspan style=\"font-size: 12px;\"\u003e(1:30)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e Recitative \u003cspan style=\"font-size: 12px;\"\u003e(1:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e The Two Lords' Explanation \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Raleigh's Song \u003cspan style=\"font-size: 12px;\"\u003e(1:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Ensemble of Reconciliation \u003cspan style=\"font-size: 12px;\"\u003e(4:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Recitative \u0026amp; Final March \u003cspan style=\"font-size: 12px;\"\u003e(1:30)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 1, Scene 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Prelude \u0026amp; Dialogue \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Queen's Song \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Cecil's Song of Government \u003cspan style=\"font-size: 12px;\"\u003e(1:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Recitative \u0026amp; Essex's Entry \u003cspan style=\"font-size: 12px;\"\u003e(2:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e First Lute Song \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Second Lute Song \u003cspan style=\"font-size: 12px;\"\u003e(3:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e The First Duet for the Queen \u0026amp; Essex \u003cspan style=\"font-size: 12px;\"\u003e(3:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Soliloquy \u0026amp; Prayer \u003cspan style=\"font-size: 12px;\"\u003e(4:56)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 2, Scene 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Prelude \u0026amp; Welcome \u003cspan style=\"font-size: 12px;\"\u003e(3:53)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e The Masque \u003cspan style=\"font-size: 12px;\"\u003e(9:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Finale \u003cspan style=\"font-size: 12px;\"\u003e(2:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 2, Scene 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Prelude \u0026amp; Song \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Duet \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e Double Duet \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e Quartet \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 2, Scene 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e Pavane \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e Conversation \u003cspan style=\"font-size: 12px;\"\u003e(1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e Galliard \u003cspan style=\"font-size: 12px;\"\u003e(2:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e Conversation \u0026amp; the Queen's Entrance \u003cspan style=\"font-size: 12px;\"\u003e(1:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e Lavolta \u003cspan style=\"font-size: 12px;\"\u003e(1:29)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e Conversation \u003cspan style=\"font-size: 12px;\"\u003e(0:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e Morris Dance \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e Recitative \u003cspan style=\"font-size: 12px;\"\u003e(0:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e The Queen's Burlesque \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e Quartet \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e March \u003cspan style=\"font-size: 12px;\"\u003e(0:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e37.\u003c\/span\u003e The Queen's Announcement \u003cspan style=\"font-size: 12px;\"\u003e(2:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e38.\u003c\/span\u003e Ensemble \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e39.\u003c\/span\u003e Coranto \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 3, Scene 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e40.\u003c\/span\u003e Prelude \u0026amp; Chatter \u003cspan style=\"font-size: 12px;\"\u003e(2:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e41.\u003c\/span\u003e Essex's Intrusion \u003cspan style=\"font-size: 12px;\"\u003e(0:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e42.\u003c\/span\u003e The Second Duet of the Queen \u0026amp; Essex \u003cspan style=\"font-size: 12px;\"\u003e(7:56)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e43.\u003c\/span\u003e The Dressing-Table Song \u003cspan style=\"font-size: 12px;\"\u003e(2:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e44.\u003c\/span\u003e The Entrance of Cecil \u003cspan style=\"font-size: 12px;\"\u003e(1:09)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e45.\u003c\/span\u003e Cecil's Report \u003cspan style=\"font-size: 12px;\"\u003e(0:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e46.\u003c\/span\u003e Discussion \u003cspan style=\"font-size: 12px;\"\u003e(0:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e47.\u003c\/span\u003e The Queen's Decision \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 3, Scene 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e48.\u003c\/span\u003e Ballad - Rondo \u003cspan style=\"font-size: 12px;\"\u003e(9:38)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct 3, Scene 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e49.\u003c\/span\u003e Prelude \u0026amp; Verdict \u003cspan style=\"font-size: 12px;\"\u003e(5:12)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e50.\u003c\/span\u003e Cecil's Warning \u003cspan style=\"font-size: 12px;\"\u003e(1:09)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e51.\u003c\/span\u003e The Queen's Dilemma \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e52.\u003c\/span\u003e Trio \u003cspan style=\"font-size: 12px;\"\u003e(2:21)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e53.\u003c\/span\u003e Lady Essex's Pleading \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e54.\u003c\/span\u003e Penelope Rich's Pleading \u003cspan style=\"font-size: 12px;\"\u003e(1:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e55.\u003c\/span\u003e Epilogue \u003cspan style=\"font-size: 12px;\"\u003e(9:09)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e56.\u003c\/span\u003e RADIO Conclusion \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCast\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eQueen Elizabeth I - \u003cb\u003eJoan Cross\u003c\/b\u003e\u003cbr\u003e\nRobert Devereux, Earl of Essex - \u003cb\u003ePeter Pears\u003c\/b\u003e\u003cbr\u003e\nFrances, Countess of Essex - \u003cb\u003eMonica Sinclair\u003c\/b\u003e\u003cbr\u003e\nCharles Blount, Lord Mountjoy - \u003cb\u003eGeraint Evans\u003c\/b\u003e\u003cbr\u003e\nPenelope, Lady Rich - \u003cb\u003eJennifer Vyvyan\u003c\/b\u003e\u003cbr\u003e\nSir Robert Cecil - \u003cb\u003eArnold Matters\u003c\/b\u003e\u003cbr\u003e\nSir Walter Raleigh - \u003cb\u003eFrederick Dalberg\u003c\/b\u003e\u003cbr\u003e\nHenry Cuffe - \u003cb\u003eRonald Lewis\u003c\/b\u003e\u003cbr\u003e\nLady-in-Waiting - \u003cb\u003eAdele Leigh\u003c\/b\u003e\u003cbr\u003e\nBlind Ballad-Singer - \u003cb\u003eInia Te Wiata\u003c\/b\u003e\u003cbr\u003e\nRecorder of Norwich - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003e\nHousewife - \u003cb\u003eEdith Coates\u003c\/b\u003e\u003cbr\u003e\nSpirit of the Masque - \u003cb\u003eWilliam McAlpine\u003c\/b\u003e\u003cbr\u003e\nMaster of Ceremonies - \u003cb\u003eDavid Tree\u003c\/b\u003e\u003cbr\u003e\nCity Crier - \u003cb\u003eRhydderch Davies\u003c\/b\u003e\u003cbr\u003e\nSir John Harington - \u003cb\u003eLeonard Law\u003c\/b\u003e\u003cbr\u003e\nFrench Ambassador - \u003cb\u003eRonald Firmager\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCovent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eJohn Pritchard\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eBasil Coleman, producer\u003cbr\u003eJohn Piper, designs\u003cbr\u003eJohn Cranko, choreography\u003cbr\u003eDouglas Robinson, chorus master\u003cbr\u003eCharles Taylor, leader\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eWorld première recorded live by the BBC at the Royal Opera House, Covent Garden, London, 8 June 1953.\u003cbr\u003eOriginal 1953 version.\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2:24:56\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO243.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO243.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":61209806733646,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":61209806799182,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO243_4772c5a7-a40a-44bf-8192-15641ea8d508.jpg?v=1791981253"}],"url":"https:\/\/www.pristineclassical.com\/collections\/artist-peter-pears.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}