Word: poulenc
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...Poulenc: Sextet for Piano & Woodwind Quintet (Frank Glazer, piano; the New York Woodwind Quintet; Concert-Disc). After 30 years, Poulenc's tart and witty notes still work surprisingly well. Many a composer might envy the piece's weakness: a manner sometimes too glib and an oversupply of ideas...
...Poulenc: Gloria in G Major for Soprano, Chorus & Orchestra (Rosanna Carteri; the French National Radio-Television Orchestra, conducted by Georges Prêtre, with chorus conducted by Yvonne Gouverné; Angel). Poulenc's 'joyous hymn to God," commissioned last winter by the Koussevitzky Foundation is recorded for the first time. It is a remarkable work fashioned with greater simplicity than some of Poulenc's more brittle pieces, in turn reverent, mischievous and exultant...
...Ultimate. Leontyne made her grand opera stage debut in 1957 at the San Francisco Opera in Dialogues of the Carmelites by Francis Poulenc, who had been impressed by her concert performance of his songs. Although she "enjoyed a real cold petrification," the debut was a major success. On the strength of it, she was invited to return to San Francisco that year to sing Aïda in place of Antonietta Stella, bedridden with an appendectomy. She had become familiar with the role when she sang it with the Philadelphia Orchestra. A year later at Covent Garden, when Anita Cerquetti...
...piece suggests Mantegna in mood, it is closer to a modern painter in manner. "The colors," says Poulenc, "are very clear, primary colors-rude and violent like the Provence chapel of Matisse." Scored for chorus, soprano, and a sort of celestial band of horns and strings, Poulenc's 25-minute Gloria proved to be a work of sharply profiled contrasts, at times deeply reverent (in the manner of his opera Dialogues of the Carmelites), at times mischievous and almost jazzy. Among its memorable moments: the opening of the second section, "Laudamus Te," with the dissonant cry of French horns...
...Poulenc wrote Gloria, as he writes all of his music, in his 16th century country home in Touraine, because "like wine, which can grow only in its own soil, I can compose only in France." Originally, he intended it for one of his favorite singers, Italian Soprano Rosanna Carteri ("She has a voice with lipstick and powder"), but at the work's premiere the principal part was sung by U.S. Negro Soprano Adele Addison, who so impressed Poulenc that he interrupted a rehearsal to shout: "Parfait! Parfait! La perfection!" Poulenc plans to write a new opera for La Scala...