Harvey/Rubin/Dennis/Williams/Talea Ensemble/Goren
(Pentatone)
This early work by Nadia Boulanger - better known as the influential teacher – was never performed and survived only in vocal score. Despite the best efforts of conductor Neal Goren and his hard-working cast it never quite coheres
Nadia Boulanger (1887-1979) is best remembered now as a hugely influential teacher, who spread the gospel of neoclassicism through several generations of composers on both sides of the Atlantic. She was also a conductor and organist, and at the beginning of her career, at least, had ambitions as a composer in her own right, which she largely abandoned in the early 1920s some years after the deaths of both her enormously talented younger sister Lili, and her mentor, the pianist and composer Raoul Pugno.
It was in collaboration with Pugno that Boulanger composed La Ville Morte, a four-act opera based upon a play by Gabriele D’Annunzio; it was scheduled to be premiered at the Opéra-Comique in Paris in 1914, but cancelled after the outbreak of the first world war. The opera only survives in a vocal score, and for this first ever recording, taken from performances in New York last year, it has been minimally orchestrated for an ensemble of 11 players. The “dead city” of the title of La Ville Morte is Mycenae, and the tangled story of love, lust and ambition among a quartet of archaeologists takes place among the city’s ruins. Musically it references Wagner, Fauré and most of all early Debussy, but the work never quite convinces in any of those modes, and runs out of dramatic steam well before the short final act, despite the best efforts of conductor Neal Goren and his hard-working cast of four.
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