630 Notes, March 2010
creates a vivid sound world, complimented seemed overly loud in comparison to the
on stage by the sets and costumes by rest of the orchestra. Still, these are minor
Francis O’Connor. issues. The entire cast (with mezzo-soprano
Pinocchio, commissioned by Opera North Victoria Simmonds in the title role) gives a
with Sadler’s Wells Theatre and Chemnitz consistently ﬁne performance, and their
Opera, had its world premiere on 21 De- voices are well-balanced with the orchestra.
cember 2007 at the Grand Theatre and The extra features of this two-disc set in-
Opera House, Leeds. The resultant DVDs clude a synopsis, cast gallery, and enlight-
were recorded by Opus Arte at Sadler’s ening interviews with the composer, libret-
Wells Theatre in London on 29 February tist, stage director, and conductor. A useful
and 1 March 2008. Overseen by recording booklet is also included. The high produc-
director Thomas Grimm, the recording is tion values of this recording are all the
a pleasure both visually and aurally, with more impressive given how quickly it was
few ﬂaws. While the close camera work produced, and this opera, a welcome addi-
throughout was useful in capturing the sub- tion to the repertory, is bound to please
tleties of the singers’ expressions, certain viewers of all ages.
scenes (such as the marionette scene)
would have beneﬁted from a wider camera Ryan Ebright
angle. And, in the ﬁnale, the drum set University of North Carolina, Chapel Hill
The City. DVD. Angel Gil-Ordonez / Post-Classical Ensemble. Music by
Aaron Copland. Directed by Ralph Steiner and Willard Van Dyke.
Canada: Naxos 2.110231, 2009. $17.99.
To Aaron Copland, writing music for is represented by pastoral, consonant mu-
Hollywood ﬁlms represented an opportu- sic, while urban conditions are shown to
nity to reach a much wider audience than dissonant, rhythmically jarring portions of
was typically possible for composers of con- the score. Additionally, there is often a
cert music. Hollywood ﬁlm scoring was, strong physical correlation between speciﬁc
however, according to George Antheil, images and musical ﬁgures, such as the
“a closed corporation” (Modern Music 15, clarinet triplet passage that plays while the
no. 1 [November-December 1937]). Holly- viewer is shown a water wheel.
wood studios were reluctant to hire com- The new recording of the score surpasses
posers without previous ﬁlm experience; the original in many respects. There is
Copland would therefore need a ﬁlm greater dynamic range, more detail of or-
credit, and documentary ﬁlms were a viable chestral color, and in general, the score
path to the requisite credentials. works better as abstract music in the hands
The City, made for the 1939 World’s Fai