#Month of New Operatic Works

[bmpmp3]

yesterday in vocal synth news

[thatsonemorbidcorvid]

““The girls are unable to say anything because they are always being policed. You can’t ask questions, you won’t get the evidence on a silver platter. But when you are going around, you hear things and see things,” Singh explains, sitting in a nondescript office, piles of cardboard files all over the floor, documenting the thousands of girls they have rescued over the years, approximately 4,000 at last count. 

“Most of the time the girls are locked up and they are only allowed out when a customer comes in. To ensure they are not interacting with the customers, the brothel keepers are always banging on the door and take away the mobiles of the customers.”

As a result of an 11-month long operation, conducted before the pandemic, Guria India were able to rescue 136 underage victims of traffickers, resulting in 61 brothels being shut down.”

In the narrow alleyways of Meerganj, the notorious red light district in the city of Allahbad, a man dressed in a brown kurta with a rucksack walks past the dilapidated brothels shouting ‘lipsticks for sale, good prices.’ 

He barely warrants a glance, one of dozens of street sellers who stroll down the alley daily, hawking their wares, a common sight in the hustle and bustle of cities in India.

Word has got around that he’s selling good quality products like Max Factor and other brands the brothel girls recognise from billboards featuring their favourite Bollywood actresses. He’s cheaper than the other sellers and lets them pay in instalments. 

A group of young girls flock to him, picking up bright lipsticks and face powders, to make them look older than they are, or perhaps not, depending on the client’s preferences.

But this is no ordinary seller. He is from Guria India, an organisation which rescues and rehabilitates women and underage girls trapped in the sex trade. 

He has been working undercover, disguised as a cosmetics seller, gathering evidence of victims of traffickers who have been forced into sex work, many of whom are underage and often thousands of miles away from home.

“You are working on a razor’s edge. There are no second chances. One wrong move and you could be killed. It’s not like a movie where you get a retake,” says Ajeet Singh, Director of Guria India.  

The nature of trafficking is changing and so activists are having to find new and innovative  means to take them on. 

Singh said he came up with the idea of posing as a make-up seller after he found that the brothel owners were always one step ahead of him. 

“It was always very difficult to rescue the girls because someone would leak the information and the brothel keepers would move the girls. The girls were not a priority for the system, so the police were not helpful. We had to be proactive in getting the evidence.”

Using rudimentary equipment he bought from Delhi, including spy cams concealed in a pen and button, he began scouring the streets of the red light district for almost a year. 

“Make-up is something very enticing for girls. If you go to India, you’ll see street sellers in every city so I knew I would blend in,” he said.

“The girls are unable to say anything because they are always being policed. You can’t ask questions, you won’t get the evidence on a silver platter. But when you are going around, you hear things and see things,” Singh explains, sitting in a nondescript office, piles of cardboard files all over the floor, documenting the thousands of girls they have rescued over the years, approximately 4,000 at last count. 

“Most of the time the girls are locked up and they are only allowed out when a customer comes in. To ensure they are not interacting with the customers, the brothel keepers are always banging on the door and take away the mobiles of the customers.”

As a result of an 11-month long operation, conducted before the pandemic, Guria India were able to rescue 136 underage victims of traffickers, resulting in 61 brothels being shut down. 

Social media ‘weapon of choice’ for traffickers

The sting, which was signed off by local people, used undercover filming to collect evidence against offenders. When enough had been gathered, ten members of the Guria India team joined police as they carried out dawn raids, using iron cutters to access properties where the victims were being held.

There are an estimated 1.2 million children under 18 working in brothels in India, many of whom have been victims of sex traffickers. Approximately 75 per cent of the cases Guria India dealt with involved under age victims ranging from just six months to 17.

The majority of these trafficked children are from lower castes and more than half of them are from families living below the poverty line.  

While many of the girls sold to brothels are trafficked by relatives or family friends, in recent years, social media, with its low-risk and high rewards, has become the weapon of choice of traffickers, luring victims in with lucrative job offers or promises of marriage. 

“The internet and exploitative romantic relationships are key factors for trafficking in recent times,” said children’s rights activist Bharti Ali.

“Often, the police don’t start their search in cases of adolescent girls immediately as they believe it to be a case of elopement. Many cases end up in girls being sold further by the boy/person they trusted or who promised them false marriage.

“When girls go missing, parents often try to search within their own community, her friends and relatives. This is when they lose critical time. When they suspect that she may have eloped, they may tend to not report at all to protect family honour … The girls too are unable to report as the traffickers keep a close watch on them.”

For victims of traffickers, their introduction into the world of prostitution is a brutal and violent one, in which they face beatings, gang rape and starvation. Some victims also reported having chilli powder placed on their genitalia and being subjected to electric shocks. 

Among the girls they have rescued is Sarita, who was just 12-years-old when she was sold to a sex trafficker by her older brother and was transported 700 km away to work in a brothel. 

“My mum was working in Mumbai and I lived with my sister. My brother was a drug addict. He told me he was taking me to see my mum but instead he sold me to a trafficker. I was locked in a room and beaten and raped by several men. I managed to find a phone and called my mum,” she said.

Sarita’s mother, along with the police and Guria India activists, were able to rescue her and relocate the family. However, the majority of victims are not so lucky. India remains a socially conservative society and victims of trafficking will often be ostracised by their families and community. 

Rescuing victims of trafficking is only half the battle, while keeping them out of the hands of traffickers presents another challenge. 

Rehabilitating victims back into a society which was already hostile to them in the first place is difficult and often the girls will end up falling back into the hands of traffickers. 

In one case, 57 girls who were rescued by Guria were sent to a shelter home in Agra for rehabilitation, but were re-trafficked by the superintendent of the centre. Just this week, the superintendent was acquitted by the Supreme Court and Guria India is currently fighting the decision. 

Despite the setbacks, Singh remains hopeful. “Although I don’t think we can eradicate child prostitution in my lifetime, I’m hopeful we can set the foundations to make the change,” he said.

And sometimes all it takes is a rucksack and a Max Factor lipstick. 

[misasimagines]

music preference (Tokyo Debunker)

included characters: all of em

rating: SFW

warnings: as written by someone who only listens to fall out boy. this is just hc of course and not purely canonical! If anything is wrong, sorry!!

I'm also working on a Taiga fic okay I promise!!!

Jin

Canonically classical piano music. Might have a few operatic songs. Really not varied and considers most modern music to be senseless noise. Puts up with whatever you want to listen to as long as he doesn't hate it too much, and maybe you can broaden his preferences…maybe. Slowly.

Tohma

He can handle and appreciate classical but it's not his favorite. He does like more industrial, rap, and hip hop type songs, the exact type that Jin would call senseless noise. He's doing his little paperwork in his little monocle and he's listening to Tupac.

Kaito

Varied!!! I don't think he gives himself enough credit for the variety of music he listens to and enjoys. Knows and likes popular and viral music, but also if you're like hey this song from 2003? This song from 1987? His song from 1954? He probably knows it. He doesn't love all of them and he pretends to only Like the “acceptable” genres and new things, but I think you could play smth old af and he'd be like oh yeah my gran loved this- and he would know it.

Lucas

Guy who admits to not knowing much music. Only the absolute most popular songs he knows, and even then, it's like the catchiest bit or the chorus like babe is NOT listening to music that often. Might have like An Album that he knows well and enjoys but like it would be very limited. Share things with him! He's open minded enough to learn more.

Alan

Another “I don't listen to much music” guy but I think he knows like dad rock from the 2000’s. I don't think he necessarily loves it, he just recognizes it and if he wants to listen to music for some reason, well, Three Days Grace is there and he knows how to type that into yourtube (maybe. Maybe he has to ask Leo for help. Maybe Leo pulls up something completely different. Probably.)

Leo

A pop music enjoyer. Brat summer Twink. Olivia Rodrigo fan. Also likes dance and club music and has a preference based on country of origin. Does NOT like Vocaloid or Nightcore or probably even trance and house music of the 2000’s. He's like ew that old person music?? What am I, 30??? Very opinionated and a song he loved two months ago, now he's like that's absolute trash lmao why would I like that?? Impossible to keep up with his taste.

Sho

Listens to whatever Leo puts on, he's not a stranger to the club, but I feel like has some secret artists and genres he likes that he won't admit to under pain of torture. Like maybe he likes country or kpop or something and he's like God I can't let Leo know this because I'll never hear the end of it. But he listens to it while he's at his food truck.

Haru

Can you not imagine him enjoying a good Cher song? Some Abba? 70’s-90’s I think is like on lock for him. He's turning up, he's blessing the rains down in Africa. He knows Destiny's Child probably. Sometimes he'll be like oh yeah I know new music, like what was that song? Huh? Toxic by Britney Spears came out in 2003? Guess I don't know new music than haha!!

Towa

Hes like ~~~~!!! ~~! (This shit fucks) Listening to birdsong and the bubbling creek. But he's also not immune to A Thousand Years by Christina Perri. He likes love songs! Mostly sweet love songs, not tragic or lost loved ones (probably no Adele). He will enjoy Haru's music as well, but only for Haru's sake.

Ren

Like lofi beats to chill and study to. Movie and game soundtracks but none of the fun ones. He's NOT listening to Decode from the hit movie Twilight and he NOT enjoying Megalovania from Undertale. He would relent to the To The Moon soundtrack and other indie game osts (if not because he enjoys them then to be superior in his Niche tastes).

Taiga

His music taste goes like this:

If you play something he likes, he allows it.

If you play something he doesn't like, he says turn that shit off.

If you ask him what he likes/wants to hear, he's like ….that one song, it's like duh duh dun…no? Whatever. And he gives up.

Romeo

Let me be real with you. You will not know his favorite bands. He doesn't expect you to know his favorite bands. His favorite bands are like experimental bands from Europe who release a song only on the new moon and it's behind an ARG to get to and hear and there's only 5 physical copies of their VINYL ever made.

He also endures whatever Haru, Rui, and Leo listen to and complains only when absolutely necessary.

Ritsu

i cannot take him seriously. like the little Einstein’s theme?? Jokingggg. 😐. He probably doesn't listen to much music, probably only things he remembers from childhood, and then instrumental things occasionally but claims it's mostly just too much of a distraction. He listens to like audio recordings of law books and court cases.

Subaru

I don't know I just think he secretly likes 80’s ballads and girl bands. He likes more traditional music, instrumentals, opera and musical music, and probably can appreciate even like true classic jazz music. He has a lot of patience and tolerance and goodness in his heart and will listen to just about anything and be able to appreciate it, but if it's his choice, he is probably not listening to noise metal.

Haku 

Okay Varied. Okay six thousand songs on his playlist and that's just one playlist. He just can't stand repeating the same songs over and over so he listens to anything and everything. He doesn't always remember every song that well, because there are so many and he doesn't listen to every single one daily, but there's a good chance if you know a song, he has it somewhere.

Zenji

Like Haku! He does appreciate traditional Japanese music and instruments, but he is an art lover first and foremost and will have something positive to say about anything you let him listen to. He and Haku are probably like sitting around going from YT recommended song one after the other and just being like oh yeah this Swedish dance pop is good, yes the Mongolian throat singing is good too.

Ed

VARIED but he also goes “ah, a song from before you time…I hope you'll appreciate it,” and puts on Megan Thee Stallion and listens like it's Vivaldi. He's like these Gregorian monks chanting are so musical. This bardic interpretation of Hips Don't Lie goes hard as the kids say. Blue by Eiffel 65.

Rui 

Not immune to boy bands and girl bands. He likes upbeat things! He might dress goth and live in the goth house but his soul is glittery pink. He listens to a variety overall, but isn't very into anything like screamo or heavy metal. He gets bored listening to anything too slow and level. He, like Romeo, will listen to Haru's music, but unlike Romeo, he will sing along.

Lyca

Doesn't know much music! Likes whatever Subaru likes, he guesses. Doesn't like some of the songs Rui or Ed plays but those are just random misses on a spinning dartboard because they could be anything. He's figuring it out and will listen to anything you want to play for him!

Yuri 

He does not like classical music as much as he claims to. He's like yeah yeah, Beethoven, that's top tier…obviously… (bored out of his mind). Guy who NEEDS to listen to to like. Russian hardstyle and Slavic dance music but he won't. He deprives himself.

Jiro

Listen to me. I wrote all of these because of Jiro. Closer by Nine Inch Nails. Bauhaus. Type O Negative. I'm SAYING he listens to goth and more gothic rock music and you KNOW if Yuri pulls his headphones out to yell at him, he just hears Tear You Apart by She Wants Revenge and he's like… I don't want to talk to anymore I changed my mind stop listening to freaky goth music. He also can hear like a biwa or other traditional instruments and feel comforted and familiar with them, even if he doesn't know why.

[freddiemercurylegendabovelegends]

Today, on August 24th, 1975 – Queen Story!

Queen starts recording ‘Bohemian Rhapsody’ at Rockfield studio’s in Galles.

🔸THE DAY QUEEN BEGAN RECORDING THEIR MASTERPIECE, ‘BOHEMIAN RHAPSODY’

- Ultimate Classic Rock, August 24, 2015

by Eduardo Rivadavia

If you were to write a history of the recording studio and, specifically, its usefulness as a laboratory for musicians' most ambitious creations, then an entire chapter might well be devoted to "Bohemian Rhapsody." The members of Queen began recording the song on Aug. 24, 1975, redefining the known limits of popular music in the process.

Suffice to say that, whatever Chuck Berry had in mind when he asked Beethoven to roll over, "Bohemian Rhapsody"'s jaw-dropping pastiche of rock and opera sure wasn't it. But then, Queen's flamboyant and unpredictable brand of art rock had been simultaneously stumping and amazing all those who'd heard it well before "Bohemian Rhapsody" came along. It continually morphed over the first three albums of the group's career, until 1974's Sheer Heart Attack started connecting all the dots.

During the first months of 1975, Queen toured the U.S. as headliners for the first time (alternately supported by Styx and Kansas), making their first trip to Japan (where they received a Beatlemania-type reception), and, in singer Freddie Mercury's case, receiving the prestigious Ivor Novello Award for his work on "Killer Queen."

All of these accomplishments no doubt boosted the band's confidence (and courage) as they started working on new material, both in unison and individually, for the album they would soon name A Night at the Opera. This was to be produced by their engineer Roy Thomas Baker, and it's safe to say neither band nor producer could have guessed what Mercury had up his sleeve as he started cobbling together both new ideas and spare song parts he'd been lugging around for years in the privacy of his Kensington apartment.

According to Baker, in an interview with Sound on Sound, his first inkling of what was in store only came when he visited Queen's singer at his home, and Mercury first played him "Bohemian Rhapsody"'s initial ballad section, concluding it by casually quipping, "And this is where the opera section comes in!" Mercury, Taylor and the other members of Queen -- guitarist Brian May, bassist John Deacon and drummer Roger Taylor -- then entered the studio following three weeks of rehearsal to help bring Freddie's madcap magnum opus to life.

Together, the foursome and their studio hands spent as much time arranging, re-arranging, adding, subtracting, and adding some more to "Bohemian Rhapsody"'s bulk as most bands of the time spent on entire albums. In the end, Mercury's central ballad wound up preceded by one of Queen's patented, multi-tracked a capella choirs and was followed by a tasteful solo from May, a minute-long opera section, then a heavy metal instrumental passage and finally a reprise of the core melody, fading gently back into wherever it came from.

All these years later, it's the song's operatic climax that remains its most stunning, almost superhuman, accomplishment, as it required them to clock as 10-to-12 hour days over a three-week period. They reportedly needed nearly 200 vocal overdubs in order to flesh out an entire choir. And then, when they were finally done, their label EMI was, to put it mildly, quite unimpressed.

Although, to be fair, the suits' reasons were typically business-oriented, as "Bohemian Rhapsody's" edged close to the six-minute mark, well beyond the limit favored by commercial radio. Instead, the label suggested they release Deacon's excellent "You're My Best Friend" as first single from A Night at the Opera, but Queen wouldn't hear of it, and it only took a moment for the immediate support of DJs across Britain to prove EMI wrong.

Released in the U.K. on Oct. 31, 1975, "Bohemian Rhapsody" would be No. 1 by Christmas and then hold the spot for nine weeks. Its commercial fortunes were undoubtedly helped by the pioneering music video shot by Queen to stand in for them on Top of the Pops while they were already back on tour by the time they were invited to appear. Meanwhile, their single was also on its way to No. 1 in Canada, New Zealand, the Netherlands and Belgium, earning Top 10 honors in multiple other countries and peaking at No. 9 in America, where it eventually became a million-seller.

"Bohemian Rhapsody" stands as one of the best-selling songs in rock history, prone to repeat visits to global charts anytime it is revived for a movie, commercial or other event, and frankly unique as nothing since has come close to matching its sheer heights of excess, bravura, and, oh yeah, inspiration.

(Source ↘️ https://ultimateclassicrock.com/queen-bohemian-rhapsody/)

📸 Pic: 1975 - Recording 'A Night At The Opera' album with co- producer Roy Thomas Baker

[phantomtrader19]

(HALF*) 2024/25 cast REVIEW 31.08.2024

Spent 2 shows yesterday at phantom which I haven’t done in a while! Planned this couple months ago to see the new cast however I had covers for Raoul, Mme Giry & Piangi and all swings on too! There was a lot of people off!

First off it felt so strange to not see some cast members who had been there since 2021!

Ensemble was made up of all 5 swings being on which is a first for me I think?

Overall lovely performances from all, new corps de ballet were gorgeous as always!

For the Principals I’ll start with Millie Lyon as Meg who was brilliant - lovely youthful voice, feisty characterisation and a BLONDE wig! I’ve missed the blonde wig! Fantastic Meg looking forward to seeing her much more.

Martin Ball as Firmin is an absolute triumph! Hilariously pompous and arrogant and such a grumbly kind of voice he was a standout last night, he seemed to play the role like he was tipsy drunk the majority of the time and he was just not interested in all the dramas going on. Great chemistry with Adam which I admittedly thought may have been difficult to achieve after Matt Harrop but I absolutely loved his take on the character!

Hywel Dowsell was on for Piangi, last time I seen him he was second cover and was on for the first time in 18 months! Lovely nuanced performance with little ad-libs and added acting pieces - really enjoyed!

Victoria Ward was on for Mme Giry I’ve seen her once before and I really enjoyed her and even yesterday she was such a standout! Beautiful voice and again such nuanced acting and more motherly to Meg!

Joanna Ampil as Carlotta was very different to what we’ve seen before, less operatic and more ever so slightly belty sometimes her voice got a little lost in the music, still some gorgeous top notes but I just was hoping for a little more oomph from her voice. acting wise was generally great but I did hope for a little more over the top like Carlotta should be, looking forward to seeing how she grows into the role over the next year!

Enjoyed Michael as Raoul - super strong voice and some great acting choices! I’ve now seen him as many times as I’ve seen Joe! (6 times) Joe is admittedly more my cup of tea acting wise but I enjoyed him nonetheless.

Lily was on fire yesterday, gorgeous voice and acting was out of this world, a top tier Christine by miles! My only slight gripe is her last note in think of me I’m not sure if the orchestra is rushing her or something else but it’s very short, her other high notes are held much longer but I just wish she got to hold it slightly longer as it felt super rushed, 8th time seeing her and always finding new things I love about her Portrayal! Her chemistry with Dean was also insane!!!

Now for Dean, I heard the opening night audio and I’ll admit I wasn’t crazy about his voice and didn’t hear too much acting albeit through audio so my expectations were mid however, I was absolutely BLOWN AWAY that was how a Phantom should sound his voice literally vibrated the auditorium and was just ridiculously gorgeous!!! Acting wise he was more gentler with Christine until the final lair when he let loose. I’ll go out on a limb and say from all the Phantoms I’ve seen he may have been my favourite in line with Earl Carpenter - vocally 100% my favourite he reminded me of Colm Wilkinson, Tim Howar & Killian Donnelly in some musical points. a firm favourite!

Really great cast, will be back to catch the full principal cast so I can see Helen Hobson as Mme Giry!

Aiming to see Eve with the new cast too as I last saw her nearly a year ago and must’ve caught an off show as she wasn’t sounding great but after hearing more recent audios she sounded as beautiful as her debut! Would also love to see Zoe on as Carlotta as she has a voice that lifts the ensemble to new heights!

I do have audios from the 2 shows yesterday, please message me to trade but disclaimer that my replies are not great rn as work has been super hectic!

[fancyfeathers]

I am very invested in your William and author reader fanfic, I must say it is very interesting. Would it be alright if I trouble you a little?

May you write a chapter where reader has gone missing right, and reader does actually outsmart William for the very first time? to the point where HE'S the one crawling back?? and is amazed? and begging her to come back? and she's not having it.

If it is too much, you may ignore this>

Thank you. Love you sm!!!

YES!!! Omg yes, I already started thinking about this with the idea of her being in a writer’s club or friends with other authors like J.R.R. Tolkien and C.S. Lewis who would help each other with their works and what not.

So like her friends who heard about her disappearance and after writing mysteries and murders alongside her, they are completely ready to find her.

And Then There Were None (Yandere William James Moriarty /w Author Darling Masterlist)

No one would be able to tell anything was wrong at first glance when they saw William James Moriarty, to anyone outside they would see nothing wrong, to anyone besides Louis and Albert he would still behaving as normal…

But his brothers, William is on edge, but in the best way possible, like when Sherlock is at his heels and all because his darling beat him at his own game, truly remarkable. He thought that she would only be off for a week or two but over a month has passed and every time he thought he found something the trail ran cold. Then the cherry on top of it all was every hint he found that ran cold related back to her books, like she was mocking him and what he had done…

And it was thrilling.

Then one evening after William had returned home from teaching at the college, Louis had also returned home from the market and fight as he was going to unpack-

A letter fell from the basket, and it was addressed to a Professor William James Moriarty, the name inked in red pen.

Louis handed the letter off to William when he was speaking to Albert in the drawing room over tea, telling him it was in the basket but he had never knew it was there, so someone must have slipped it in. William opened the letter as he sat up straight in his chair…

“I'm where the drama unfolds with arias grand,

Where masks may conceal a mysterious hand.

Within these walls, stories old and new,

Echo in halls with a theatrical view.

Where am I found? Seek the stage's grand spree,

Where performers enchant with operatic glee.”

Meet us at the answer at 8:00 PM tomorrow night, show them the letter and they will let you in. Bring your brothers, or leave them, I really do not care.

The letter was not signed, but the riddle was written in the same red ink, slightly smeared. The answer was obvious, an opera house, the question was who sent this and why? It was clear it was connected to his darling, so hopefully this was not a trail that goes cold.

So William follows the instructions hoping alone since this was obviously going to be a passive encounter since it was in public, and upon arriving to the theater and seeing all the members of the audience flocking inside, the sender was among the crowd.

While the other patrons showed their tickets to the staff at the door, he showed the letter and a small smile comes across the man’s face as he tells William to go to box five and that they were already waiting for them. Then as William made his way to the box and pushes open the door to see two individuals, a gentlemen reading a newspaper and William could tell was years old, and then sitting next to the man was her, his darling. Then as the door shuts behind the professor, the one reading the paper speaks up without looking at him.

“A counterweight supporting an opera house's chandelier fell through the roof and crashed into the audience, injuring several people and killing one. Imagine if it was the actual chandelier instead, what would have happened? What do you think, Professor Moriarty?”

“It would have resulted in a fire most likely, and due to the unique design of the chandelier more people would have gotten injured and certainly more than one would have died-“

“Hm, I thought so as well, good to know what I wrote in my book then was accurate.”

William glances at his darling who is just sitting there, not looking or speaking to him. The other man laughs at this and sets his paper down to look at the professor, a gleeful smile across his face.

“She almost refused to come, but we need to have closure on this whole affair so we can move on with our lives. A shame though, I quite enjoyed tracking her down with the others, it was like a competition to figure out what happened to her and who did it, and a bonus to beat the culprit at their own game, and it seems like I was the one to win, Professor William.”

William’s eyes drifted to where his darling sat in the box, her eyes still not going to meet the man who was publicly called her husband but who was in reality her worst nightmare.

“And if I may ask, how do you two know each other?”

“At an university funny enough, we were both invited to give lectures on our shared field of expertise, we became friends almost immediately and exchanged letter for a number of years when I lived in France, along with meeting up with a few of our colleagues to review our work-.”

“So you are an author as well, I do not think I have read any of your works.”

“Hm, that is a shame seeing as this meeting point revolved around my masterpiece, but I suppose you would like to cut to the chase.”

“Yes, as fun as this has been, I would rather her return-“

“Return with you? But that would mean you won, but you clearly did not, you lost. I invited you here so we can put this behind us.”

The man cut him off with a smile as if nothing was wrong, and it sent an almost thrilling shiver down William’s spine. He was about to reply to the man but then-

“Could you please leave William and I alone?”

She spoken up for the first time during this entire meeting, her eyes now snapping to glance at William for the briefest moments. The man gunned in response to her, standing up from his chair to leave the box, but as he passed William, he grabbed his shoulder-

“You may know how to murder people but rest assured so do I, after all both her and I write about it for a living. So try anything and I promise one of your friends will not be alive in the morning.”

The man’s cheerful tone had all but faded away and William hummed in acknowledgment to the threat right as he slipped out of the opera box, leaving William and his darling.

“Do not worry, he is bluffing, he does not have the heart to kill and nor do I.”

“Dearest…”

“I… I wanted to say goodbye, I figured it would be to cruel not to even after all the times you have done to me.”

“And how long do you think you can run?”

“Longer and faster than you can, and that became clear in my absence, you could not find me, so I think I will be fine. But I suppose if you find me again it is fair game, so… hm, what was that thing you told Mr. Holmes on the train with Louis and I that one time…”

She hums for a moment as she stands up from her seat, adjusting the gloves she wore as she prepared to leave. She stand before the Lord of Crime, looking him dead in the eye.

“Catch me if you can, Professor Moriarty.”

With that, she walked passed him, leaving the box and him alone as a smile came across his face…

“Oh you smart little thing…”

[brevoorthistoryofcomics]

BHOC: AMAZING SPIDER-MAN #191

Another week brought another raft of new comic books at my regular 7-11’s spinner rack, and I was right there on Thursday as I was every week to pick them up. First book this week was this month’s issue of AMAZING SPIDER-MAN, a title that I had been enjoying more and more thanks to the soap operatic work of writer Marv Wolfman and the Steve Ditko-inspired artistry of Keith Pollard. This whole…

[black-arcana]

EPICA's SIMONE SIMONS Explains Why The Time Is 'Right' For Her To Release Her Debut Solo Album

In a new interview with El Cuartel Del Metal, EPICA singer Simone Simons discussed her upcoming debut solo album, "Vermillion", on which she collaborated with her longtime musical partner Arjen Lucassen (AYREON). Asked how long she has been planning the project, Simone said (as transcribed by BLABBERMOUTH.NET): "Well, actively for, I guess, one and a half years, or one year even, with Arjen. We started, yeah, last year, I think springtime or so. But I talked to him about working together, I asked him if he wanted to work with me on my solo album already years ago, if he would be interested. And he was, but we were both just too busy. And last year, we also did the AYREON shows together; I was part of that. But already before those took place, we met up because he already started writing songs, and he always kind of wrote two, three songs and then I would come over to him to record vocals. And then a couple of months later he would have more songs. So it was not that all songs were there all at once. But we did it in a couple of sessions. And, yeah, EPICA was not touring a lot. And writing a new record for EPICA was kind of a little bit like at the end of the last vocal recordings for 'Vermillion'. EPICA was also in the studio, or writing camps, writing albums. So, for me, I guess this was the freest I could get my calendar, but I still had things going on. And in the past we were just touring too much. So the wish was always there, but not the time, also for Arjen because he's very busy as well. But now we were both motivated and had the time. The time was right now."

Regarding the first two singles from the LP, "Aeterna" and "In Love We Rust", Simone said: "Well, 'Aeterna' was the idea of Arjen to release as a first single track, because it is a little bit of a perfect blend of AYREON and EPICA; there's quite some similarities of both our music career, I guess. So it would be kind of a soft introduction to both our fans, to get warm with the project. But it's definitely not an indication of how the whole album sounds like; it's still very, very different. And 'In Love We Rust' is one of both Arjen and my favorite tracks of the album, and it's a beautiful ballad. Who doesn't like a ballad? And this month, there will be a third single, which will be a very heavy song. So I'm curious to see what people are gonna say about that. But all songs are brilliant and I like 'em all. They're like all babies in a way. But 'Aeterna', I felt a little bit sorry for Patric [Ullaeus] who did the video because it's a long song to do a video for. Nowadays singles are always three, max four minutes, and EPICA is always surpassing that, but, yeah, six minutes of supernovas, planets and many dresses. [Laughs]"

Arjen is no stranger to Simone's soaring operatic voice, one that can stir even a gargoyle's stone heart to tears. Together they have crafted a sonic universe that befits the influential figure she is. Due on August 23 via Nuclear Blast Records, "Vermillion" emerges as a gargantuan goose-bump generator, a universally touching, stellar tour de force.

Simone and Arjen previously stated about "Aeterna": "'Aeterna' is the big, epic opener of the album and it comes with this amazing video too, directed by Patric Ullaeus. It definitely sounds the closest to EPICA and AYREON, blending powerful Latin lyrics with a touch of an oriental feel. We've tried to strike a balance between the mighty, bombastic sounds and the more atmospheric parts. Since it's the first track people will hear from this album, it's super important to us and we're really excited for people to hear it!

"'Aeterna' takes the point of view of a star about to go supernova to explore how everything in the universe is interconnected, like a cosmic web made from stardust. It deals our deep emotions, consciousness and other mysteries of life that science still can't fully explain. Essentially it's a reflection on our place in the vast universe and the connections that bind us together, as we're all, to quote Carl Sagan, 'made of starstuff.'"

About "In Love We Rust", Simone and Arjen said: "The video was filmed in just one take to keep it as pure and raw as possible. We opted to keep it in black and white so as not to distract from the song or the performance.

"'In Love We Rust' is quite different from our first single 'Aeterna', which shows how diverse this album is. This is one of our favorite songs. We hope you love this as much as we do."

For more than 20 years, ever since she was a teenager, Simons has been carving her own path as a woman within the world of metal. As a lead singer, icon, and role model for a whole generation of female metalheads, the EPICA lead singer remains one of the most prominent key figures in all things metal. After eight albums and countless global tours with her band, Simone Simons finally found the time to release her first solo album — a moment 15 years in the making. Her breathtaking debut "Vermillion" is a stunning feat chronicling her storied past as well as her rise to fame, and showcasing her many different influences ranging from prog rock to film scores to metal to electronic elements.

Of the timing for her eagerly awaited foray into the realms of a solo career, the Dutch singer says with a disarming grin: "EPICA has my priority and I always have the liberty to do other musical projects besides my career in EPICA. Yet I never had the time to dive into a project to this extent."

"Vermillion" track listing:

01. Aeterna 02. In Love We Rust 03. Cradle To The Grave (feat. Alissa White-Gluz) 04. Fight Or Flight 05. Weight Of My World 06. Vermillion Dreams 07. The Core 08. Dystopia 09. R.E.D. 10. Dark Night Of The Soul

[trekbait]

Upcoming holonovel releases this month!

Catch the latest entertainment, available soon at your local holosuite!

Captain Proton Versus the Zombies of the Stratosphere!

Tom Paris’ latest instalment in his Captain Proton series has Proton face off against undead alien invaders who seek to swap their dying planet’s location for Earth’s warm orbit. It is down to you to stop them from throwing Earth away into the cold void of space with the power of atom bombs!

Vulcan Love Slave, Volume VII: T’Hot in Prison

Fresh off Ferenginar’s anonymous erotic presses, this latest tale from the Vulcan Love Slave series sees T’Hots thrown into a barbaric Breen prison where she must “bond” with her fellow female inmates to plan an escape. Can she distract the attention of the cold and mysterious Breen guards to allow her comrades in chains to melt away the ice walls of their cells with their physical activity? (Please note this programme may be restricted in some Starfleet holodecks; check before you download)

Human

The first Exocomp-written holonovel follows the crew of the all-Exocomp science ship Omortson who come across a derelict spaceship in an uncharted asteroid belt. The brave Exocomps mistakenly release a creature from stasis, a deadly and aggressive Human who starts to stalk and murder the crew within their own vessel. Can you survive and ensure the Human doesn’t escape the ship onto other worlds?

Sharknado Attack!

When a freak hurricane swamps San Francisco, thousands of sharks terrorize the waterlogged Starfleet Command. Pyblic Domayne HoloProductions previously became famous for adapting classic Human works like Dixon Hill, Sherlock Holmes, Beowulf and Shakespeare. With the recent craze for Human stories from the early 21st century they’ve been adapting that era’s golden classics such as Bubba Ho-Tep, 50 Shades of Grey, The Emoji Movie and Daddy Day Camp. Sharknado is celebrated as one of the great works of the era and this is the best adaptation of the work to date!

An Eye for a Golden Lady

Felix’s Secret Agent series continues as you are sent on a mission to retrieve the kidnapped daughter of the Japanese emperor. As you travel across ancient Earth in style, uncovering a vast criminal arms conspiracy, all our nuclear war is on the line! But you'll still find time to seduce the princess and sample the local martinis.

Photons Be Free: The Opera

The Doctor, from Voyager, has adapted his tale of photonic servitude for those more musically inclined. The 5-hour-long operatic masterpiece will have you singing along (autotuned if necessary) with the characters as you play an abused holographic slave to an evil crew. The locations are redesigned to be more abstract like stage dressing and, based on the quality of your performance, expect a round of applause for your performance!

[chopinski-official]

‘Sardanapalo’ — Liszt’s Lost Opera.

How Liszt's Lost Opera was Rescued.

Sardanapalo (S.687) is an unfinished opera by Franz Liszt. Written between 1845 and 1852, it is based on the 1821 verse play Sardanapalus by Lord Byron. The first act is mostly complete but there is no evidence of any music being notated for Acts 2–3.

It was long believed that the manuscript was illegible until 2016 when British musicologist David Trippett managed to produce both a critical edition and an orchestral performing edition (after Liszt's own instrumental cues for orchestration). Sardanapalo received its world premiere in Weimar on 19 August 2018.

Delacroix, La Mort de Sardanapale. 1827.

Based on Byron's tragedy Sardanapalus (1821) and inspired by the works of his contemporaries — Delacroix’s painting, La Mort de Sardanapale (1827), and Berlioz’s cantata, Sardanapale (1830) — tells the story of Sardanapalus, the effeminate and self-indulgent king of Assyria. After being challenged for his debauched ways, Sardanapalus was forced to take up arms, and, following a prolonged resistance that ultimately failed, chose to avoid capture by suicide.

Manuscript of Berlioz’s Sardanapale.

Berlioz’s own work, Sardanapale, with which he won the 1830 Prix de Rome, now only survives in the form of an air and the Fire finale, as he destroyed the score. This was perhaps due to his composition being more conservative than his usual output in order to better his chances in winning the prize. This led Berlioz to deprecate the work, calling it his most “commonplace” cantata. Even so, Liszt, who was present at the second performance of the oratorio, felt there was potential for operatic treatment in the tale, particularly given that the performance had featured the dramatic scene of Sardanapalus burning himself and all his possessions (including slaves and concubines) on a funeral pyre.

Berlioz, Sardanapale, H.50. [fragments].

Liszt’s close associate, the Princess Belgiojoso, procured for him an unnamed Italian poet as a librettist who was under house arrest at the time for agitating towards Italian independence. Liszt received the libretto for the first act on New Year's Day 1847 and the remainder followed 18 months later. However, Liszt was uncertain about aspects of the text for Acts 2–3 and asked Belgiojoso to have them revised.

Manuscript of Act 1 of Liszt’s Sardanapalo.

Between April 1850 and December 1851 Liszt notated 110 pages of music. Despite this, Liszt abandoned his work on the opera soon after. It is possible that this was due to Liszt’s concern that anything he produced would pale in comparison to the pioneering operas of his friend Wagner. More likely, however, is that Liszt's abandonment resulted from the fact that he never received a revised libretto for Acts 2 and 3, so could not set these to music.

Below you can listen to the entirety of the first act:

Franz Liszt - Sardanapalo, S.687

[paralleljulieverse]

70th anniversary of Mountain Fire Liverpool / Leeds / Bournemouth / Birmingham 30 performances (18 May 1954 - 12 June 1954)

This month marks the 70th anniversary of a significant, if curious, milestone in the early career of Julie Andrews: her 'straight' theatrical debut in Richardson and Berney's Mountain Fire. A notorious flop, Mountain Fire lasted barely 30 performances in a month-long provincial tryout, closing ahead of a planned West End bow. The play would likely have sunk without a trace were it not for the fact that its female lead was on the cusp of international stardom.

While the ill-fated Mountain Fire was on the road, it was formally announced that Julie Andrews had been signed to helm the Broadway cast of The Boy Friend (Chit Chat 1954, p. 8; Mackenzie 1954, p. 4). The stark contrast between the disastrous failure of Mountain Fire and the star-making success of The Boy Friend has become part of the mythology of Julie Andrews' career. Even the Dame herself is fond of playing up the angle. "I had done one bomb in England," she recounts in a 1966 interview, "an incredible disaster...between Cinderella and The Boy Friend. I accepted a very limited engagement, thank God, and played a Southern belle from Tennessee...I can't tell you what went on. It was a disaster" (Newquist 1966, p. 141).

Four decades later in her 2008 memoirs, Julie was still cringing over the experience:

"The truth was, the play was not good, and although the company tried to make it work, we all sensed it was going to be a flop. I also knew beyond a shadow of a doubt that had the eminent London critic Kenneth Tynan seen my performance, it would have been the end of any career I hoped to have. Mercifully, Mountain Fire folded out of town" (Andrews 2008, 160).

Legitimate, at last!

Self-deprecatory humour aside, Julie actually received very good notices for her efforts in Mountain Fire. The Stage declared: "Julie Andrews scores a particularly fine dramatic success in her first serious portrayal, as the ill-starred Becky, bringing rare maturity to the difficult and exacting role" ('American folk play' 1954, p. 10). The Liverpool Echo similarly enthused: "Julie Andrews scores a personal triumph as the young girl and, in her first 'straight' role, reveals herself as accomplished an actress as she is a singer" (H.R.W. 1954, p. 5). While the Yorkshire Evening Post opined: "Julie Andrews gives a beautiful and moving performance as the luckless Becky" (Bradbury 1954, p. 8). Though the production might not have panned out as anticipated, Mountain Fire was a strategic step in Julie's ongoing pivot from child stardom to adult performer. Much was made in show publicity about Julie’s "graduation" from juvenile entertainment to mature dramatic fare:

"Brilliant stage and film children are always a little heartbreaking. So few of them amount to anything after they have reached the colt stage...One of the most happy exceptions is Julie Andrews--the once plain little girl with buck teeth, a slight squint and pigtails who astonished us all by singing operatic numbers in a sweet, clear coloratura when she had reached the ripe age of 12...Now, Julie is to make her debut as a straight actress in a new American play to be presented here by Peter Cotes...called Mountain Fire...Cotes says: 'Julie has a wonderful role and I believe her to be a young actress with great possibilities.'...[A]s she has both singing and dancing to do in her first straight play, this might well be the chance of a lifetime for grown-up Miss Andrews" (Frank 1954, 6).

'A hill-billy Bible story'

Mountain Fire couldn't have represented a more "grown-up" change for Julie. Billed as a "new play with music in 14 scenes", it was the latest offering from rising American playwrights -- and cousins -- Howard Richardson and William Berney. The pair had scored an early success with Dark of the Moon (1945), a fantasy verse play about witchcraft, love, and social intolerance in colonial-era Appalachia. They followed with a second collaboration, Design for a Stained Glass Window (1949) about religious persecution and martyrdom (Duncan 1966, p. S-7; Fisher 2021, p. 248-49).

Mountain Fire trod similarly heavy dramatic ground with a mix of religion, Southern Gothic stylings, and social commentary. Described by one critic as "a hill-billy Bible story", the play was an allegorical retelling of the Abrahamic legend of Sodom and Gomorrah with the "cities of the plains" transposed to "rival colonies of mountain dwellers" in the backwoods of eastern Tennessee (Mackenzie 1954, p. 4).

The scriptural elements of human wickedness and divine retribution were adapted into a laundry-list of stock Southern vices: a Hatfield-McCoy style feud, moonshine, teen pregnancy, arson, murder and, even, a Ku-Klux-Klan lynching ('New American Musical' 1954, p. 12). Punctuating this cavalcade of backwoods iniquity was a series of Greek choric tableaux where Lucifer and the Archangel Gabriel, dressed in mountainfolk mufti, debate the spiritual problems of the characters on stage.

At the heart of this heady mix, Julie was cast in the "Lot's wife" role of Becky Dunbar, a winsome but headstrong teenage mountain girl described in the script as "grow'd up wild as onion weed" (Richardson and Berney, 1954, Act 1, Scene 2, n.p.). Becky finds herself pregnant after a brief dalliance with Joe Morgan, a charming but unscrupulous travelling salesman. She is torn between her passion for Joe and her moral duty to Lot Johnson, a virtuous widower who marries her because "it's the Christian thing to do" (Richardson and Berney, 1954, Act 1, Scene 5, n.p.).

Julie often jokes that "You've never heard a worse Southern accent than mine" (Newquist 1966, p. 141) -- and the script's hillbilly argot certainly would have proved a challenge to her crisp Home Counties consonants and rounded vowels. Becky's very first line, for example, is: "I ain't been gallivantin', just skimmin' rocks at Turkey Creek" (Richardson and Berney, 1954, Act 1, Scene 2, n.p.). Not exactly typical RP phraseology!

On a less challenging note, the show also featured a series of musical interludes with ritual dances and allegorical songs. Sporting titles like "Lullaby to an Unborn Child", "The World is Wide" and "Oh, It's Dark in the Grave", the musical numbers may not have been cheery toe-tapping ditties, but reviewers typically singled out Julie's singing as an all-too-rare highlight.

"Julie Andrews..prov[es] her undisputed musicianship by taking one song on high E flat, solus, and in perfect tune," marvelled one reviewer (Bradbury, 1954, p. 8). Another chimed: "We are inclined to think poorly of Becky until we realise how well she is to be played by Julie Andrews...Sodom and Gomorrah...seem to sweeten because of her presence... and she sings very pleasantly on the few occasions afforded to her" ('Midland entertainments,' 1954, p. 17). Given the Biblical source material, the story of Mountain Fire could only end in grand tragedy. And, lo, by play's end the backcountry villages have been consumed by fire and our poor Julie is turned to salt. If naught else, the last scene of Mountain Fire certainly gave Julie a scenery-chewing finale for her straight dramatic debut:

LOT (Offstage): Remember the warning, Becky! Don't look back! The hoot of the owl is heard. BECKY starts up the hill. She stops, hesitates, almost looks back. Music builds. Again she goes forward, stops, almost looks back. Music continues to build. The third time she turns and does look back. Music crescendo. The lights dim, then rise again. BECKY has become salt. She lies motionless reaching towards JOE. Blackout CURTAIN (Richardson and Berney, 1954, Act 1, Scene 2, n.p.)

From Sodom, Tennessee to the Scepter'd Isle

The background saga of bringing Mountain Fire to the stage was almost as feverish as the storyline. The play began life in 1950 when Richardson and Berney completed their first working script under the original title of Sodom, Tennessee.

The play was initially optioned by Jack Segasture, a 23-year-old would-be Broadway producer who had managed Richardson and Berney's previous work, Design for a Stained Glass Window. That production proved a misfire, closing after just 8 performances, but Segasture was keen to back the playwrights for a second attempt at Broadway success (Watt, 1950, p. 47). 

In the summer of 1950, Segasture mounted a series of workshops of Sodom, Tennessee at various regional Pennyslvania theatres (Talley 1950, p. VI-13). Reviewing one of these early work-in-progress performances, the critic for Variety ventured that "with some doctoring, [it] may have possibilities for Broadway, where it is headed" ('Review: Sodom Tennessee', 1950, p. 40). In late-1950, Segasture announced that Sodom, Tennessee was set to start rehearsals the following January ahead of an anticipated New York opening in the spring ('Set Broadway", 1950, p. 26). Robert Perry was contracted to direct, with Robert Lowery and Jean Parker in discussions for the leads ('Film player,' 1951, p. 57). However, in April 1951, Segasture was suddenly drafted into the Army, and plans for the production were promptly scuttled ('Producer drafted,' 1951, p. 15C).

Over the next few years, various attempts were made to resurrect Sodom, Tennessee, but with little progress. In mid-1953, a lifeline came in the form of a pair of second generation producers: David Aldrich, son of famed producer, Richard Aldrich -- a.k.a. Mr Gertrude Lawrence to fans of STAR! -- and Anna Deere Wiman, daughter of Dwight Deere Wiman and heiress to the John Deere family fortune (Shanley, 1953, p. 10). Wiman had come into a sizeable inheritance on her father's death and she effectively bankrolled much of the production's initial $80,000 investment (Franklin, 1953, p. 9-E). Wiman and Aldrich tapped Peter Cotes -- a British director who had scored a recent New York success with A Pin to See the Peepshow -- to take on directorial duties (Calta, 1953, p. 14). They also invited Pulitzer-prize winning composer, Lamar Stringfield, to write the musical score ('Stringfield asked,' 1953, p. 7). At one stage, the producers were allegedly in discussions with none other than Marilyn Monroe to make her Broadway debut in the role of Becky but, wisely perhaps, she declined (Winchell 1953, p. 19).

In early 1954, plans for Sodom, Tennessee underwent a dramatic change. For reasons unknown, Aldrich was suddenly out of the production team. In his place, director Peter Cotes was promoted to co-producer status with Wiman. Possibly because Cotes was British, it was decided to relocate the production across the Atlantic and launch the show in the UK ('News of the theater' 1954, p. 6). Another factor was that production costs were lower in the UK than New York, something which would see the American Wiman remain as a London-based producer for several years (Hatwell 1957, p. 19; Wilson 1956, p. 10). Additionally, Richardson and Berney's earlier work, Dark of the Moon had enjoyed a fairly successful West End run in 1949, so the producers possibly reasoned that the new show might fare similarly well with English theatregoers (Darlington, 1949, p. 5).

Either way, Sodom, Tennessee was now set to make its world premiere in England -- though still with hopes of an eventual New York transfer ('Romantic comedy,' 1954, p. 17C).

'Not fit for the marquee of a British theatre'

Once the production team hit London, they set about preparing the play for its British bow. The first thing to go was the title.

Up until 1968, British censorship laws required all plays intended for public performance to be submitted to the Lord Chamberlain's Office for review and approval (Shellard et al, 2004). It seems the Lord Chamberlain did not approve of a play called Sodom, Tennessee, "an immoral name not fit for the marquee of a British theatre". Initially, the production team toyed with Brimstone as an alternative title, but finally settled on Mountain Fire (Talley, 1954, p. VI-5).

It was also decided that the show needed a musical overhaul. Some incidental music had been composed for earlier iterations, including piecemeal efforts by Lamar Stringfield. One or two of these pieces were retained but, for the most part, the producers opted for a new score. For this task, they contracted Stefan de Haan, a young German musician and composer who had come to study in the UK after the war and stayed on to work with various regional orchestras. De Haan not only composed a new score for Mountain Fire, including three new songs for Julie, but also signed on as music director and conductor (Bradbury 1954, p. 4).

Other key creative appointments were Michael Stringer as set designer and Daphne Kiernander as choreographer. Stringer came to the project fresh from working on the hit Rank comedy, Genevieve (1953), and a host of other film and theatre productions. He designed darkly stylised sets for all 14 scenes of the play, as well as orchestrating special effects for the final destruction sequence (Bishop 1954, p. 8). Kiernander was a classically trained ballerina who had performed as a principal in many West End shows and revues before shifting to choreography. For Mountain Fire, she created two set dances, broadly patterned on 18th century folk dances, and oversaw general staging for the songs ('Chit Chat', 1954, p. 8).

In early April 1954, Howard Richardson and William Berney arrived in London to help make revisions to the script. They also served as dialect coaches for the cast (Talley 1954, p. VI-5). During this early rehearsal period, Julie worked closely with Cotes' actress wife, Joan Miller who, as Julie relates, "tried to help me find the nuances that were needed for the part" (Andrews 2008, p. 171). Indeed, to hear Cotes tell the story, "Julie Andrews...was taught how to act by Joan Miller" and it was "Mountain Fire and Joan Miller between them [that] gave Julie the much needed groundwork..to erupt onto the Broadway stage" (Cotes 1993, p. 23). Not sure Moss Hart would agree, but anyway... Later that month, Cotes and Miller hosted an official launch party for Mountain Fire at their South Kensington home with local theatre and high society luminaries in attendance (Candida, 1954, p. 2). The show's schedule was set with a month-long tryout starting on 17 May in Liverpool, followed by one week runs in Leeds, Bournemouth, and Birmingham. The show's London opening was scheduled for Wednesday, 16 June at the Strand Theatre, Aldwych.

In mid-April, the tour was formally announced with ticket sales opening immediately:

"On May 17 at the Royal Court, Liverpool, Peter Cotes and Anna Deere Wiman will present the world premiere of Mountain Fire by Howard Richardson and William Berney. Making her debut as a straight actress in this play will be 18-year-old Julie Andrews. Other leading roles will be played by Jerry Wayne, Andrew Cruickshank, Gillian Lynne and Charles Irwin. Music for this production has been composed by Stefan de Haan. Decor will be by Michael Stringer, and choreography Daphne Kiernander. Peter Cotes is directing, and following a short tour the play will be presented in the West End" ('Chit Chat: Mountain Fire' 1954, p. 8).

'Every night it was a new show...'

The function of an out-of-town tryout is to put the finishing touches on a show ahead of its official "big city" opening. Cast and crew get to see how the play is working with live audiences and revise things accordingly. In happy cases, the tryout is a relatively easy process of fine-tuning elements and smoothing out wrinkles. In other cases though, the process can be far more tumultuous. Seth Rudetsky (2023) relates that New York theatre-folk popularly joke, "if Hitler were alive today, his punishment should be doing an out-of-town tryout with a show that's in trouble" (p. 152). Even Adolph might have blanched at the Mountain Fire tryout. A sign of early trouble came days out from opening when the producers suddenly announced a 24-hour postponement of the Liverpool premiere from Tuesday 17 to Wednesday 18 May (H.W.R. 1954, p. 4). Rehearsals had revealed serious structural issues with the show and the production team needed every hour they could muster to hammer it into shape.

Worse still, the key creatives couldn't agree about the source of the problems and how to fix them. Director Cotes believed the biggest problem was the script and he wanted major rewrites. For their part, Richardson and Berney felt the musical sequences were at fault.

Jerry Wayne, who took the male lead of Joe Morgan, recalled:

"[W]e ran into trouble with the American authors. They objected to the musical numbers that had been written into their story. We opened at Liverpool on a Thursday night as a musical. Then we were told to cut out the musical numbers. On Friday night we opened at 7.30 as a straight play. With the music cut, the curtain ran down at 8.15" (Greig 1955, p. 9)

The songs were duly reinstated, but competing revisions were trialled to staging and orchestration. In her memoirs, Julie relates:

"Our director couldn't decide whether he wanted the orchestra in the pit or onstage, or no orchestra at all. This was a play, after all, so he then thought maybe one instrument, a guitar, would be enough. We tried the show a different way every night" (Andrews 2008, p. 160).

Another member of the cast, Neil McCallum, similarly recalled the snowballing desperation of the tryout tour:

"Everyone hoped it would get better, so the authors and the director got together and decided to revamp the whole show. They kept writing new scenes every day...every night it was a new show until not even the cast recognized it...Pretty soon the authors and the director weren't speaking. Two days later the authors and the backer weren't speaking. Finally, no one was speaking" (Tesky 1954, p. 6).

A comparison of scene synopses printed in programmes for Mountain Fire across its month-long tryout reveals the extent to which the production altered across performances. During its first night in Liverpool, the show was comprised of three acts and fourteen scenes. The following week in Leeds, it was still three acts but down to only ten scenes. In Bournemouth, it was back to three acts with fourteen scenes. By the time it got to Birmingham, the play was suddenly just two acts with thirteen scenes!

'Call down fire and brimstone...'

Given the panicked disorganisation that plagued the tryout, it should not surprise that reviewers took a rather dim view of Mountain Fire. Indeed, other than praise for Julie and fellow cast members, critics were mostly scathing in their assessment of the show -- with notices getting progressively more brutal as the tour continued:

The Liverpool Echo: "When the new play, Mountain Fire, opened with a dissertation by the Angel Gabriel and Lucifer on the delights of being good and bad, it was obvious that this world premiere at the Court Theatre last night would provide something unusual -- and so it proved. But whether this modern parable of Lot's wife will meet with general approval is problematical, because in attempting to lighten high drama with a smattering of musical numbers plus one or two dances, the American authors, Howard Richardson and William Berney, have achieved a curious hotch-potch which is neither one thing nor the other" (H.W.R. 1954, p. 5).

The Stage: "The Liverpool audience could be forgiven for their puzzlement over this provocative, somewhat bewildering, production, which rather inclines to fall between the two stools of allegorical drama and musical entertainment, lacking the virtue of anything in the way of a hit tune" ('American folk play' 1954, p. 10).

The Yorkshire Observer: "Symbolism on the stage is meat only for those who can stomach such food and, it is difficult to live on meat alone. So it might be that Mountain Fire which, in the second week of its production, is now at the Leeds Grand Theatre, might easily die as quickly as the symbolical fire it portrays, no matter how brilliant the cast" ('Symbolistic musical' 1954, p. 6).

Birmingham Daily Gazette: "Mountain Fire, a somewhat disastrous item which arrived at the Theatre Royal, Birmingham, last night, is an odd mix of sex and religiosity which, I fear, will prove seriously offensive to many...The whole thing is meant to be an allegory, with a deep application to our atom-bomb age. But it is all expressed in such appallingly banal language that it leaves one convinced that the underlying thought must be equally banal...One can only have sympathy for the very talented performers who struggle with this material" (Mackenzie 1954, p. 4).

Evening Despatch: "Howard Richardson and William Berney are evidently generous-minded men. In their play, Mountain Fire, at Birmingham Theatre Royal, they include murder, two burials, the Ku Klux Klan..., Lucifer, the Archangel Gabriel, religion and, of course, sex...Directed by Peter Cotes, this is a bewildering story of sin among the backwoodsmen of Tennessee...Somewhere in all this there may be a moral. At first I found it difficult to keep up. Eventually I gave up trying" (Holbrook 1954, p. 6).

The Birmingham Mail: "The conscientious critic of the drama will find that there are certain troublesome questions which are created in the mind by Mountain Fire, the new play by Howard Richardson and William Berney. How, for instance, did it come about that it reached the stage of the Theatre Royal at all and how is it that next week it is to occupy the stage of a West End theatre, however short its tenure there may be? What is more to the immediate point is how one ought...to deal by way of notice with so poor an offering. Ought one to call down fire and brimstone or, refusing to treat the piece seriously, as did many of the audience last night, rend it with ridicule?" (C.L.W 1954, p. 4).

'Mountain Collapses'

With this level of bad press, the prognosis for Mountain Fire was bleak. Ticket sales were sluggish and the cast often found themselves playing to half empty houses. Even worse, audience members were increasingly audible with their displeasure. As Neil McCallum relates:

"One of the lines at the last of the play is 'Lot, don't turn back.' Came a voice from the audience, 'I don't know about turning back -- I want my bloody money back.' In the interval, the ushers were mingling with the audience saying, in ringing tones, 'isn't it terrible...don't you wish you hadn't come?'" (Tesky 1954, p. 6).

By the final week in Birmingham, the writing was on the wall and producers decided to avoid what would surely have been a critical and commercial bloodbath in London. On Thursday 10 June, barely 5 days before the show was scheduled to open at the Strand, Wiman and Cotes issued a joint statement saying they were cancelling the West End premiere of Mountain Fire:

"In view of the inadequate public response during the tour of the play, it would be unfair to the authors and the actors and other members of the production that it should open in London, at least without substantial variations" ('Play is off', 1954, p. 3).

The decision to cancel a major production so close to its premiere was not without precedent, but it was sufficiently rare to garner widespread press attention, generating a slew of punning headlines. "London douses 'Mountain Fire'," trumpeted the New York Times (1854, p. 13). "Mountain Collapses" blared the Kensington News ('Theatre Notes' 1954, p. 2). And "Mountain Fire Out!" declared the Daily Post (Daily Post London Reporter 1954, p. 1)

Mountain Fire had two further performances to complete its Birmingham run, and once the curtain came down on Saturday night of 12 June, the production staggered to its sorry close. Richardson and Berney had already taken early departure back to the US, unable to watch the show's final demise. Cotes similarly retreated to London and refused for many years to even discuss the play. Producer Anna Wiman insisted on staying to the very end. "No cast has been more loyal than this one," she declared, valiantly talking up a future for the show. "[I]t's not the end...I believe in this play and I am determined that it shall have a successful run in London. It will have a new director and a new atmosphere" (Mercury Staff Reporter 1954, p. 1.) The following March, a 'news in brief' snippet claimed Wiman was "still trying to lease or buy a theatre, with the Bill Berney-Howard Richardson play, Mountain Fire, as first on her production schedule" (Walker 1955, p. 61). But a year later, she would admit defeat, having lost the full extent of her £40,000 investment in the show (Wilson 1956, p. 10).

In the end, it wasn't just the UK production of Mountain Fire that sank. The play itself effectively vanished with little appreciable after-life. The script was never published, nor is there any record of it being registered with a theatrical licensing company. Only one further staging of the show ever seems to have taken place: a brief five performance run in May 1962, under the play's original title of Sodom, Tennessee, at the Little Theatre of the West Side YMCA in Manhattan ('Premiere,' 1962, p. 14). Billed as the show's "New York premiere", it didn't attract much attention and there are no published reviews. After that, the play's trail comes to a complete halt.

If it weren't for the show's status as a footnote to the career of Julie Andrews, Mountain Fire would likely have been completely lost to history. Even at the time of its cancellation, reports were already framing Mountain Fire as a blip on the way to Broadway success for Julie:

"Julie may have missed a West End appearance, but she is to be compensated by a Broadway lead in The Boy Friend when the show goes to New York in the autumn" ('Theatre Notes' 1954, p. 2).

Within a year or two, Julie's stardom was the principal frame of reference for any mention of Mountain Fire. It even became something of a boast for those behind the ill-fated production .

In 1956, when Julie was riding high on the success of My Fair Lady, an Alabama newspaper crowed that local playwright William Berney "discovered Julie Andrews [when] he was in London...casting his play Mountain Fire...Julie 'was it' so far as Berney was concerned, and a happy unknown made her bow" (Caldwell 1956, p. E-1). Not to be outdone, Howard Richardson was also soon talking up how his "plays have sent many actors and actresses on their way to fame including...Julie Andrews...who played one of her first roles in Richardson's Mountain Fire during its London [sic] run" ('New York playwright' 1959, p. 14).

All of which only proves the popular adage that, where failure is an orphan, success has many fathers!

____________________________

Who's Who of Mountain Fire

While Julie was undoubtedly the biggest star associated with Mountain Fire, the show included a roster of established and upcoming theatre talents, many of whom went on to bigger and better things:

Principals

Jerry Wayne as Joe Morgan (1919-1996): Born in Buffalo, New York in 1919, Wayne was a recording vocalist of some note who even hosted his own CBS radio show in the 1940s. He came to London in 1953 to play the lead role of Sky Masterson in the West End production of Guys and Dolls, marking the start of a British career. He appeared in the 1955 film musical, As Long as They're Happy and made several TV appearances in the 1960s. In 1967, Wayne married the novelist Doreen Juggler and graduated to a second career as a theatre and recording producer. Collaborating with his son Jeff, Wayne had notable success with the 1978 concept album, Jeff Wayne's Musical Version of The War of the Worlds. Wayne passed away in Hertfordshire in 1996 ( 'Jeff Wayne' 1996, p. 24).

Andrew Cruickshank as Lot Johnson (1908-1988): Born in Aberdeenshire, Cruickshank initially pursued civil engineering before turning to the stage. He made his professional debut in Shakespeare repertory and joined the Old Vic in 1937, playing notable roles such as Banquo in Macbeth, opposite Olivier. During WWII, he served in the Royal Welsh Fusiliers, earning an MBE. His varied career included significant roles in the West End production of Inherit the Wind (1960) and the National Theatre's Strife (1963). His best know role came courtesy of television as Dr. Cameron in the popular BBC series, Dr. Finlay's Casebook (1962-71). In later life, Cruickshank wrote a number of plays, and was president of the Edinburgh Fringe Society. He died in 1988 ('Andrew Cruickshank' 1988, p. 310).

Charles Irwin as Sheriff Bates (1908-1984): Born in 1908 in Leeds, Irwin began his career in variety shows and became a comedian and vocalist on radio in the 1930s. He worked extensively in regional theatre and appeared as a character actor in films such as The Third Man (1949), A Tale of Five Women (1951), and Mystery Junction (1951). In later decades, he transitioned to television, appearing in popular series like Danger Man (1960), International Detective (1961), and The Saint (1962). Irwin passed away in November 1984 in Salisbury.

Gillian Lynne as Edith Higgins (1926-2018): An influential figure in British theatre and dance, Lynne was born in 1926 in Bromley, Kent. She began her career as a ballerina, dancing with Sadler's Wells, the English National Opera, and the Royal Shakespeare Company. Lynne subsequently moved into choreography, working on many successful West End musicals. She was best known for her collaborations with Andrew Lloyd Webber, where her choreography was instrumental to the success of shows such as Cats and The Phantom of the Opera. In recognition of her contributions to dance and musical theatre, Lynne was made a Dame Commander in 2014. She passed away in 2018 at the age of 92 (Dex 2018, p. A13).

Richard Ainley as Gabriel (1910-1967): Ainley was born in Middlesex in 1910, the son of famed Shakespearean actor Henry Ainley. He debuted on stage with Martin Harvey's company, before going on to work with the Old Vic and Sadler's Wells. His first film role was in As You Like It (1936), followed by notable roles in The Tempest (1939) and Above Suspicion (1941). Severely wounded in WWII, Ainley had to abandon his film career and could only continue with occasional stage roles. Later, he focused on broadcasting and adjudication, briefly leading the Bristol Old Vic Theatre School in the early 1960s. He passed away in 1967 at age 56 (Coe 1967, p. 23).

John Barclay as Lucifer (1892-1978): Barclay was born in 1892 in Bletchingly, Surrey. A tall man with a booming basso baritone, he trained as an opera singer and toured widely with various companies, including D'Oyly Carte. He appeared in several films, including The Mikado (1939) and Dr. Jekyll and Mr. Hyde (1941). In the late 1950s, Barclay moved to the US, where he pursued a late career playing strong and menacing character parts in film and TV. He passed away in 1978 at the age of 86.

Supporting Players

Molly Glessing as Miss Deedy Sparks (1910-1995): Midlands-born Glessing began her career in variety in the 1930s as a singer, dancer, and comedienne. She rose through the ranks to become a featured player in comedies and pantomimes. During the war, she gained popularity as a radio player and ENSA entertainer. After marrying a US serviceman, she relocated to California. Dividing her time between the US and the UK, Glessing continued to work in stage productions and amassed numerous character credits in films such as Charlie Chaplin's Limelight (1952), and TV shows, including The Quatermass Xperiment (1955) and Alfred Hitchcock Presents (1955-1962) ('Glessing" 1996, p. 33).

Lois McLean as Sadie Ollis (1927-2013): Canadian-born McLean studied drama at the University of Alberta and performed for several years with the Everyman Theatre Company in Vancouver. In 1950, she moved to the UK where she continued to perform, while studying theatre production with the Glasgow Citizen's theatre. In 1953, McLean started work as a manager for Peter Cotes and he cast her in various productions including Mountain Fire (Narraway 1954, p. 34). The pair also collaborated on a book, A Handbook of British Amateur Theatre. In the late-50s, she wed Indian-born lawyer, Birendra Jha and returned to Canada to start a family. McLean continued to perform and teach drama in Edmonton.

Esme Beringer as Old Sarah Johnson (1875-1972): Born in London to artist parents, Esme Beringer was a celebrated stage actress who made her professional debut in 1888. Known for her athletic physique and swordsmanship, she excelled in breeches roles, including playing Romeo, Little Lord Fauntleroy and The Prince and the Pauper. An enthusiastic fencer, she taught classes during WWI and starred in Shakespearean roles post-war. In later life, Beringer moved into character parts both on stage and in film. She died in 1972 at the grand age of 96 ('Esme Beringer' 1972, p. 16).

Neil McCallum as Skilly Sparks: (1929-1976) Born in Canada in 1929, McCallum moved to the UK to study at the Guildhall School of Music and Drama. Following graduation he appeared in a number of stage shows, scoring his greatest theatrical success in 1956 with the West End production of The Rainmaker opposite Sam Wanamaker. In the 1960s, McCallum became a familiar face on British television in series like The Saint (1963-64) and Department S (1969), as well as voicing characters on Thunderbirds Are Go (1966). Transitioning behind the scenes, McCallum became a scriptwriter and producer of some note, helming a number of TV series for the BBC before his untimely death from a cerebral hemorrhage in 1976, aged only 46 ('Neil McCallum', 1976, p. 11). As detailed by Julie in the first volume of her memoirs, she and McCallum embarked on a serious, if short-lived, romance during the production of Mountain Fire (Andrews, 2008, p. 161ff).

Jerry Stovin as Zeke Higgins (1922-2005): Born in Unity, Saskatchewan in 1922, Jerry Stovin served in the Canadian Army where he got the acting bug performing in military entertainments. Following the war, he went to Carnegie Tech to study drama, and moved to Britain in 1955. There he carved out a successful career in radio, television, and film, often playing American roles. He passed away in 1978 at the age of 86 (Peacock 1975, p. 7).

Harry Quashie as Ephraim (1914-1982): Born in Ghana, Quashie originally came to the UK to study law in 1939. He started to act in university theatricals and soon gave up his studies to pursue an acting career. He performed in a wide range of stage, radio and TV dramas and was a founding member of the Negro Theatre Company which helped pave the way for Black theatre artists in Britain. In the 50s, Quashie had character parts in several big screen features notably, Simba (1955), Safari (1956), and, The Passionate Summer (1958) ('Gave up law' 1947, p. 1; Bourne 2021).

John Sterland as Eb Higgins (1927-2017): Another Canadian actor, Sterland was born in Winnipeg to English parents. He came to the UK on a RADA scholarship, before joining the West of England Theatre Company. In a long career, Sterland racked up scores of stage and screen credits including A Countess from Hong Kong (1967), Performance (1970), Ragtime (1981), Bad Medicine (1985), Batman (1989), and The Tudors (2007). Married for many years to fellow actor, June Bailey, Sterland passed in 2017 ('John Sterland' 2017, p. 12).

Creatives

Howard Richardson (1917-1984): Born in Spartanburg, South Carolina, Richardson graduated from the University of North Carolina in 1938 and earned his M.A. in drama in 1940. After serving in the Army, Richardson co-wrote Dark of the Moon with cousin and frequent collaborator, William Berney. The play opened on Broadway in 1945, running for 318 performances. Despite frequent efforts, both in collaboration with Berney and as an individual playwright, Richardson would never match this initial success. In 1960, he earned a doctorate in 1960 and embarked on a career as a drama professor, working at various colleges throughout the US. He passed away in 1984 ('Howard Richardson', 1985, p. 34).

William Berney (1920-1961): Born in Birmingham, Alabama, Berney graduated from the University of Alabama, where he was active in drama. He later attended graduate school at the University of Iowa, where he started writing plays with Richardson. After graduation, Berney worked in advertising in New York, while pursuing his scriptwriting career on the side. During this period, he co-wrote several plays with Richardson, including Design for a Stained Glass Window (1950) and Protective Custody (1956). Berney moved to California around 1960 to write for television, but sadly passed away in Los Angeles in 1961 after a brief illness, aged 40 ('William Berney' 1961, p. 23) .

Peter Cotes (1912-1998): A theatrical polymath, Cotes -- who was born as Sydney Boulting in Maidenhead, Berkshire -- was part of a noted artistic family. His parents ran a theatre company and his brothers John and Roy Boulting became important filmmakers in British cinema. Initially an actor, Cotes shifted his focus to theatre production and directed the original production of The Mousetrap, the world's longest-running play. Other notable successes as director included the West End productions of The Children's Hour (1951) and A Pin to See the Peepshow (1952), and, in film, The Right Person (1955) and The Young and the Guilty (1958). In later years, Cotes wrote books and helmed a number of theatre companies. He passed away in 1998, at the age of 86 ('Peter Cotes' 1998, p. 35).

Anna Deere Wiman (1920-1963): Born in Illinois, Wiman was the daughter of successful theatre producer Dwight Deere Wiman, and heir to the John Deere family fortune. Educated by private tutors, she trained as a ballerina in Paris until a cycling accident ended her dance career. She then shifted to theatre management, initially working under her father. After his sudden death, she inherited a fortune, allowing her to become a self-funded theatre producer. Moving to London in 1954 with Mountain Fire, Wiman remained in the UK where she produced several West End productions, including The Reluctant Debutante (1955), Dear Delinquent (1957), and The Grass is Greener (1958). Despite her professional successes, Wiman struggled with alcoholism. She tragically died in 1963 at her holiday home in Bermuda from a fall down the stairs while under the influence. She was only 43 years old. ('Obituary: Anna Deere Wiman' 1963, p. 27.)

Stefan de Haan (1921-2010): Born in Darmstadt, Germany, de Haan was a gifted musician who trained in Berlin and Florence, before coming to the UK to study composition at the Royal College of Music. Following graduation, he initially gained prominence as a bassoonist, performing with various ensembles and orchestras. His compositional work includes a range of chamber music and orchestral pieces, often highlighting his expertise with woodwind and brass. His influence extended into music education, where his works are still performed and studied today. De Haan passed away in 2010, aged 89 (Bradbury 1954; 'Stefan de Haan' 2024).

Daphne Kiernander (1921-1998) Born in 1921, in East Preston, West Sussex, Kiernander was an accomplished dancer who rose to fame performing in various West End reviews and musicals such as Bobby Get Your Gun (1938), Let's Face It (1942), and Piccadilly Hayride (1946). She moved into choreography working on a number of stage and TV productions, including Such Is Life (1950) and Puzzle Corner (1953) for the BBC, and the Old Vic's 1955 production of The Taming of the Shrew. In the 1960s, Kiernander retired from dance to marry and start a new career in business and marketing (​Powell 1962).

Michael Stringer (1924-2004) One of Britain's most successful film art directors, Stringer developed a passion for cinema early on. After serving as a RAF pilot in WWII, he trained with Norman Arnold at Rank Studios. There he scored notable success with one of his first independent assignments, Genevieve (1953), and followed it up with other popular Rank titles like An Alligator Named Daisy (1955) and Windom's Way (1957). His success in Britain led to international offers, working on big productions such as The Sundowners (1960), In Search of the Castaways (1962), and A Shot in the Dark (1964). Stringer went on to a distinguished Hollywood and UK career, bringing his talents to a long and diverse list of films, including Fiddler on the Roof (1971), which earned him an Oscar nomination, The Greek Tycoon (1978), The Awakening (1980), The Mirror Crack'd (1980), and The Jigsaw Man (1983). Stringer passed away in 2004. (Eyles 2004, p. 43).

Sources:

'American folk play: Mountain Fire bewilders.' The Stage. 20 May, p. 10.

'Andrew Cruickshank.' (1988). The Stage. 26 May, p. 10

Andrews, J. (2008). Home: A memoir of my early years. London: Weidenfeld and Nicolson.

Bishoff, T. (1963). 'Playwright Richardson turns professor.' The Eugene Register-Guard. 6 October, p. 2E.

Bishop, G.W. (1954). 'Theatre Notes: an American play to start in London'. The Daily Telegraph & Morning Post. 3 May, p. 8.

Bourne, S. (2021). Deep are the roots: Trailblazers who changed Black British theatre. History Books.

Bradbury, E. (1954). 'Music Notes: Former YSO player as a theatre composer.' The Yorkshire Post and Leeds Mercury. 22 May, p. 4

Bradbury, E. (1954). 'Mountain Fire at the Grand Theatre.' Yorkshire Evening Post. 28 May, p. 8.

Caldwell, L.M. (1956). 'Julie Andrews: Birmingham man discovered "my fair lady".' The Birmingham News. 28 October, p. E-1.

Calta, L. (1953). ‘Cotes will direct “Sodom, Tennessee”: drama based on Biblical story to open on Broadway early in February -- 26 in cast.’ New York Times. 7 November, p. 14.

Candida. (1954). Theatre Notes: Peter Cotes and party. The Kensington News and West London Times. 23 April, p. 2.

'Chit Chat: Mountain Fire'. (1954). The Stage. 22 April, p. 8.

'Chit Chat'. (1954). The Stage. 20 May, p. 8.

C.L.W. (1954). 'Modern morality play.' The Birmingham Mail. 8 June, p. 4.

Coe, J. (1967). 'Obituary: Mr. Richard Ainley." Evening Post. 23 May, p. 23.

Cotes, P. (1993). Thinking aloud: Fragments of autobiography. Peter Owen Publishers.

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Darlington, D.A. (1949). 'First Night: A triumph of production, play about witches.' Daily Telegraph. 10 March, p. 5.

Dex, R. (2018). 'Cats choreographer Gillian Lynne dies at 92.' Evening Standard. 2 July: p. A13.

'Drake in Village'. (1952). Daily News. 10 November, p. 17C.

Duncan, R. (1966). 'They know the old-time religion.' Independent Star-News. 20 February, p. S-7.

'Esme Beringer.' (1972). The Stage. 6 April, p. 16.

Eyles, A. (2004). 'Obituary: Michael Stringer.' The Independent. 2 April, p. 43.

'Film player gets lead with Parker.' 1951. Daily News. 14 February, p. 57.

Fisher, J. (2021). Historical dictionary of contemporary American theater. Rowman & Littlefield Publishers.

Frank, E. (1954). 'Julie Andrews graduates.' News Chronicle. 15 April, p. 6.

Franklin, R. (1953). 'On Broadway.' Miami Daily News. 19 July, p. 9-E.

'Gave up law for stage.' (1947). Evening Telegraph. 13 October, p. 1.

'Glessing, Molly". (1996). The Spotlight. January, p. 33.

Greig, R. (1955). 'Mr. Wayne will not rush this script.' Evening Standard. 22 June, p. 9.

Hatwell, D. (1957). 'Anna becomes a powerful force in British theatre.' Evening Post. 12 December, p. 19.

Holbrook, N. (1954). 'The devil gets good parts.' Evening Despatch. 8 June, p. 6.

'Howard Richardson is dead; co-author of "Dark of Moon".' (1985). The New York Times. 1 January, p. 34.

H.W.R. (1954). 'And on the stage.' The Liverpool Echo. 7 May, p. 4.

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'London Douses "Mountain Fire'". (1954). New York Times. 12 June, p. 13.

Mackenzie, K. (1954). 'Show News: She's on her way to Broadway.' Birmingham Daily Gazette. 4 June, p. 4.

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'Peter Cotes, 86, producer and director of 'Mousetrap'." (1998). The New York Times. 18 November, p. 35.

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Powell, E. (1962). 'She turns from show business to shops.' The Liverpool Echo and Evening Express. 30 March, p. 18.

'Premiere of "Sodom" Friday. (1962). New York Times. May 12, p. 14.

'Producer drafted, 2 plays in doubt.' (1951). Daily News. 28 March, p. 15C.

'Review: Sodom Tennessee, Guthsville, Pa. Aug. 29.' (1950). In Beckhard, R. & Effrat, J. (Eds). Blueprint for summer theatre: 1951 supplement. John Richard Press, pp. 40-41

Richardson, H. & Berney, W. (1954). Sodom, Tennessee: A play in three acts. British Library, Lord Chamberlain’s Collection of Plays 1954/37.

'Romantic comedy set for October.' (1954). Daily News. 12 March. p. 17C.

Rudetsky, S. (2023). Musical theatre for dummies. John Wiley & Sons.

'Set Broadway showing of "Sodom, Tennessee".' The Chattanooga Times. 19 November, p. 26.

Shanley, J.P. (1953). 'New team follows in fathers' steps: David Aldrich, Anna Wiman to offer "Sodom, Tennessee" as first play in Fall.' New York Times. 3 July, p. 10.

Shellard, D., Nicholson, S., & Handley, M. (2004). The Lord Chamberlain regrets : a history of British theatre censorship. British Library.

'Stefan de Haan'. (2024). Musicalics: The classical composers database. [Website].

'Stringfield asked to pen music for "Sodom, Tennessee".' (1953). The Knoxville News-Sentinel. 4 June, p. 7.

'Symbolistic musical at Leeds Grand.' (1954). The Yorkshire Observer. 26 May, p. 6.

Talley, R. (1950). 'An imaginary Tennessee won is site for "wicked" new play.' The Commercial Appeal. 8 October, p. VI-13.

Talley, R. (1954). 'British actors must learn how Tennessee hillbilly talks.' The Commercial Appeal. 18 April, p. VI-5.

Testy, H. (1954). 'New twist to success story: Neil McCallum on ladder to acting career.' The Saskatoon Star-Phoenix. 11 August, pp. 3, 6.

'Theatre Notes: Mountain Collapses.' (1954). The Kensington News and West London Times. 18 June, p. 2.

Watt, D. (1950). 'Ailing Harrison can't stage play.' Daily News. 7 February, p. 47.

'William Berney, 40, Coast playwright.' (1961). The New York Times. 25 November, p. 23.

Wilson, C. (1956). 'Now Miss Wiman is on "The Ball"." Daily Mail. 20 April, p. 10.

Winchell, W. (1953). 'The Main Stem Lights: Marilyn rejects role.' The Pittsburg Sun-Telegraph. 8 December, p. 19. ©2024, Brett Farmer. All rights reserved.

[dustedmagazine]

Ruth Anderson / Annea Lockwood—Tête-à-Tête (Ergot)

There’s power in intimacy, and Tête-à-Tête is a powerfully affecting album. It’s a call and response across nearly half a century, from one lover to another, trading the same essential material. Annea Lockwood first met Ruth Anderson in 1973 about a job. Anderson was a composer and the professor in charge of Hunter College’s electronic music studio, which Lockwood took over for nine months so that Anderson could go on a sabbatical. They instantly fell for each other, and connected throughout Anderson’s time off by daily telephone calls, which she recorded and then edited into a tape piece, “Conversations,” which she gave to Lockwood as a gift.

“Conversations” opens with a snatch of a rickety piano negotiating some corny old song. It ends, and one of the women clears her throat, starting a dialogue of coos, questions, greetings, partings, monosyllabic interjections and hearty, life-affirming laughter. The participants’ shared affection is naked and giddy, the way new love can be, and their exchanges are simultaneously very private and quite universal; if you’ve ever felt this way, you’ll hear a bit of yourself in their them. But it’s also a work of carefully considered composition; Anderson had to sift through months of recordings and sequence them just so in order to make this stuff register as something other than a souvenir, even though that’s exactly what it was for 46 years. Preserved on cassette, it stayed between them until after Anderson’s death in 2019, when Lockwood listened to “Conversations” and decided to make a response.

“For Ruth” contains some of the same raw material. Lockwood has kept some of the voices, ditched the piano, added sustained notes by an operatic singer and woven them into field recordings taken from a bird sanctuary and various bodies of water that were dear to both of them. The fragments of speech are now rare fragments amid the honking of waterfowl and the trickle of streams. The piece is calm, like a memory of a good thing that’s gone but still gives comfort. Old love salutes young love.

The album also includes “Resolutions,” a purely electronic composition from 1984. It’s made of slowly descending pitches, which slowly wobble and settle into nothingness like a raw and hasty Eliane Radigue piece. It sounds profoundly dissimilar from the rest of the record, but makes sense on a conceptual level, since it reflects another ending, since it was the last piece of electronic music that Anderson ever finished.

Bill Meyer

[newmusickarl]

5-9’s Album of the Month Podcast – latest episode out now!

The latest episode of the 5-9 Album of the Month Podcast is here and it’s a bit of a sad one as 5-9 Editor Andrew Belt was unable to join us! So this time around it’s just me and Mama Mañana Records' Kiley Larsen reviewing five high profile album releases from the past month in music, ultimately naming one as our Album of the Month at the end of the discussion.

For our June 2024 episode, it was John Grant’s synth-soaked majesty on The Art of the Lie that took home the coveted Album of the Month title. For our latest episode, we look back at five big releases from July and the albums vying for recognition this time around are:

King of the Mischievous South Vol. 2 by Denzel Curry

Django’s High by Future Utopia (Poll winner, thanks for voting!)

As Above, So Below by Highly Suspect

Harmonics by Joe Goddard

HEAVY JELLY by SOFT PLAY

If you want to listen to this or any previous episodes simply follow the links below, but also be sure to follow 5-9 Blog on Instagram, Twitter and now YouTube for more news and polls relating to the podcast.

Listen on Spotify here

Watch, like and subscribe to our YouTube channel here

Album & EP Recommendations

Wild God by Nick Cave & The Bad Seeds

Let’s face it, Nick Cave doesn’t make bad records. However, even by his incredibly high standards across his illustrious career, his recent work has been truly exceptional, towering bodies of work. Fuelled by unimaginable tragedy, grief and loss, albums Skeleton Tree and Ghosteen rank among my favourite albums of the last decade, listening experiences that are beautiful yet emotionally devastating. His last album with just him and Warren Ellis, Carnage, was no slouch either, finishing in my Top 10 of the year back in 2021. Now both have reunited with the full Bad Seeds ensemble, and new album Wild God continues their recent hot streak.

Emerging out of the vast darkness, their eighteenth studio album is a much brighter and more joyous experience compared to its predecessors. Filled with uplifting, string-drenched arrangements, some of which include none other than Radiohead’s Colin Greenwood on bass duties, the lyrics also find Cave in a much more optimistic mindset. It all makes for another endlessly captivating listen, with Joy the real standout in the first half, as Cave’s poetic lyrics are spun across a mostly minimal, piano-led composition. However, the finest moments for me are in the back half, with the gospel cries and stomps of Conversion, the operatic and ghostly Cinnamon Horses and standout single Long Dark Night a particularly incredible trio.

Once again, Nick Cave & The Bad Seeds have crafted one of the finest albums I’ve listened to all year. Impactful and stunningly orchestrated, it’s another stirring collection of songs that will keep you absorbed across countless repeated listens.

Listen here

I Lay Down My Life For You by JPEGMAFIA

Another album that has quickly become one of my favourites of the year, NY-rapper JPEGMAFIA has followed up his sensational collaborative album with Danny Brown, 2023’s Scaring The Hoes, with arguably his strongest solo outing to date.

It’s a rap record but with punk rock energy, with most of the tracks here under the three-minute mark and plenty of heavy guitars powering the sonics. JPEG uses the record’s frantic pace to jump wildly between each bold idea, with the production never anything less than stellar. Collaborating with the likes of Flume and Kenny Beats on the production front, he also pulls in other current rap superstars like Vince Staples and Denzel Curry to lend a few bars too. It all makes for a thrilling wall-to-wall listen but if I’m to pick out just a couple of highlights, it’s the metal-charged SAN MIEDO and string-tinged experimentation of Exmilitary.

Colliding fast and furious bars with heavy punk, noise rock and industrial influences, all in mesmerising fashion, this is without a doubt the rap record of the year for me so far.

Listen here

No Name by Jack White

Another man who rarely disappoints, guitar maestro and all-round modern legend Jack White returned recently with a surprise new album. Initially stealth releasing on vinyl towards the end of July, the record officially released to streaming platforms and critical fanfare at the beginning of August. While I may not agree with the consensus that this is his best solo outing to date, there’s no denying that this is another fun and mightily impressive release.

You see while some critics have found White’s solo discography to be quite patchy, I’ve actually been a big fan of his output over the last 12 years. Blunderbuss and Lazaretto both boasted songs that could be dubbed as instant rock classics, Boarding House Reach was wild but always fascinating in its experimentation, and the duo of Fear of The Dawn and Entering Heaven Alive showed that White’s songwriting shone through, whether plugged or unplugged.

With No Name, for me, what we ultimately get is more of what White has already done before and proved he can do previously. That said, the lo-fi production and fuzzy rock riffs still sound terrific, especially on tracks like Old Scratch Blues, Archbishop Harold Holmes, What’s The Rumpus and Terminal Archenemy Ending. So, while it lacks anything new or revolutionary and brings with it an air of safe familiarity, there is no denying that White can still rock out. If you’re a fan of his previous work, you’ll still find plenty here to enjoy.

Listen here

Lagos Paris London EP by Yannis & The Yaw

And finally on the EPs front, Yannis Philippakis of Foals finally released his long awaited first solo project, Lagos Paris London. A dazzling, collaborative five track EP featuring the late-great Nigerian drummer Tony Allen, the EP is as vibrant and sonically adventurous as the globe-trotting title would suggest. While Yannis brings his signature guitar grooves to the table, some soaring string arrangements, jazz-like horns and Allen’s Afrobeat-style drums ensure the project always has a different feel to anything under the Foals banner.

Whilst the whole EP is well worth 20 minutes of your time, it is Rain Can’t Reach Us and Clementine that particularly stand out for me.

Listen here

Also well worth checking out:

DAYS BEFORE RODEO by Travis Scott

Imaginal Disk by Magdalena Bay

True Magic by Salute

This World Fucking Sucks by Cassyette

A Firmer Hand by Hamish Hawk

Participation Trophy by China Bears

Heartbreak Town EP by GIRLBAND!

Song Recommendations

The Emptiness Machine by LINKIN PARK

It’s been quite the month for big comebacks, hasn’t it?!

First came the colossal news that the Gallagher brothers would finally be reforming Oasis for a huge 2025 tour, before Linkin Park also made their long-awaited return, announcing new album From Zero will be dropping this November. The Emptiness Machine is the first taste of that new record and their first single to feature new vocalist, Emily Armstrong.

Emily’s arrival into the band has certainly caused controversy, with her links to Scientology already a hot topic amongst fans. While that debate will continue for the foreseeable, what is clear from this single and the band’s return livestream performance is that Emily certainly has the vocal capabilities needed to front the iconic, much-loved band. While of course no-one could fully replace the late-great Chester Bennington, I am glad to have Linkin Park back making music once again.

Listen to The Emptiness Machine here

Watch the livestream performance back here

All You Children by Jamie XX featuring The Avalanches

A late contender for song of the summer, this huge collaboration between Jamie XX and The Avalanches was on heavy repeat for me towards the end of August. Propelled by an infectious tribal beat that will just make you want to get up and dance, it’s left me hugely hyped for Jamie’s new album In Waves dropping in a few weeks’ time.

Listen here

He by Hayden Thorpe

Another album I cannot wait for dropping at the end of September, Hayden Thorpe’s adaptation of Robert Macfarlane’s book Ness will also soon be here. With book and album both inspired by Orford Ness in Suffolk, He is the ultra-groovy second single from the project. Featuring an endlessly fascinating arrangement that even includes a sackbut (a 15th century early trombone) and a spinet (a small 17th century harpsichord), Hayden's unique songcraft shines through once again.

Listen here

A Landlord’s Death by One True Pairing

And Hayden is not the only Wild Beasts alumni to be releasing new music this year. A month later in October, Tom Fleming will also be releasing his second solo album, Endless Rain. Working with acclaimed producer John ‘Spud’ Murphy, the singles so far have suggested a much more traditional and folk-inspired sound compared to his solo debut. A Landlord’s Death continues this hypothesis, featuring some stomping acoustic riffs, wild strings and a catchy chorus.

Listen here

Sick Of The Blues by Porridge Radio

Another album due for release in October, indie rockers Porridge Radio will be returning with their new opus, Clouds In The Sky They Will Always Be There For Me. Sick of the Blues is the closing track for the project but also the album’s first teaser single, finding frontwoman Dana Margolin in an apathetic mood as raw rock riffs build and erupt around her.

Listen here

Straight To Heart by ALT BLK ERA

From MOBO and Heavy Music Award nominations to storming festival sets at the likes of Glastonbury and Download, there is absolutely no stopping ALT BLK ERA’s momentum right now. Now with their highly-anticipated debut album Rave Immortal due for release in January, the alternative sister duo have released the second taste of the upcoming record. The synth-soaked track highlights the continuing maturity of their songwriting, with Straight To Heart seeing Nyrobi open up and reflect on her agonising battles with chronic illness.

Listen here

Nothing Compares To Nineteen by Fiona-Lee

Another one of the UK’s most promising emerging voices, singer-songwriter Fiona-Lee has recently returned with her second-ever single. A hugely emotive track, it was written in the wake of Fiona tragically losing a lifelong friend after he took his own life. Recalling her struggles with anxiety, grief and depression, along with conversations with her father on mental health, it’s another hard-hitting single that absolutely soars.

Listen here

Split Lip by Dolores Forever

One of my other favourite new music discoveries in 2024, I’ve had the pleasure of catching indie-pop duo Dolores Forever twice over this summer’s festival season. With their debut album finally dropping at the end of September, Split Lip is one of the latest singles taken from the project and a song that really stood out in their live performances. Hugely anthemic amidst captivating vocal harmonies and shimmering synths, this upcoming record is slowly shaping up to be one of the best debuts of the year.

Listen here

One Day by Hallworth

Released at the end of August, singer-songwriter Hallworth also recently released her heartfelt new single, One Day. Inspired by the Netflix movie of the same name and written while she was in Nashville, it’s a stirring track about her struggles with a long-distance relationship. With Hallworth’s own tender vocals at the fore, it’s a gorgeously laidback love song that will have you hitting the repeat button.

Listen here

Never Meant by Iron & Wine / For Sure by Ethel Cain

And finally, this year marks the 25th anniversary of one of my favourite albums of all time and a seminal work that still inspires countless musicians today – American Football’s self-titled debut. To mark the occasion, the band are releasing a remastered version of the original record, along with a brand new covers version.

The first two of these covers have been revealed and they are both unsurprisingly stunning. Firstly, American singer-songwriter Samuel Ervin Beam transforms the iconic Never Meant into a wonderful, folky lullaby, reminiscent of Bon Iver. Then, the much beloved Ethel Cain has turned the haunting For Sure into a near 10-minute moment of beauty and ethereal transcendence.

If all the covers are to this standard, with more cuts from the likes of Manchester Orchestra and Blondshell still to come, this project could be something very special.

Listen to Never Meant by Iron & Wine here

Listen to For Sure by Ethel Cain here

Also worth checking out:

Ego by Halsey

You by Ktlyle

JACKIN’ THE SYSTEM by NOISY

Tonight, Tonight (Smashing Pumpkins Cover) by Snail Mail

Hometown Edge by Kele

Bright Lights by The Killers

HERE WE GO! by Lil Nas X

Find The Way by Peggy Gou

SO WHAT by Confidence Man

SilverCane by Corinne Bailey Rae

REMINDER: If you use Apple Music, you can also keep up-to-date with all my favourite 2024 tracks through my Best of 2024 playlist. Constantly updated throughout the year with songs I enjoy, it is then finalised into a Top 100 Songs of the Year in December.Add the Best of 2024 playlist to your library here

[joannerenaud]

Enchant the Heavens review

I've been revisiting a lot of my favorite old historicals since my beloved kitty Peggy died about a month ago, and one of them is Enchant the Heavens by Kathleen Morgan.

When I was a college student I loved romance novels, particularly historical romance, even though most of my friends at the time thought it was ridiculous and made fun of me for reading them. It made me even more stubborn, and I clung to the genre like a barnacle onto the hull of a ship. However, there was one book at the time that was too cheesy even for me, and that was Enchant the Heavens.

I found the cover embarrassing. Look, my teenage self thought, the hero’s hands look like he’s about to crack the heroine’s skull! And the hero, Marcus, was so earnest. The book was so earnest. The culture at the time was saturated with snark and irony, and sadly, I was not immune. I set the book down.

Years later, in 2011, I revisited Enchant the Heavens, and I found myself… well, enchanted. I was swept away by the epic nature of the story and the endearing characterizations. And I reread it just a week ago. I admit, I was afraid the suck fairy might’ve visited it over the intervening years. But I found myself devouring it happily just as I did all those years ago. And it’s good.

Enchant the Heavens was the first novel Kathleen Morgan ever wrote, and it was a labor of love. It’s a big, passionate, visceral, breathtakingly earnest romance.The story involves a British chieftain’s daughter, Rhianna, and the Roman governor’s nephew, Marcus, during Boudicca’s revolt, and their love is an anguished, star-crossed love that takes a great deal of blood and tears and hard work to resolve. Unlike most romances set during this period, the Celts aren’t romanticized into nature-loving New Agers, and the Romans aren’t evil. And neither the heroine or hero give up their cultures or identities in the end; in fact they work on uniting their communities in the aftermath of war. It’s mature and refreshing.

The language does have a lot of archaicisms that kind of annoying. ‘Twould! ’Twas! Naught! Okay… You just have to run with it. But if you’re willing to dive in, there is a lot to love about it. Rhianna is not afraid of revenge, or using her sword, which is really delightful (to avoid spoilers, I won’t tell you who she kills). Marcus is a reasonable guy too, but there’s just the right amount of deeply felt angst that is perfect for a story about forbidden love. Sometimes I feel that Marcus and Rhianna verge on being idealized archetypes then actual people, but it kind of fits with how epic and operatic the story is. (It really captures the vibe of ancient Irish stories like Deirdre, which was the author’s intention.) The author walks the line of having them be larger-than-life figures, but they still grow and change, from a thoughtless girl and a career-driven aristocrat to a responsible, compassionate leader and a humbled man ready to sacrifice his dreams to help his lover and her people.

The research put into this book isn’t perfect— towards the end of the book, there’s an hummingbird, native to the Americas, in Rome — but it’s thorough and thoughtful, and I liked the depiction of the historical figures. For example, the depiction of Nero, who has a brief and memorable cameo, is almost miraculous in how… sensible it is (and ahead of its time given this was written long before the current reassessment of Nero and the 2020 show at the British Museum). There’s no orgies or lions or gladiators or martyred Christians or any other cliches that I’ve seen over and over again in the few historical romances set in this period. It’s astonishing.

Anyway, this book is long. It’s also epic and sweeping in every possible way, and I have a feeling a good chunk was left on the cutting room floor. I would kill to have the original, unedited draft. Rhianna’s relationships with her friends Eilm and Cordaella are given short shrift. Also I feel the destruction of Camulodunum, and Rhianna’s role in it, was also cut a lot. I would have liked to see more of that, and Rhianna coming to terms with how her actions affected innocent civilians.

But the pacing, given how long it is, is surprisingly tight. I thought the consistent themes of freedom, symbolized by the goshawk, was really beautifully done; not heavy-handed, but subtle; and the story really embraces the pagan religions of the time in a way that’s delightful. There’s so much I can’t get into, or this review would be twice as long. There’s battles, druids, psychic visions, continent-spanning political intrigue, murder, and possibly supernatural white boars sent by the gods.

And the ending is really satisfying. I wish it were 20 to 30k longer, but it’s great as it is. It’s an absolute banger of a story. It’s not perfect but I’d give it a 4.5 out of 5 stars.

Of course, what really sucks about it all is that this was going to be the beginning of a series, and the hero’s best friend Quintus was going to get a sequel.

There was, in fact, one sequel (Enchant the Dream) featuring the heroine’s brother Cerdic. But then the author converted to Christianity sometime in the late 90s, and her entire pre-conversion historical and fantasy backlist are completely unavailable. (Of course, her post conversion backlist is available.)

It pisses me off so much, because Enchant the Heavens is so good! And I wanted to see Quintus’s story! But that’s never going to happen. And there’s never going to be a legal digital copy of this book either, because the author has seemingly disavowed it.

But we’ll always have Enchant the Heavens, and even if Morgan wants to forget her pagan past, I am grateful she wrote this book. I highly recommend it.

[opera-ghosts]

Henri Albers in the title role of Chausson's Le Roi Arthus, which he created at the Monnaie in Bruxelles in 1903.

Henri Albers, born Johan Hendrik Albers (1 February 1866 – 12 September 1926),[1] was a Dutch-born opera singer who later became a French citizen. He sang leading baritone roles in an international career that spanned 37 years and was a prominent singer at the Théâtre de la Monnaie in Brussels and the Opéra-Comique in Paris, which was his base from 1900 until his death. He also sang in 36 performances with the Metropolitan Opera company from 1898 to 1899. He made many recordings for Pathé Records and specialised in the heavier baritone and basso cantante repertoire.

Albers was born in Amsterdam and initially Albers was born in Amsterdam and initially trained and worked as an actor. He then studied singing at the Conservatorium van Amsterdam and was engaged by Johannes George De Groot to sing with his newly established Hollandsche Opera company. He made his operatic debut in 1889 as Méphistophélès in a Hollandsche Opera production of Gounod's Faust and during the next two years continued singing leading roles with the company. In 1891, on the recommendation of De Groot, he met with the French composer Jules Massenet and auditioned for him. Massenet was impressed and encouraged him to study further in Paris and to broaden his horizons beyond Amsterdam. After further singing studies in Paris with Jean-Baptiste Faure, Albers made his first stage appearance outside Holland when he was engaged by the French opera company in Antwerp. In 1892, he sang Jean d'Hautecoeur in the company's first production of Alfred Bruneau's Le rêve and began a lifelong friendship with the composer, appearing in many of his operas.After Antwerp, Albers was engaged as After Antwerp, Albers was engaged as Principal Baritone at the Opéra de Bordeaux and went on to sing at the Royal Opera House in London and the Opéra de Monte-Carlo. He was engaged by the Metropolitan Opera in 1898 and sang with the company both on tour and in New York City. He made his company debut on 8 November 1898 as Mercutio in the Met's touring performance of Roméo et Juliette in Chicago. He remained with the company through 1899, appearing 36 times in eight different operas and tackling his first Wagnerian role, Wolfram in Tannhäuser.On his return to Europe he sang On his return to Europe he sang regularly at the Théâtre de la Monnaie in Brussels from 1901 to 1906 and added several more Wagnerian roles to his repertoire: Telramund in Lohengrin; Hans Sachs in Die Meistersinger von Nürnberg; Wotan in Das Rheingold, Siegfried, and Die Walküre; and Kurwenal in Tristan und Isolde. A highly versatile singer, he also appeared in the title roles of La Monnaie's productions of Hamlet, Rigoletto, Hérodiade, and Le roi Arthus, as well as singing Count di Luna in Il trovatore, Iago in Otello, and Baron Scarpia in Tosca.In 1899, he had also been In 1899, he had also been engaged by the Opéra-Comique in Paris where he sang leading baritone and bass-baritone roles for the next 25 years in 39 different operas. Although it became his "home" opera house, he continued to appear at La Monnaie, the Paris Opéra, and several other European opera houses from time to time. He became a naturalized French citizen in 1920.In late In late August 1926 at Aix-les-Bains, Albers once again sang the role of Jean d'Hautecoeur in Le rêve.A month later, he died in Paris of a sudden illness at the age of 60. At the time of his death, he was on the administrative council of the Union des Artistes dramatiques et lyriques des théâtres français.

[blackswaneuroparedux]

Those who have achieved all their aims probably set them too low.

- Herbert von Karajan

The Soprano Christa Ludwig described him as ‘Le bon Dieu’, while scores of musicians, reviewers and listeners have long regarded him as simply untouchable in the art of conducting. There was, however, much about Herbert von Karajan that was distinctly ungodlike. Ruthlessly ambitious as a young man and grimly autocratic in his later years, his life story is marked by bitter rivalries, feuds and, most notoriously, membership of the Nazi party.

But then, just listen to the results. It’s fascinating to look at the career, the controversy and the achievements of a conductor who still intrigues fans and detractors like no other musician long after his death.

The early career of Herbert von Karajan continues to be swathed in controversy.

Was he an ardent Nazi or an ambitious opportunist? If he was a zealous party member, should we revere his recordings as much as we do? To what extent should any moral accountability weigh against Karajan’s musical achievement? And how much latitude can we extend to people who have artistically given so generously?

Karajan is not alone in occupying this uncomfortable situation during this era. Similar debate surrounds Richard Strauss, Carl Orff and Karl Böhm. Indeed, Wagner also evokes hostility in certain quarters with regard to his racial sentiments.

When Adolf Hitler swept to power in January 1933, the 24-year-old Austrian Herbert von Karajan had already notched up nearly four seasons as an up-and-coming opera conductor in the South German city of Ulm.

Born in Salzburg in 1908 into a prosperous family, he had demonstrated gifts as a pianist and conductor while studying in Vienna. After graduation, his debut orchestral concert with the Salzburg Mozarteum Orchestra in January 1929, featuring works by R Strauss, Mozart and Tchaikovsky, caused a local sensation and helped to secure him the contract in Ulm.

Karajan seized on the opportunity to learn his trade in Ulm and cut his teeth on much of the operatic repertory from Mozart and Beethoven to Puccini and R . Strauss, including the opera Schwanda der Dudelsacker by the Czech Jewish composer Jaromir Weinberger.

Yet, after the Nazi take-over, Karajan’s future wasn’t assured.

In early 1933, German operatic life was thrown into turmoil as the regime hounded out musicians that were deemed politically and racially unacceptable, and also pursued a protectionist policy to limit employment for non-Germans.

Against this context, Karajan’s decision to join the Nazi Party in Salzburg in April 1933 should be understood as an opportunistic move which was probably designed to safeguard his position at Ulm. Whether it also signalled enthusiasm for Nazi policy is open to speculation, though he no doubt hoped that the strong-arm methods of the Nazis would bring cultural stability to Germany.

Karajan retained his Ulm job for a further season, during which he expanded his repertory to include a praised account of Strauss’s opera Arabella. But in March 1934 he was fired for professional intrigue involving a potential Jewish rival.

He did not have to wait long for a new post. Three months later he was made general music director in Aachen.

Working in a larger theatre enabled Karajan to tackle more ambitious repertory, such as Wagner’s Ring cycle, Verdi’s Otello and Strauss’s Elektra. He also consolidated his reputation in the concert hall, taking charge of Aachen’s annual season of orchestral and choral concerts. One pre-condition for accepting was that he should re-apply for membership of the Nazi Party, his earlier membership in Salzburg having lapsed. This was confirmed in March 1935.

Although in his denazification trial in March 1946 Karajan argued that he had joined the Party to further his career, he could not escape his obligation as Aachen’s general music director to provide the musical background for political occasions.

On 29 June 1935 he took part in a huge open-air orchestral and choral concert that celebrated the NSDAP Party Day and at a similar ceremony four years later he conducted the close from Wagner’s Meistersinger. But his concert programmes seemed untainted by political interference – works by Debussy, Ravel, Kodály and Stravinsky rubbed shoulders with German ones. In 1938 he flouted the law by programming Dukas’s Sorcerer’s Apprentice. Party authorities must have overlooked that Dukas was of Jewish descent.

Karajan conducts Dvořák’s “New World” Symphony No. 9, performed by the Vienna Philharmonic Orchestra

By 1937 Karajan’s achievements in Aachen were attracting national interest.

In a special edition devoted to Germany’s conducting legacy, the journal Die Musik singled him out as a man who ‘can lead the new organisation of our cultural life in the spirit and direction which National Socialism demands’. Concert engagements in Gothenburg, Vienna, Amsterdam, Brussels and Stockholm helped to spread his name beyond Germany.

Yet for all this, Karajan set his sights even higher by hoping to make an impact in Berlin. This ambition was realised in 1938 with a ‘Strength through Joy’ concert with the Berlin Philharmonic and engagement as conductor at the Berlin State Opera in Wagner’s Tristan und Isolde in October of the same year.

Karajan may not have anticipated that with his move to Berlin he was stepping into a political cauldron over which he would have little control.

It began with a review of his Tristan which appeared in the Berliner Zeitung. Under the title ‘Karajan the Miracle’, the critic Edwin von der Nüll lavished praise on the performance suggesting that in conducting Wagner’s score from memory the 30-year-old conductor had achieved ‘something our great men in their fifties might envy’.

This was calculated to offend the conductor Wilhelm Furtwängler who had previously ruled the roost in the same theatre. Karajan was set up as a pawn in the struggle for control of Berlin’s cultural institutions between Propaganda Minister Joseph Goebbels, a Furtwängler supporter, and Minister of Interior Hermann Goering, the patron of the Berlin State Opera.

In June 1939 Karajan conducted Wagner’s Die Meistersinger at the State Opera without a score. The performance collapsed when the baritone, a drunk Rudolf Bockelmann, made a serious error. Alas Hitler, in the audience, was furious, blaming instead Karajan’s insufficiently Germanic approach to Wagner by conducting from memory.

Further problems arose over his marriage in 1942 to the quarter Jewish Anita Gütermann, technically against the law.

Yet, despite this and the continuing hostility and suspicion of Goebbels and Hitler and Furtwängler’s jealousy, his career prospered during the war. He conducted Bach’s B Minor Mass in Paris for the occupying German soldiers in 1940 and returned to the French capital in 1941 to present his performance of Tristan with the Berlin State Opera.

From 1940 he appeared in Italy and gave concerts in Romania and Hungary. A major achievement was to secure popularity for Orff’s Carmina Burana, a score that had aroused some hostility from the Nazi hierarchy at its first performance in 1937 before Karajan’s performances in Aachen and Berlin during the early 1940s.

Driven by a fanatical love of music and a desire to advance his career, there’s little doubt that Karajan’s involvement with the Nazi regime was opportunistic.

Doubtless though there were also areas of Nazi policy that may well have chimed in with his own views. At the same time falling foul of the regime on occasions, his personal ideology can be best described as a montage of greys; nothing is ever clear-cut and nor perhaps should be our assessment of his work.