From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Subject: "The Pilgrim's Progress" and "Wuthering Heights"
Organization: University of Rochester (Rochester, NY)
Date: Wed, 22 Jul 92 22:22:24 GMT

Two British operas, one a masterpiece and the other not (but so what?)
debuted on CD recently. Vaughan Williams' "morality" opera "The
Pilgrim's Progress" (after John Bunyan) is now available on EMI/Angel's
mid-priced British Composers series (CDMB 64212, 2 CDs), and Bernard
Herrmann's "Wuthering Heights," based on the Bronte novel, is on
Unicorn-Kanchana's Souvenir series (UKCD 2050/52). 

Vaughan Williams' opera is a masterpiece indeed, but it puts great
demands on the performers (the Pilgrim is on stage throughout almost
the entire work), as well on the designers of the stage production, who
are asked to provide almost cinematic effects. For these reasons, this
opera is perhaps better encountered at home where one can close one's
eyes and be transported to the House Beautiful or to the Delectable
Mountains without distractions. 

This recording, made in 1971 under the direction of Sir Adrian Boult,
features John Noble as the Pilgrim, a role he made his own in the 1953
Cambridge production. Noble's devotion is beyond question, and his
identification with the role is striking; it matters little that he is not
the most vocally lustrous member of the cast. Many of the other singers
perform multiple roles, and there are few if any weak performances
(although the reverberation the engineers gave to Robert Lloyd's
Apollyon is somewhat trying). 

The 6th side of the original LPs included rehearsal excerpts, and these
are preserved here. While they give little insight into just what it is
that makes Boult's Vaughan Williams as wonderful as it is, they are fun
to hear - once at least. 

There is little doubt that this is an opera which makes its deepest
impression on those who are attuned to its spiritual messages, but
even the doubtful may be swayed by Vaughan Williams' luminous music.
It is difficult to imagine a better introduction to it than this recording,
and to be honest, it is difficult to imagine any competition coming
along soon. 

Herrmann is best-known for his film scores, of course, and his opera is
not dissimilar to them (in fact, he lifts both a love theme and storm
music from his score to "The Ghost and Mrs. Muir"). This fine as far as
the painting of atmosphere and dramatic highlights is concerned, but
Herrmann's opera shows its weaknesses in the less purplish passages. 
The problem is largely one of pacing; this opera is more than three
hours long, and it sounds like it. And it seems odd that Herrmann gives
the score's two plummiest arias to the dull, prosaic Lintons in Act III.
On the other hand, the libretto (by the composer's wife, Lucille
Fletcher) is very fine, and the opera, taken as a whole, has more than
just curiosity value given Herrmann's stature as a composer of melodic
and brooding music, despite his inexperience with writing for the
stage. 

The recording (from 1966) is more functional than inspired, and
features a fluttery Cathy in Morag Beaton and a strained Heathcliff in
Donald Bell.  Other singers include Pamela Bowden and Joseph Ward (as
the Linton siblings) and John Kitchiner as Hindley Earnshaw. The Pro
Arte Orchestra is conducted by the composer.  The sound quality is
faded, with moments of instability. A fresh look at the work in the
opera house or on disc might spruce up these "Wuthering Heights,"
which well might have something to offer for a certain kind of tourist.
I know I enjoyed them. 




--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).