[anvar]

Balada - Hangman, Hangman & Town Of Greed
Жанр: Chamber Opera
Страна-производитель диска: EC
Год издания диска: 2002
Издатель (лейбл): Naxos
Номер по каталогу: 8.557090
Дата записи: 2001
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 01:17:02
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист/Исполнители:

1. Prologue 00:01:58
2. Introduction 00:01:18
3. Scene 1: The Sheriff and the Hangman enter 00:01:03
4. Scene 1: "Wait! Gimme a break... " 00:04:31
5. Scene 2: Sheriff and Hangman announce entrance of Johnny's Mother 00:01:40
6. Scene 2: Duet - "Have you brought me silver" 00:02:48
7. Scene 2: "Let's get him... " 00:01:42
8. Scene 3: "Hangman, slack your rope... " 00:03:38
9. Scene 3: Sheriff, Hangman and Townspeople "Let's check that i'ts not a lie... " 00:01:21
10. Scene 3: "Sorry sonny Johnny... " 00:04:13
11. Scene 4: Instrumental section 00:01:59
12. Scene 4: "Hangman, slack your rope... " 00:00:34
13. Scene 4: "Wait! I'm his sweetheart... " 00:02:50
14. Scene 4: "No waiting... " 00:00:34
15. Scene 4: "I don't ask your forgiveness... " 00:03:46
16. Finale: "Nonsense... " 00:01:10
17. Finale: "Viva Johnny!!" 00:04:43
18. Finale: "What the heck!... " 00:04:24

Leonardo Balada - Hangman, Hangman
Elizabeth Sederburg (Mezzo Soprano)
Anthony McKay (Spoken Vocals)
Stephen Neely (Bass),
Patrick Jacobs (Baritone)
Robert Fire (Bass Baritone),
Natalya Kraevsky (Soprano)
Orchestra/Ensemble: Carnegie Mellon University Contemporary Ensemble, Pittsburgh Camerata
Conductor: Colman Pearce

19. Part I: Prelude 00:01:10
20. Part I Scene I: "Petting my cigar... " 00:02:19
21. Part I: Deals - "Hi Mr. Johnny" 00:03:09
22. Part I: Lento: "In my dreams I rode high... " 00:01:10
23. Part I: A deal - "I'm Tokopoko" 00:01:44
24. Part I: "I am your sweetheart... " 00:03:37
25. Part I: "Sorry sweetheart... " 00:01:51
26. Part I: Johnny, back in his office with Mother, Father and Sweetheart 00:05:20
27. Part II: "There is trouble in town... " 00:02:36
28. Part II: "Let's hang him at once... " 00:02:54
29. Part II: "Quiet everyone... " 00:01:57
30. Part II: Lento molto - Finale love duet: "I love you" 00:01:40
31. Part II: Piu Mosso: "Pull him... " 00:00:30
32. Part II: Epilogue 00:02:53

Leonardo Balada - Town of Greed
Natalya Kraevsky (Soprano)
Patrick Jacobs (Baritone)
Stephen Neely (Bass),
Robert Fire (Bass Baritone)
Elizabeth Sederburg (Mezzo Soprano)
James Longmire (Tenor)
Robert Frankenberry (Spoken Vocals)
Linda Shaw (Spoken Vocals)
Craig Raymaley (Spoken Vocals),
Rose Dorsey (Spoken Vocals)
Petra Dierkes-Thrun (Spoken Vocals)
Craig Raymaley (Bass),
Adrian Rollett (Bass)
Roy Matway (Bass)
Kenn Kumpf (Bass),
Paul Nicolaysen (Bass)
Ja-Nae Duane (Alto)
Gary Koehler (Baritone),
Jim Means (Baritone)
Robert Frankenberry (Baritone)
Orchestra/Ensemble: Carnegie Mellon University Contemporary Ensemble, Pittsburgh Camerata
Conductor: Colman Pearce

Код:

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 22. October 2013, 22:05
Balada / Hangman, Hangman! & The Town of Greed, Pearce 2001
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Код:

REM GENRE Opera
REM DATE 2003
REM DISCID B4120F20
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Balada"
TITLE "Hangman, Hangman! & The Town of Greed, Pearce 2001"
FILE "Balada - Hangman, Hangman! & The Town of Greed, Pearce 2001.ape" WAVE
  TRACK 01 AUDIO
    TITLE "Hangman, Hangman! Prologue"
    PERFORMER "Balada"
    ISRC HKI190117401
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Introduction"
    PERFORMER "Balada"
    ISRC HKI190117402
    INDEX 01 01:57:37
  TRACK 03 AUDIO
    TITLE "Scene 1: The Sheriff and the Hangman Enter"
    PERFORMER "Balada"
    ISRC HKI190117403
    INDEX 01 03:15:02
  TRACK 04 AUDIO
    TITLE "'Wait! Gimme a break...'"
    PERFORMER "Balada"
    ISRC HKI190117404
    INDEX 01 04:18:17
  TRACK 05 AUDIO
    TITLE "Scene 2:Sherriff & Hangman announce entrance of Johnny's mother"
    PERFORMER "Balada"
    ISRC HKI190117405
    INDEX 01 08:48:70
  TRACK 06 AUDIO
    TITLE "Duet: 'Have you brought me the silver?'"
    PERFORMER "Balada"
    ISRC HKI190117406
    INDEX 01 10:28:67
  TRACK 07 AUDIO
    TITLE "'Let's get him ...'"
    PERFORMER "Balada"
    ISRC HKI190117407
    INDEX 01 13:16:55
  TRACK 08 AUDIO
    TITLE "Scene 3: 'Hangman, slack your rope ...'"
    PERFORMER "Balada"
    ISRC HKI190117408
    INDEX 01 14:59:12
  TRACK 09 AUDIO
    TITLE "'Let's check that it's not a lie ...'"
    PERFORMER "Balada"
    ISRC HKI190117409
    INDEX 01 18:36:62
  TRACK 10 AUDIO
    TITLE "'Sorry sonny Johnny ...'"
    PERFORMER "Balada"
    ISRC HKI190117410
    INDEX 01 19:57:60
  TRACK 11 AUDIO
    TITLE "Scene 4: Instrumental section"
    PERFORMER "Balada"
    ISRC HKI190117411
    INDEX 01 24:10:27
  TRACK 12 AUDIO
    TITLE "'Hangman, slack your rope ...'"
    PERFORMER "Balada"
    ISRC HKI190117411
    INDEX 01 26:09:10
  TRACK 13 AUDIO
    TITLE "'Wait! I'm his sweetheart ...'"
    PERFORMER "Balada"
    ISRC HKI190117413
    INDEX 01 26:42:72
  TRACK 14 AUDIO
    TITLE "'No waiting ...'"
    PERFORMER "Balada"
    ISRC HKI190117414
    INDEX 01 29:33:32
  TRACK 15 AUDIO
    TITLE "'I don't ask your forgiveness ...'"
    PERFORMER "Balada"
    ISRC HKI190117415
    INDEX 01 30:07:32
  TRACK 16 AUDIO
    TITLE "Finale: 'Nonsense ...'"
    PERFORMER "Balada"
    ISRC HKI190117416
    INDEX 01 33:53:67
  TRACK 17 AUDIO
    TITLE "'Viva Johnny!!'"
    PERFORMER "Balada"
    ISRC HKI190117417
    INDEX 01 35:04:12
  TRACK 18 AUDIO
    TITLE "'What the heck! ...'"
    PERFORMER "Balada"
    ISRC HKI190117418
    INDEX 01 39:46:50
  TRACK 19 AUDIO
    TITLE "The Town of Greed: Prelude"
    PERFORMER "Balada"
    INDEX 00 44:10:47
    INDEX 01 44:14:32
  TRACK 20 AUDIO
    TITLE "Scene 1: 'Petting my cigar ...'"
    PERFORMER "Balada"
    ISRC HKI190117420
    INDEX 01 45:24:07
  TRACK 21 AUDIO
    TITLE "Deals: 'Hi Mr. Johnny.'"
    PERFORMER "Balada"
    ISRC HKI190117421
    INDEX 01 47:42:60
  TRACK 22 AUDIO
    TITLE "Lento: 'In my dreams I rode high ...'"
    PERFORMER "Balada"
    ISRC HKI190117422
    INDEX 01 50:51:22
  TRACK 23 AUDIO
    TITLE "A deal: 'I'm Tokopoko'"
    PERFORMER "Balada"
    ISRC HKI190117423
    INDEX 01 52:00:70
  TRACK 24 AUDIO
    TITLE "'I am your sweetheart ...'"
    PERFORMER "Balada"
    ISRC HKI190117423
    INDEX 01 53:45:05
  TRACK 25 AUDIO
    TITLE "'Sorry sweetheart, ...'"
    PERFORMER "Balada"
    ISRC HKI190117425
    INDEX 01 57:21:72
  TRACK 26 AUDIO
    TITLE "Johnny, back in his office with Mother, Father and Sweetheart"
    PERFORMER "Balada"
    ISRC HKI190117425
    INDEX 01 59:12:55
  TRACK 27 AUDIO
    TITLE "'There is trouble in town... '"
    PERFORMER "Balada"
    ISRC HKI190117427
    INDEX 01 64:33:15
  TRACK 28 AUDIO
    TITLE "'Let's hang him at once ...'"
    PERFORMER "Balada"
    ISRC HKI190117428
    INDEX 01 67:09:07
  TRACK 29 AUDIO
    TITLE "'Quiet everyone ...'"
    PERFORMER "Balada"
    ISRC HKI190117429
    INDEX 01 70:03:27
  TRACK 30 AUDIO
    TITLE "Lento molto - Final love duet: 'I love you'"
    PERFORMER "Balada"
    ISRC HKI190117430
    INDEX 01 72:00:10
  TRACK 31 AUDIO
    TITLE "Piu Mosso: 'Pull him ...'"
    PERFORMER "Balada"
    ISRC HKI190117431
    INDEX 01 73:40:10
  TRACK 32 AUDIO
    TITLE "Epilogue"
    PERFORMER "Balada"
    ISRC HKI190117432
    INDEX 01 74:10:12

Born in Barcelona on 22nd September, 1933, Leonardo Balada graduated there at the Conservatorio del Liceu and in 1960 at the Juilliard School in New York, studying composition with Vincent Persichetti and Aaron Copland, and conducting with Igor Markevitch. Since 1970 he has taught at Carnegie Mellon University in Pittsburgh, Pennsylvania, where he is University Professor of Composition. Some of his best known works were written in a dramatic avant-garde style in the 1960s, including Guernica, María Sabina and Steel Symphony. He is credited with pioneering a blending of ethnic music with avant-garde techniques later, notably in his Sinfonía en Negro-Homage to Martin Luther King of 1968, and Homage to Casals and Sarasate in 1975. Balada’s works are performed by the world’s leading orchestras, under conductors of the highest distinction. He has been commissioned by many outstanding organizations in the United States and Europe, and has composed works for artists like Alicia de Larrocha, the American Brass Quintet, Andrés Segovia, Narciso Yepes, Lucero Tena, and Angel Romero, and has collaborated with artists and writers like Salvador Dalí and the Nobel Prize winner Camilo Jose Cela. Many of his compositions have been recorded by leading record companies, and his compositions, in addition to chamber and symphonic compositions, include cantatas, chamber and full length operas. Leonardo Balada has received several international composition awards.

From my point of view as a composer, the important elements in an opera are the identification by the orchestra of each dramatic moment and the lyricism of the vocal soloists. Given the importance of the latter, it would not have been appropriate for me to compose operas during my avant-garde period, from the mid-1960s to the mid-1970s, when I did not consider melody as part of my style. Instead my interest in musical drama expressed itself in the form of cantatas, where instead of singers there were narrators and the choruses would sing texturally not lyrically. During that period, I composed María Sabina (1969), with a text by the Nobel Prize laureate Camilo José Cela, Las Moradas (1970), based on the book by Saint Teresa of Avila, and No-res (1974), a protest against death, with a text by Jean Paris.
In 1975, while feeling the need for a new direction in my music, I incorporated melody into my language, creating a symbiosis between the far-out techniques of the avant-garde and traditional lines and harmonies, causing disapproval from some quarters in carrying out what nowadays is a very common practice. At that point with the addition of lyrical melodies to my palette, composing operas made sense to me. The cantata Torquemada (1980) was a prelude to Hangman, Hangman! (1982), my first opera. In 1984 Zapata followed, full of Mexican ideas and colours. In 1987 came Christopher Columbus, first performed in 1989 at the Teatre del Liceu in Barcelona with José Carreras and Montserrat Caballé. In 1996 I finished a sequel to that opera, The Death of Columbus. Finally came The Town of Greed, completed in 1997. These are all operas in which abrasive contemporary orchestral sonorities co-exist with highly melodic vocal lines.
Leonardo Balada

Music & libretto by Leonardo Balada
Publisher: G. Schirmer, New York
Synopsis
Hangman, Hangman! is freely adapted from an American cowboy folk-song. Johnny, its hero, is a dreamer who has been apprehended for stealing a horse, and is about to be hanged. "A rope round his neck…That’s what he’ll get…" says the Sheriff. To soften the charges Johnny assures him that "The horse was weak. I meant no harm… His eyes were crossed, his back was broke…" During the first half of the work, the Hangman is preparing for the execution of Johnny. When Johnny is brought to the gallows, he calls for his mother to pay his ransom. Instead, the Mother testifies that even before he was born, Johnny was mischievous and she asked for his punishment. "When growing in my belly, a restless grub he was. He kicked my guts so fiercely…only six months he stayed in my womb, but like a dozen it felt," the Mother sings. Though he was surprised by his mother’s testimony, he pleads that his father soon will arrive with the ransom; that is, the price of the horse. In a short aria, the dreamer Johnny explains he took the horse for all sorts of other-worldly poetic reasons, "I took the horse to ride the skies. I took the horse to ride the seas, to ride and fly and dream…"
The Father is heard from an unknown faraway place, and expresses his regret for not being by his son’s side, but says that his mule broke down. "Sorry, sonny, Johnny. I was comin’ to see you hang." He responds to Johnny’s plea, and continues "…hanging ain’t bad, and once you are gaily swinging you’ll have a sweet peaceful feeling that you won’t regret." Johnny, stunned by his father’s excuse, surrenders to despair and prepares to die. He sees his sweetheart, a girl with a tarnished reputation, running to reach the scaffold before the Hangman completes his task. "Got no silver, got no gold. Tried to earn it selling love to all. But only pennies and a song I can give you for my Johnny," says the Sweetheart, and an aria follows; in trying to redeem Johnny, she asks forgiveness in the name of love. The Townspeople, the Sheriff and the Hangman, think that such a request is "nonsense", and they proceed with the hanging. When all seems lost, a sudden and improbable ending occurs. A deus ex machina, an Irishman of good looks and fortune, who has bought the whole region for development, appears: "Her song touched me heart…of all of you the only one with any brains is Johnny. I will pay for his ransom; Johnny will be my personal deputy!". Everyone now wants to be his friend; he is a hero. Money seduces everyone, including the dreamer, Johnny, who yields to the temptations of wealth and greed, while expressing cynicism and disgust for the town’s greed, which caused the change in morality. At the end, all sing "We’ll cheat them all. We’ll run the world and make money, silver and gold".
Hangman, Hangman! was commissioned by the Barcelona Music Festival and was presented by the Opera de Cambra de Catalunya in 1982 conducted by the composer and directed by J. Ma. Espada. The American première was presented by the Carnegie Mellon Music and Drama departments in 1983, conducted by Werner Torkanowsky and directed by Akram Midani. The work is dedicated to the composer’s wife, Joan Balada.

Libretto and music by Leonardo Balada.
Story by Akram Midani and Leonardo Balada.
Publisher: Beteca Music
Synopsis
The Town of Greed, in two parts, is a sequel to Hangman, Hangman! and presents the same principal characters but twenty years later. All happens in an extremely grotesque way, and the story is a strong criticism of society. As in a cartoon, the characters and issues are presented in an irreverent manner, direct and with bullet-like sharpness and directness.
In Part I Johnny is now an influential businessman, working hard in not so clean dealings around the world, all for the good life of his family and his town. While smoking a big cigar, he is in touch with all sorts of characters by phone or physically in his office. Misters Rich, Rot, Rat, Wreck, Rip, Rude and the Ambassador negotiate with Johnny the sale of petroleum, gasoline, uranium and plutonium with all kinds of unclear purposes, while the Townspeople express spontaneous admiration for their hero.
One of his business dealings is with Mr Capotte, who just arrived from Chicago. He offers a plan that excites Johnny. He "will silence researchers and paint the sun blue so that its energy will not be used and only gas will make things move". Another visitor is Tokopoko, envoy of Japan’s Emperor, who wants gas from Johnny for their Toyotas. The Sweetheart, Johnny’s wife, who enters in a rush, will go to Tokyo to negotiate a contract. Her skills and feminine attractiveness are assets for Johnny’s dealings, and she expresses this in a short aria. But not all is bright: "...Silk won’t heal the pain in my heart for they can’t plant the seed that would make me a mother." This aria grows into a love duet of happiness and hope.
The busy phone calls continue, as Johnny is going to deal with Britain and Spain. As a further expression of grotesqueness and much practiced nepotism, he will send his father to London and his mother to Madrid to negotiate. All this is expressed in a vibrant and catchy ensemble by Johnny’s clan.
The Father, whose clumsiness was already shown in Hangman, Hangman! and has not changed in twenty years, sings his contentment with life in a short aria, while mentioning his early addiction to drink and Phillip Morris. The Mother asks for a credit card to buy herself jewelry, commenting that they are "... good to banks and bankrupt nice guys, sweet girls, weak souls". The two and the Sweetheart sing with delight to the world of consumerism, a world of things that are "shiny and flashy and trashy." Taking the happy and prosperous mood from the trio, the Townspeople extend their upbeat singing: "...what’s good for the town is good for America, is right for the world!" The line "Money, honey, money, honey" sung by Johnny, Sweetheart and the Townspeople ends Part I.
In Part II things are no longer bright. The Sheriff and the Hangman have entered, announcing hard times ahead; the town is broke. Johnny is no longer a hero but a scapegoat to be blamed. Scared, Johnny tries to calm everyone down by proposing a war that would create new business. When the Sheriff and Hangman do not trust Johnny’s sincerity, everyone insists that he should be hanged. Johnny desperately calls for the Irishman who twenty years earlier saved him, but now he is not interested in helping. As a last resort, Johnny comes up with new ideas to which the Townspeople, continuing the comment throughout the opera on the fickleness of the masses, are easily lured. They will create "a new industry…a pastime" says Johnny: "a tube and a small screen...What fun, your brain will stop..." Everyone seems delighted. And Johnny continues "…We’ll manufacture some new products made of a scrappy and cheap substance…Celebrities!. They’ll show their way to be our heroes. Celebrities that talk a lot without deep thought".
Things were looking up for Johnny, but the excitement of the Townspeople is interrupted by a shot from the audience. A Wall Street Man has bought this town for a toxic waste dump. He orders Johnny to be hanged and everyone agrees except his parents. "Your nose is like my nose," says the Mother. "Your shadow fits in my shadow," claims the Father. "We’d like you alive", they say in unison. In a short love duet the Sweetheart tries to console him, but she is looking after her own future. In a symbolic gesture, a man from the town approaches her. She leaves Johnny and leans her head on the man’s shoulder. The Sweetheart comments: "Understand me Johnny, while on earth I must see that tomorrows are not cloudy but shiny for me", to which Johnny responds: "Do what is best for you." In life, one can only count on one’s parents. Once on the scaffold, while Johnny tries to postpone the hanging again, the Wall Street Man shoots him dead. Now, as an Epilogue, the Townspeople, with great devotion towards Johnny, freeze him cryogenically so that they can resurrect him later.
The Town of Greed was commissioned by the Pennsylvania Arts Council and the Centro para la Difusión de la Música Contemporánea of Madrid. It is dedicated to the composer’s wife Joan Balada.