On 12 January 1959, Berry Gordy, Jr. founded Tamla Records in Detroit, Michigan. A year later it would be incorporated with a new name that became synonymous with a sound, style, and generation of music: Motown. All this week we’re looking the great artists and tracks that emerged from those recording studios.
This final post on my collection of the lyricist Alan Jay Lerner focuses on another exciting series of letters: correspondence with famous composers with whom Lerner hoped to work, but never completed a musical. Some of these letters reveal how certain figures – such as Hoagy Carmichael – wrote to Lerner but were politely declined.
The musical version of little orphan Annie – as distinct from her original, cartoon incarnation – was born a fully formed ten-year-old in 1977, and she quickly became an icon of girlhood.
Christmas is a time for music, and music directors’ calendars typically fill up in December. In academic circles, there are Christmas pageants, holiday musicals, end-of-term recitals, and Christmas music concerts. On the professional scene, performers take advantage of both the celebratory and melancholy sides of the season to present concerts, charity events, and special performances (full-length or one-off).
Amongst the many famous people Lerner corresponded with, Frederick Loewe is naturally the most important in terms of musical collaborators. Yet sadly, correspondence between Lerner and Loewe is quite rare. I found only a few letters between them during the course of the research for the book, and was particularly disappointed by the lack of letters from their early years.
One of the joys of editing the correspondence of Alan Jay Lerner has been discovering his letters to and from the major stars with whom he worked. As the lyricist, librettist, and screenwriter of Brigadoon, Paint Your Wagon, An American in Paris, My Fair Lady, Gigi, Camelot, On a Clear Day You Can See Forever, and many more, he worked with the finest performers of his time.
A stunning new production of On the Town, directed by John Rando, opened in October at the Lyric Theatre on Broadway. It transports a viewer back to the golden age of American musical theater, when highly skilled orchestras delivered a robust sound while extended segments of dance were central to telling the story.
In celebration of tonight’s Latin Grammy Awards, I delved into Grove Music Online to learn more about distinct musical styles and traditions of Latin American countries. Colombia’s principal musical style is the cumbia, with its related genres porro and vallenato.
The question is not whether it was appropriate for the Metropolitan Opera to stage this important and controversial piece, but rather, did they do it right? Did they mount it so that its poetic, dramatic and musical potential was well realized?
A human eyeball shoots out of its socket, and rolls into a gutter. A child returns from the dead and tears the beating heart from his tormentor’s chest. A young man has horrifying visions of his mother’s decomposing corpse. A baby is ripped from its living mother’s womb. A mother tears her son to pieces, and parades around with his head on a stick.
When the first production of On the Town in 1944 featured the Japanese American ballerina Sono Osato as its star, as part of a cast that also included whites and blacks, it aimed for a realistic depiction of the diversity among US citizens during World War II.
THE DATE: 18 September 2014, Fateful Day of Scotland’s Independence Referendum
THE PLACE: A Sceptred Isle
DRAMATIS PERSONAE: Alexander the Great, First Minister of Scotland; Daveheart, Prime Minister of the Britons […]
As we celebrate the golden anniversary of the Civil Rights Act of 1964, a significant aspect of the struggle for racial equality often gets ignored: racial activism in performance. Actors, singers, and dancers mobilized over the decades, pushing back against racial restrictions that shifted over time, and On the Town of 1944 marked an auspicious but little-recognized moment in that history.
Michael Kennedy has described Job as one of Vaughan Williams’s mightiest achievements. It is a work which, in a full production, combines painting (the inspiration for the work came from a scenario drawn up by Geoffrey Keynes based on William Blake’s Illustrations of the Book of Job), literature (the King James Bible), music, and dance.
Rising to prominence at lightning speed during World War II, Leonard Bernstein quickly became one of the most famous musicians of all time, gaining notice as a conductor and composer of both classical works and musical theater. One day he was a recent Harvard graduate, struggling to earn a living in the music world.
When Leonard Bernstein first arrived in New York, he was unknown, much like the artists he worked with at the time, who would also gain international recognition. Bernstein Meets Broadway: Collaborative Art in a Time of War looks at the early days of Bernstein’s career during World War II, and is centered around the debut in 1944 of the Broadway musical On the Town and the ballet Fancy Free.