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Product details
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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Lizzie Borden: A Family Portrait In Three Acts: Prelude | |||
| 2. Lizzie Borden: A Family Portrait In Three Acts: Act I Scene 1Children : 'Toiling Early In The Morning' | |||
| 3. Lizzie Borden: A Family Portrait In Three Acts: Andrew : 'It Is Almost Finished' And Lizzie | |||
| 4. Lizzie Borden: A Family Portrait In Three Acts: Andrew's Aria | |||
| 5. Lizzie Borden: A Family Portrait In Three Acts: Act I Scene 2: Margaret's Garden Aria | |||
| 6. Lizzie Borden: A Family Portrait In Three Acts: Margret: 'The House Watches' | |||
| 7. Lizzie Borden: A Family Portrait In Three Acts: Prelude to Act II - Abbie's Bird Song | |||
| 8. Lizzie Borden: A Family Portrait In Three Acts: Unpleasantries And Introductions | |||
| 9. Lizzie Borden: A Family Portrait In Three Acts: Two Quintets | |||
| 10. Lizzie Borden: A Family Portrait In Three Acts: More Unpleasantness | |||
See all 12 tracks on this disc
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| Disc: 2 | |||
| 1. Lizzie Borden: A Family Portrait In Three Acts: Act III, Scene 1 | |||
| 2. Lizzie Borden: A Family Portrait In Three Acts: Jason's Song, Duet, Trio | |||
| 3. Lizzie Borden: A Family Portrait In Three Acts: Lizzie's Dressing Scene | |||
| 4. Lizzie Borden: A Family Portrait In Three Acts: Abbie: 'Bravo!', The Bitch Scene | |||
| 5. Lizzie Borden: A Family Portrait In Three Acts: Scene 2, Lizzie: 'Kill Time,' Scene, And Murder | |||
| 6. Lizzie Borden: A Family Portrait In Three Acts: Andrew And Lizzie: Seduction Scene | |||
| 7. Lizzie Borden: A Family Portrait In Three Acts: Second-Murder Interlude | |||
| 8. Lizzie Borden: A Family Portrait In Three Acts: Scene 3, Epilogue | |||
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Customer Reviews
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3.0 out of 5 stars (4 customer reviews)
8 of 8 people found the following review helpful:
4.0 out of 5 stars
A Misunderstood Opera, 10 Oct 2005
By Cory - Published on Amazon.com
This review is from: Lizzie Borden (Audio CD)
Upon first listen, the audience frequently comes away from Lizzie Borden with the impression that it is a second rate modernist, atonal, dodecaphonic whatever nonesense garbage. However, upon a closer listening, Lizzie Borden is actually quite a lyrical opera. For example, Abbie's bird song has a sort of late-romantic beauty to it, as does Margaret's Garden aria. Yes, there is a building sense of psychotic hypnotism in the music as the opera progresses, finally culminating in the jagged pestering of the step mother who rains down hell on Lizzie's dreams of male companionship, then leading to the step mother's murder. Beeson's crafting of this scene is incredible; music in this opera is beautiful, yes, but he can really pull through in loosening the audience member from his seat, unable to sit comfortably.
While the cast is excellent, the recording quality of this opera can stand an improvement.
Give this opera a try, and then several more tries. Let it grow on you, both the lyrical and nerve-wracking scenes.
6 of 7 people found the following review helpful:
5.0 out of 5 stars
Powerful piece..., 2 Sep 2000
By A Customer - Published on Amazon.com
This review is from: Lizzie Borden (Audio CD)
I saw "Lizzie Borden" on Public Television and absolutely loved it! It is such a very wonderful and haunting modern work. This is the familiar story with less emphasis on the murders than on "the psychological climate that made them inevitable", according to critic Robert Sherman. The complete libretto is included with the CD and is very nice for reference.... [This is a good taste of modern opera grounded in an interesting American past!]
3 of 22 people found the following review helpful:
2.0 out of 5 stars
This is what is wrong with opera, 16 April 2000
By "path31783" - Published on Amazon.com
This review is from: Lizzie Borden (Audio CD)
Lizzie Borden is a prime example of why I am not a big fan of opera; i use it as an example only because it is in English, so the flaws are not glossed over by the language difference. Lizzie Borden is essentially a play to which the composer added atonal underscoring. The entire score is one long recitative, with nary a coherent tone row. If a five year old made random stabs at a piece of sheet music and then put each word of the play to the approximate notes, you'd get this as a final product. There is no musical development, no emotional undertow, not even a poetic book; nothing which is the stuff of great opera (e.g. the works of Verdi, Puccini, etc.) If the performers were singing a capella you would think they were making it up as they went along. It is a symbol of the prime flaw in opera - especially modern, American opera (anything by Virgil Thompson is basically the same way.) It is grating and taxing to the ear.
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