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Album Savings: £8.62 compared to buying all songs
- Original Release Date: 12 Feb 2007
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Disc 1: | ||||||
| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Paul Bunyan, Op. 17: Introduction | Peter Coleman-Wright | 1:08 | £0.59 | ||
| Play | 2. Paul Bunyan, Op. 17: Prologue: In the forest (4 Young Trees, 2 Wild Geese, Semichorus of Old Trees, Chorus) | Roderick Earle | 11:03 | Album Only | ||
| Play | 3. Paul Bunyan, Op. 17: First Ballad Interlude (Narrator) | Peter Coleman-Wright | 2:45 | £0.59 | ||
| Play | 4. Paul Bunyan, Op. 17: Act I Scene 1: Bunyan's Greeting (Voice of Paul Bunyan) | Roderick Earle | 2:25 | £0.59 | ||
| Play | 5. Paul Bunyan, Op. 17: Act I Scene 1: Call of Lumberjacks (Lumberjacks' Chorus) | Peter Coleman-Wright | 0:15 | £0.59 | ||
| Play | 6. Paul Bunyan, Op. 17: Act I Scene 1: Lumberjacks' Chorus (First Solo, Lumberjacks' Chorus, Second Solo, Third Solo, Fourth Solo, Chorus) | Roderick Earle | 2:07 | £0.59 | ||
| Play | 7. Paul Bunyan, Op. 17: Act I Scene 1: Bunyan's Welcome (Paul Bunyan) | Peter Coleman-Wright | 0:25 | £0.59 | ||
| Play | 8. Paul Bunyan, Op. 17: Act I Scene 1: Quartet of Swedes (4 Swedes, Paul Bunyan, Chorus) | Roderick Earle | 1:20 | £0.59 | ||
| Play | 9. Paul Bunyan, Op. 17: Act I Scene 1: Western Union Boy's Song (Western Union Boy, Paul Bunyan, Hel Helson, Sam Sharkey, Ben Benny, Chorus) | Peter Coleman-Wright | 1:36 | £0.59 | ||
| Play | 10. Paul Bunyan, Op. 17: Act I Scene 1: Cooks' Duet (Sam Sharkey, Ben Benny, Inkslinger, Paul Bunyan, Chorus) | Roderick Earle | 3:39 | £0.59 | ||
| Play | 11. Paul Bunyan, Op. 17: Act I Scene 1: Animal Trio (Fido, Moppet, Poppet) | Peter Coleman-Wright | 1:35 | £0.59 | ||
| Play | 12. Paul Bunyan, Op. 17: Act I Scene 1: Bunyan's Goodnight (Paul Bunyan) | Roderick Earle | 0:21 | £0.59 | ||
| Play | 13. Paul Bunyan, Op. 17: Act I Scene 1: Exit of Lumberjacks (Lumberjacks' Chorus) | Peter Coleman-Wright | 0:54 | £0.59 | ||
| Play | 14. Paul Bunyan, Op. 17: Act I Scene 1: The Blues - Quartet of the Defeated (Paul Bunyan, The Defeated, Insklinger) | Roderick Earle | 4:26 | £0.59 | ||
| Play | 15. Paul Bunyan, Op. 17: Act I Scene 1: Bunyan's Goodnight (Paul Bunyan) | Peter Coleman-Wright | 0:36 | £0.59 | ||
| Play | 16. Paul Bunyan, Op. 17: Act I Scene 1: Second Ballad Interlude (Narrator, Inkslinger, Chorus) | Roderick Earle | 4:18 | £0.59 | ||
| Play | 17. Paul Bunyan, Op. 17: Act I Scene 2: Food Chorus (Inkslinger, Sam Sharkey, Ben Benny, Chorus) | Peter Coleman-Wright | 4:29 | £0.59 | ||
| Play | 18. Paul Bunyan, Op. 17: Act I Scene 2: Chorus Accusation (Cross, Inkslinger, Jen, Pete, Andy, Chorus) | Roderick Earle | 0:38 | £0.59 | ||
| Play | 19. Paul Bunyan, Op. 17: Act I Scene 2: Slim's Song (Slim, Inkslinger, Fido, Moppet, Poppet, Chorus) | Peter Coleman-Wright | 2:50 | £0.59 | ||
| Play | 20. Paul Bunyan, Op. 17: Act I Scene 2: Bunyan's Return (Chorus) | Roderick Earle | 0:46 | £0.59 | ||
| Play | 21. Paul Bunyan, Op. 17: Act I Scene 2: Inkslinger's Song (Inkslinger) | Peter Coleman-Wright | 4:59 | £0.59 | ||
| Play | 22. Paul Bunyan, Op. 17: Act I Scene 2: Entrance of Chorus (Pete, Andy, Jen, Cross, John) | Roderick Earle | 0:31 | £0.59 | ||
| Play | 23. Paul Bunyan, Op. 17: Act I Scene 2: Tiny's Entrance (Ben, Sam, Cross, Andy, John) | Peter Coleman-Wright | 1:12 | £0.59 | ||
| Play | 24. Paul Bunyan, Op. 17: Act I Scene 2: Tiny's Song (Tiny, Inkslinger, Slim, Chorus) | Roderick Earle | 4:38 | £0.59 | ||
| Play | 25. Paul Bunyan, Op. 17: Act I Scene 2: Inkslinger's Regret (Inkslinger, Voice of Paul Bunyan, Chorus) | Roderick Earle | 2:11 | £0.59 | ||
| Play | 26. Paul Bunyan, Op. 17: Act I Scene 2: Bunyan's Goodnight (Paul Bunyan) | Richard Hickox | 2:09 | £0.59 | ||
| Disc 2: | ||||||
| Song Title | Artist | Time | Price | |||
| Play | 1. Paul Bunyan, Op. 17: Act II Scene 1: Bunyan's Good Morning (Voice of Paul Bunyan) | Peter Coleman-Wright | 2:55 | £0.59 | ||
| Play | 2. Paul Bunyan, Op. 17: Act II Scene 1: Shears's Song (John Shears, Farmer's Chorus, Paul Bunyan, Hel Helson) | Richard Hickox | 0:43 | £0.59 | ||
| Play | 3. Paul Bunyan, Op. 17: Act II Scene 1: Bunyan's Warning (Paul Bunyan) | Peter Coleman-Wright | 0:23 | £0.59 | ||
| Play | 4. Paul Bunyan, Op. 17: Act II Scene 1: Farmers' Song (John Shears, Second Solo, Chorus) | Richard Hickox | 1:53 | £0.59 | ||
| Play | 5. Paul Bunyan, Op. 17: Act II Scene 1: Farmers' Exit (Cronies, Hel Helson) | Peter Coleman-Wright | 1:05 | £0.59 | ||
| Play | 6. Paul Bunyan, Op. 17: Act II Scene 1: The Mocking of Hel Helson (Hel Helson, Heron, Moon, Wind, Beetie, Squirrel, Fido, Chorus) | Richard Hickox | 4:53 | £0.59 | ||
| Play | 7. Paul Bunyan, Op. 17: Act II Scene 1: Fido's Sympathy (Fido) | Peter Coleman-Wright | 0:36 | £0.59 | ||
| Play | 8. Paul Bunyan, Op. 17: Act II Scene 1: Cats' Creed (Moppet, Poppet, Voice of Paul Bunyan, Cronies, Hel Helson) | Richard Hickox | 1:31 | £0.59 | ||
| Play | 9. Paul Bunyan, Op. 17: Act II Scene 1: The Fight (Chorus) | Peter Coleman-Wright | 1:15 | £0.59 | ||
| Play | 10. Paul Bunyan, Op. 17: Act II Scene 1: Love Duet (Tiny, Slim, Chorus) | Richard Hickox | 2:26 | £0.59 | ||
| Play | 11. Paul Bunyan, Op. 17: Act II Scene 1: Mock Funeral March (Cronies, Hel Helson, Paul Bunyan, Chorus) | Peter Coleman-Wright | 4:23 | £0.59 | ||
| Play | 12. Paul Bunyan, Op. 17: Act II Scene 1: Hymn (Paul Bunyan, Hel Helson, Tiny, Slim, Chorus) | Richard Hickox | 3:14 | £0.59 | ||
| Play | 13. Paul Bunyan, Op. 17: Act II Scene 1: Third Ballad Interlude (Narrator) | Peter Coleman-Wright | 2:18 | £0.59 | ||
| Play | 14. Paul Bunyan, Op. 17: Act II Scene 2: The Christmas Party (Fido, Moppet, Poppet, Inkslinger, 3 Solos from Chorus, John Shears, Western Union Boy, Chorus) | Richard Hickox | 9:58 | Album Only | ||
| Play | 15. Paul Bunyan, Op. 17: Act II Scene 2: Bunyan's Farewell (Voice of Paul Bunyan) | Peter Coleman-Wright | 2:14 | £0.59 | ||
| Play | 16. Paul Bunyan, Op. 17: Act II Scene 2: Litany (Fido, Moppet, Poppet, Tiny, Slim, Paul Bunyan, Hel Helson, Inkslinger, Chorus) | Richard Hickox | 7:04 | £0.59 | ||
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1 review
23 of 23 people found the following review helpful
Britten's virtually lost American masterpiece.
27 Mar 2002
Format:Audio CD
There was much concern in the early decades of the 20th century with the creation of a genuinely American opera, a national music drama that would fuse native forms with the operatic modes laid down in Europe. The most celebrateed effort is Gershwin's 'Porgy And Bess'. But in Europe, composers were writing 'American' operas too, most notably Puccini and his 'The Golden Girl Of The West'. In the 30s and 40s, two European composer-writer teams offered their own sarrdonic spin on this sub-genre - Brecht/Weill with 'The Fall And Rise Of Mahogony', and Britten/Auden with 'Paul Bunyan' (written while the partnership were living in the States). Although both pairings could hardly be more different, there are striking similarities between the two operas, written within a decade of each other. Both are ironic epics dealing with a mythic America, a kind of rise-and-fall narrative relating or predicting progress and decline. Both make rich use of popular American music, in particular African-American forms such as jazz, blues and spirituals, but also ballads and country - this gives the individual numbers in 'Bunyan' a melodic immediacy not always associated with Britten. There are even songs in the opera that echo Weill, repeating that magic trick of brittle, mocking melancholy (e.g. 'Cooks' Duet', 'The Blue - Quartet Of The Defeated). Britten shares with the German a sustained use of musical parody (especially Wagner and sacred music) and bathos; an important place for the Chorus; the odd jerky march rhythm; and a preponderance of wind and brass. Auden even paraphrases some of Brecht's 'Threepenny Opera'-era ideas, especially in the figure of Johnny Inkslinger, the cultured idealist forced into capitalism by economic necessity - 'But I guess a guy gotta eat' (Auden's companion, Christopher Isherwood, famously translated Brecht's songs).
'Paul Bunyan' plays like a modern Genesis/creationist story, opening, from nothing, with a talking forest, undisturbed lands waiting for the expansionist adventures of the pioneers. Bunyan engendered by supernatural agency, arrives in this Eden, flagged by pastoral flutes, and sets up a logging company. The first act deals with the recruitment of workers; the second with their unrest and desire to settle down or move on - a potted history of America (wilderness; European pioneers, agriculture, industry, politics, Hollywood - no Civil War or Indians, of course). This narrative, which equates America with the first Garden, the pioneer with a God-approved prophet and capitalism with Mainfest Destiny, is interrupted with flashforwards to future misery, and framed by a balladeer who narrates Paul's unlikely adventures in tall-tale shorthand. Paul, who significantly speaks his part throughout, is at once pioneer, secular 'father'/preacher/guide/Christ figure, genie, spirit of America, Cassandra, American dream, capitalist boss (tough but fair) - when asked, he defines himself: 'I am the Eternal Guest/I am Way/I am Act'.
The hybridity of forms (including an exquisite, fugal duet and exotic proto-Bernstein rhythms; Britten called the film a 'choral operetta'), styles, ideas and tones evoke a multi-cultural melting pot that seems to be progressing towards some great End Of History; but the repetitions in the score and of individual scenes undercut this movement.
The ensemble cast in this recording of the revised opera (1975) are remarkable, submitting to the wry complexities of Auden's mercurial libretto, at once comic, earnest, ironic, satiric, romantic. The Orchestra of the Royal Opera House emphasise the restless playfulness of the young Britten, as he veers from slapstick comedy to Blitzstein-like New Deal pageant to anachronistic Cole Porterisms to dark, tense drama. My only complaint refers to the major flaw of all Chandos recordings, the low sound mix, which makes it difficult at times to make out Auden's clear, clever words.
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