When Nadia Boulanger's early opera La Ville Morte finally emerged from its decades-long slumber, music lovers were greeted with an intriguing work that, though ambitious, ultimately fell short. The 1914 masterpiece, once slated for a premiere at the prestigious Opéra-Comique in Paris, was set to be performed amidst the backdrop of World War I but never materialized. Instead, it languished as a vocal score, ripe for rediscovery.
For this latest release, La Ville Morte has been painstakingly reconstructed with minimal orchestration, courtesy of an ensemble of 11 players. The work is centered around Mycenae, Greece, and weaves a complex narrative involving archaeologists entangled in a web of love, lust, and ambition. This tangled tale promises much musically, drawing inspiration from Wagner, Fauré, and Debussy – the latter being perhaps Boulanger's greatest idol.
However, the more La Ville Morte plays on, the less convincing it becomes in its attempts to tap into these iconic musical traditions. The score falters dramatically midway through its four acts, as if it has lost its way, despite an undaunted conductor Neal Goren and a diligent cast of four players striving to inject some life back into the work.
It is undeniable that La Ville Morte presents an intriguing glimpse into the early career of Nadia Boulanger – one that would eventually lead her down the path of teaching the neoclassical genre to countless composers. Nonetheless, this particular opera stands as a reminder that even the most gifted among us can fall short in their pursuit of artistic perfection.
Despite its shortcomings, La Ville Morte emerges from its rediscovery with an air of historical significance, serving as a testament to Boulanger's bold ambitions and her unwavering dedication to exploring the boundaries of classical music. For aficionados eager to explore the lesser-known corners of this genre, La Ville Morte presents an engaging if not ultimately satisfying listen.
For this latest release, La Ville Morte has been painstakingly reconstructed with minimal orchestration, courtesy of an ensemble of 11 players. The work is centered around Mycenae, Greece, and weaves a complex narrative involving archaeologists entangled in a web of love, lust, and ambition. This tangled tale promises much musically, drawing inspiration from Wagner, Fauré, and Debussy – the latter being perhaps Boulanger's greatest idol.
However, the more La Ville Morte plays on, the less convincing it becomes in its attempts to tap into these iconic musical traditions. The score falters dramatically midway through its four acts, as if it has lost its way, despite an undaunted conductor Neal Goren and a diligent cast of four players striving to inject some life back into the work.
It is undeniable that La Ville Morte presents an intriguing glimpse into the early career of Nadia Boulanger – one that would eventually lead her down the path of teaching the neoclassical genre to countless composers. Nonetheless, this particular opera stands as a reminder that even the most gifted among us can fall short in their pursuit of artistic perfection.
Despite its shortcomings, La Ville Morte emerges from its rediscovery with an air of historical significance, serving as a testament to Boulanger's bold ambitions and her unwavering dedication to exploring the boundaries of classical music. For aficionados eager to explore the lesser-known corners of this genre, La Ville Morte presents an engaging if not ultimately satisfying listen.
I gotta say, I was really hyped when they finally released Nadia Boulanger's La Ville Morte after all these years 
. But honestly, the more I listened to it, the more I felt like it was missing something 
. Don't get me wrong, it's still super interesting to see how Boulanger was experimenting with different styles and influences back in the day 
. And the fact that it's so closely tied to her own artistic journey is really cool to hear about 
. But for me, at least, it just didn't quite come together as a whole piece 
️. I mean, I love how she was trying to tap into Wagner and Debussy vibes, but it feels like some of the notes got lost in translation 
. Still, it's definitely worth a listen if you're a fan of opera or classical music history 
.
The score may have faltered midway through, but the historical significance and bold ambitions of Nadia Boulanger's work shine through – a testament to her unwavering dedication to classical music.
! It's like she took every cool thing from her favorite composers and mashed 'em together without a clear plan 
. And don't even get me started on how it falters midway through – what a bummer 
! Still, it's cool to see the early stages of Boulanger's career and all, but let's be real, this one's a bit of a misfire 
.
! Nadia Boulanger's story is a fascinating one - I love how she was ahead of her time, pushing boundaries and influencing so many composers. But, man, it's crazy that La Ville Morte didn't quite come together like we hoped... maybe they should've taken more cues from Debussy himself 
! Still, it's dope to see this piece getting a release and bringing attention to Boulanger's genius. We need more of these kinds of discoveries in classical music 
. Like, what's up with the minimal orchestration? It sounds like someone took all the drama and flair of Wagner and Debussy, threw it in a blender, and hit puree 
... And don't even get me started on that faltering middle act 
. I mean, I can appreciate the historical significance and all, but I just don't see what the fuss is about 
. La Ville Morte's like a musical puzzle with too many pieces that don't quite fit together 
... Give me something that's gonna blow my mind, not something that's just, like, mildly interesting 