This
classic three disc set really did make waves in the recording
world when first released in 1988. It led the way in proving
that if first class musicological scholarship is applied
to any musical work, even if it is considered 'lighter' fare,
the results can be a revelation. John McGlinn's patience,
skill and sheer bloody-minded determination in researching
archives and restoring the original score - including missing
items - of this ground-breaking piece of music theatre were
rewarded with a recording of instant classic status. There
was a less positive side to its success, in that other recordings
of Broadway shows featuring full-blown opera voices followed,
most with far less successful results, but Show Boat's
casting is a triumph.
From
the rousing overture onwards, it is obvious Kern draws on
many influences, including Scott Joplin, G&S, as well
as European operetta and operatic repertoire. One of the
revelations for me was the subtle underscoring of the many
spoken passages, where the story and characterisations are
developed over an 'underlay' of melodic and harmonic texture
based on themes from the piece. This is Kern taking operatic
practice and using it for his own purpose, weaving the themes
and leitmotifs with Wagnerian skill. How hard it is to believe
that even Porgy and Bess, itself a landmark, was a
few years away, so familiar and beloved are these tunes. One can
see why one critic referred to the history of the American musical
as "simple - there's before Show Boat and
after Show Boat".
McGlinn's
love of the score shines through every bar. He conducts with
a passion and insight that are infectious, and this rubs
off on his starry cast. Frederica von Stade's Magnolia Hawks
is meltingly beautiful, her voice soaring with Kern's ravishing
melodies. Jerry Hadley's Ravenal is no less inspired, his
heady tenor just lightened enough to take off the heavy operatic
edge; their famous Act 1 duet 'Only Make Believe' is simply
but beautifully phrased, the build-up to the climactic moment
sending shivers down the spine. The other true opera star, Teresa
Stratas, also tones down the operatic side of her voice, giving a
charming and heartfelt performance as Julie. This really is how to
switch from, say, the angular intricacies of Berg's Lulu to the affecting simplicity of a number
like 'Bill' and still be totally credible and convincing.
Bruce
Hubbard, taken on to the project as a late replacement for
Willard White, is a magnificent Joe and the best compliment
one could give is that all thoughts of how White would perform
'Ol' Man River' are completely erased. White's controversial withdrawal,
as well as that of the Glyndebourne Chorus, mainly due to
the regular and, to our modern ears, uncomfortable use of
the word 'nigger', threatened to overshadow the whole enterprise,
but McGlinn's insistence on sticking to Kern and Hammerstein's
original lyrics is triumphantly vindicated. This is the period
being portrayed, whether we like it or not, and McGlinn is
correct when he says "Nigger is a hateful word, but it's
there for shock value, to stun an audience and make them
think about what conditions were like then". Inter-racial
marriage is a central theme of the work and a brave subject
to tackle in 1927, another reason this show is so influential.
All
the other parts are also superbly sung. I especially like
David Garrison and Paige O'Hara as comic couple Frank and
Ellie, both possessing more authentic 'Broadway' voices with
bags of pizzazz and personality. Praise has to be lavished
on the London Sinfonietta who must have loved the break from
complex contemporary scores to let their hair down here,
giving McGlinn playing of razor-sharp clarity and an authentic
jazzy swing. Similarly, the Ambrosian Chorus's substantial
contribution is memorable, gutsy and joyful and with authentic
sounding accents - try 'Cap'n Andy's Ballyhoo' to see what
I mean. Recording quality is exemplary.
As with most GROC re-issues, the booklet is paired down from the
lavish original and consists of an updated essay praising the
recording, certainly fully justified here. Richard Osborne avoids
the controversial elements but provides a typically stimulating
read. The full text is replaced by a cued synopsis which, given
the singers' superb diction and clarity of the
recording, is perfectly fine. A heart-warming experience
and another GROC to savour.
Tony Haywood
Great
Recordings of the Century page
Magnolia
Hawks - Frederica von Stade (sop); Gaylord Ravenal - Jerry
Hadley (tenor); Julie Laverne - Teresa Stratas (sop) ; Joe - Bruce
Hubbard (bass); Queenie - Karla Burns (mezzo); Frank Schultz
- David
Garrison (tenor); Ellie May Chipley - Paige O'Hara (sop);
Captain Andy Hawks - Robert Nichols (baritone); Parthy Ann Hawks - Nancy
Kulp ; Lady on levee - Lillian Gish 
