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The highlight, though, is the opera’s evocative epilogue, ‘Sometimes, I Lounge Forlornly’, in which the pioneer Dame Shirley (Bullock’s role) describes what she sees from her window: piles of gravel dug from the mines obscuring the beauty of the mountains, except for an expanse of blue sky. Poe follows with a good transcription of ‘The Ship Has Reached America’ (the music for the Chinese prostitute Ah Sing is high-range coloratura which, for all of Bullock’s talents, she is not). ‘Ven esta noche, amado’, the Mexican bar owner Josefa’s song of longing, reflects a hesitant resolve. They chose three pieces, each reflecting the key women’s roles. Pianist Laura Poe, whom Bullock met when she sang in the premiere of John Adams’s opera Girls of the Golden West at San Francisco Opera in 2017 (review click here), connects seamlessly with Bullock throughout the recital, which includes their joint arrangement of excerpts from this opera about the California Gold Rush. The simple beauty of ‘Edelweiss’ closes the set. ‘Climb Every Mountain’ avoids the pomp of most singers in favor of quiet resolve. ‘The Lonely Goatherd’, a lively ditty with yodeling, revels in rhythmic bounce.
GIRLS OF THE GOLDEN WEST JULIA SHIRLEY CHARACTER NAMES LICENSE
If this gives her license to explore the lower notes of Weill’s songs, all the better, and her superbly calibrated voice and operatic acumen refresh Rodgers’s songs. In the credits, Bullock identifies as a ‘classical singer’ rather than a soprano. In a year that has been ‘unrelenting in its intensity’, she wanted the program to ‘reflect the small things in life that are precious’. The song, after all, ends with ‘My heart will be blessed with the sound of music / And I’ll sing once more’.īullock chose songs ‘that speak to the present moment’, as she explains in opening remarks of the 80-minute video recital, which debuted recently for Cal Performances (and available on demand through 14 April).
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The approach draws a connection with how strongly we all miss the personal communication of live performances as the pandemic rages. She applies an intimate and poignant style, banishing any lurking image of Julie Andrews belting out ‘The hills are alive…’ in a mountain meadow. On a program with music by Hugo Wolf, Robert Schumann, Kurt Weill and two of America’s under-appreciated Black composers, Julia Bullock strikes the most surprising and delightful note with an utterly fresh and unique version of ‘The Sound of Music’, the title song of Richard Rodgers’ and Oscar Hammerstein’s 1959 musical. Richard Rodgers – ‘The Sound of Music’, ‘The Lonely Goatherd’, ‘Something Good’, ‘Climb Every Mountain’, ‘Edelweiss’ ( The Sound of Music) Laura Poe and Julia Bullock) – Three Women: Josefa, Ah Sing, and Dame Shirley ( Girls of the Golden West): ‘Ven esta noche, amado’ (Josefa), ‘The Ship Has Reached America’ (Ah Sing), ‘Sometimes, I Lounge Forlornly’ (Dame Shirley) Margaret Bonds – ‘The Negro Speaks of Rivers’, ‘Winter Moon’ (music prepared by Louise Toppin) William Grant Still – ‘The Breath of a Rose’ Kurt Weill – ‘Speak Low’ ( One Touch of Venus) ‘Denn wie man sich bettet, so liegt man’ ( The Rise and Fall of the City of Mahagonny) ‘Wie lange noch?’, ‘Lost in the Stars’ ( Lost in the Stars) Robert Schumann – ( Dichterliebe) ‘Die Rose, die Lilie, die Taube, die Sonne’, ‘Wenn Ich in deine Augen seh’, ‘Ich grolle nicht’, ‘Und wüssten’s die Blumen, die kleinen’, ‘Hör’ ich das Liedchen klingen’ Hugo Wolf – ‘Auch kleine Dinge’ ( Italienisches Liederbuch) ‘In dem Schatten meiner’, ‘Locken Bedeckt mich mit Blumen’ ( Spanisches Liederbuch) (HS) Julia Bullock singing Weill’s ‘Speak Low’ with Laura Poe (piano) United States Various, Julia Bullock (classical singer) and Laura Poe (piano): Recorded at Konzerthaus Blaibach, Germany,, exclusively for Cal Performances, Berkeley, California.