It’s been an interesting day with Porgy & Bess. The day started off with a tribute to my favorite ladies (with the exception of my lovely wife)…….
I took a little trip to the cemetery on Montmartre to visit Nadia and Lili Boulanger. Nadia taught two of the most influential people in my life – Daniel Barenboim and Yvar Mikhashoff (my first serious piano teacher). Lili, Nadia’s younger sister, I consider the greatest relatively unknown composer ever. It was a really emotional time for me. In left letters to each of them on the Boulanger family grave site, and I also left a CD of my two performances of Lili’s Faust et Heléne, which I consider the only truly undiscovered masterpiece. Here’s a picture of the grave site with my letters and the CD. I’m sure what I did was against all sorts of rules, both of the cemetery and of the music industry, but frankly I don’t care. Sue me. It was my tribute to these two 
wonderful ladies.
Just south of the cemetery is a little park dedicated to Hector Berlioz. It cracked me up that it is now a children’s play park. Only in Paris.
When it comes to P&B the question lately has been what to put back in! As you may know we had decided on following the cuts the Gershwin marked in his score to the opera before his death. The problem is that some of the cuts don’t make any dramatic sense, and of course this is an opera after all. It’s all about the drama. So a couple things had to go back in. The most important one we decided to add was Maria’s rant at Sportin’ Life which occurs in the 2nd act. This was especially important because of the strength of the woman who’s playing Maria. She brings tremendous depth to the character and this will be a real showcase for her.
Outside of that we’ve been mired in blocking. I hate this part but it’s actually good for us. Much of the time myself, my assistant, and the pianist sit around BS-ing about whatever, then suddenly we called upon to conduct half a scene. Then we sit around and BS some more while the cast and the directors argue about the staging. While this drives us nuts I am personally really glad that I’m here at this stage. Many problems are caught at this juncture, such as whether or not I have eye contact with whomever is supposed to sing, etc. It’s also very good practice with the music and the cast. I’m getting to know P&B on a level that is intuitive, rather than just conducting the score. Because of the strength of the cast, the directors, et al I feel it’s going to be a really strong and innovative run.
Thursday is my last day in Paris. Scary to say I’ll be glad to say goodbye to the City of Lights. I want to get on the ground in Lyon, see the hall, rehearse with the chorus, and generally get settled for the long run up to opening night. I shall post more video when I have time to do a little editing.
Paix
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