Word: oratorio
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Prokofiev: Ivan the Terrible (Mezzo Irina Arkhipova, Baritone Anatoly Mokrenko, Narrator Boris Morgunov, Ambrosian Chorus and Philharmonia Orchestra, Riccardo Muti, conductor; Angel; 2 LPs). This oratorio, arranged from Prokofiev's score for Eisenstein's two-part Ivan the Terrible film, makes splendid melodrama. Muti conducts a dashing blend of ominous march rhythms, pagan-sounding brass flourishes and pealing Russian bells...
Vivaldi: Juditha Triumphans (Birgit Finnilä, contralto; Ingeborg Springer, mezzo-soprano; Elly Ameling, soprano; Annelies Burmeister, contralto;. Berlin Chamber Orchestra, Vittorio Negri, conductor. 3 LPs; Philips; $23.94). Vivaldi composed his 1716 oratorio for his students at the Ospedale della Pietá. the Venetian orphanage where he taught music. The subject was a bloody one for schoolgirls: after beguiling the barbarian commander with words and wine, Judith seizes his sword and chops off his head. The score is sumptuous, propelled by the Baroque master's typical unflagging vitality. In this recording both male and female solo roles are sung...
...Harvard Summer School Chamber Players will present Des Paradise and die Perie, an oratorio by Robert Schumenn. Leon Kirchner will conduct. This is the Chamber Players' last concert of the season, and chances are they will finish up at the same high level of quality they've sustained all summer. Monday at 8:30 p.m. in Sanders Theater...
This first attempt at a "rock opera" was composed by Peter Townshend of The Who and performed by the group on a record album released in 1969. Tommy was closer to oratorio than opera, but the most serious thing about the entire piece was the lofty label that was pinned on it. Tommy was just strong rock 'n' roll, sometimes raunchy, sometimes highfalutin. The Who even wound up performing it at Manhattan's Metropolitan Opera House, an appearance that was less an honor than a shrewd piece of promotion. Tommy has not only endured since then...
PRESERVATION WAS introduced in a cinematographic style which included a recording of a kind of lyrical overture accompanied by slides projected on a large screen to announce the oratorio title and introduce the protagonists. The performance proper commenced with a mixed choir clad in garments befitting Gregorian monks. Appropriately enough, the introductory segment was a melodious theme calling to mind twelfth century plainchant. The show proceeded faultlessly without elaborate ornamentation or stage settings, which was just as well, since it allowed the audience to concentrate on the musical side of the production...