This keeps happening to me. I re-watch an opera that I had previously found worthless with the intention of writing one of my sarcastic reviews for IMDb: then I find myself totally captivated by its magic. The latest work to have this effect on me is Trevor Nunn's 1993 production of Porgy and Bess with Glyndebourne Opera. What is more amazing is that the singing is dubbed: something that I detest in opera films.
As a 14-year-old, I enjoyed the 1959 film which, essentially, did Porgy as a Hollywood musical. In the ensuing 45 years or so I have become more critical about the idea of two white, Jewish men writing a black opera, although a similar criticism could be levelled at practically the entire 20th century output of American popular song.
That 1959 film had spoken dialogue and big tunes such as "Summertime" and "It ain't necessarily so". I say tunes deliberately: they do not even qualify as songs because their structure is completely strophic. What is so striking about this operatic version is the musical complexity of the recitative and arioso; the Gershwins punctuated this complex music with the simple numbers in order to emphasise its folk and blues roots. So, in dismissing Porgy and Bess as just a collection of big tunes, I was ignoring most of the best music. Trevor Nunn's 1993 film uses the recording of the 1989 Glyndebourne production. In the intervening four years, Bruce Hubbard had died and several other cast members were not available. It is not surprising, therefore, that some of the performers in this film seem to have only a passing acquaintance with the lyrics they are supposed to be singing. This would normally make me chew the carpet with rage but the reason why it does not bother me is that much of the important music in this work is given to the chorus. I particularly enjoyed "Oh Doctor Jesus" and "O dere's somebody knockin' at de do'". The Glyndebourne chorus is superb even though it seems likely that the actors we see on stage mouthing their words are not the people who did the singing four years earlier.
While the black characters have sung recitatives, the white characters only have parlando or spoken parts. If you have seen 'Jerry Springer the Opera' you will know how this works. It emphasizes the point that the black and white characters seem to inhabit a different world, physically and mentally.
Willard White is very impressive vocally as Porgy and gives the character great dignity. Cynthia Haymon is a glamorous Bess and gives a moving rendition of "I loves you Porgy". As Sportin' Life, Damon Evans effectively erases one's memory of Sammy Davis Jr's performance. Harolyn Blackwell singing, but not acting the part of Clara does a haunting 'Summertime' and Cynthia Clarey as Serena does a beautiful 'My man's gone now'. Simon Rattle's account of the score is an exciting roller-coaster ride. The biggest credit must go to Trevor Nunn for the clarity and intelligence of this production. He even manages to stage a realistic crap game. There has always been some doubt over whether this piece works as an opera, Trevor Nunn proves emphatically that it does.
