In a podcast interview for the English National Opera, this is what my bonny John Wilson, Conductor had to say:

“There are very few pieces I can say I’ve been waiting all my life to conduct, and this is one of them. In my, kind of, college years or whenever that was, I got the Simon Rattle LP and I kind of wore out the groove of those records and had to buy ‘em on CD…

“Of course it’s known for the hit tunes that have been extracted from it, but it’s much more than that… And I would even say that the most interesting music in the opera is the ariosos, the small pieces which link everything together and the incidental music… It’s really very ambitious… It’s George Gershwin at his most inventive, and as Gershwin was arguably the greatest tunesmith of the twentieth century, you’re looking at melodic material from the very very top drawer…”

Porgy and Bess ENOAbove: Nadine Benjamin sings “Summertime” in rehearsal

Tunesmith—sheesh.

And I miss the goat. Without the goat, there is no Porgy and Bess (2:31:25 at this complete 2002 Lincoln Center production).

Thanks to LA producer/theatre & film critic Myron Meisel for his commiseration on the goat, and for his comments on Gershwin and my old boss, Porgy & Bess‘s original director (1935) Rouben Mamoulian, on Facebook, which I answered there.

EXTRA! I found this pre-performance talk with John and a bunch of astonishingly, insultingly no-nothing weeds on Soundcloud here; my beloved is a fount of knowledge about Gershwin’s habits when writing P&B at least

FULL DRESS // A gifted mesmerist—a sinister composer—a naive young conductor from the north…inspired by an episode from the life of Rachmaninoff // DOWNLOAD FREE BOOK POSTER

the lighter side of cantara on x

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