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Product details
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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Act I, Scene I: On The Beach; The Mourners - The Kansas City Lyric Theater Chor/Russell Patterson/Paula Siebel/Carolyne James | |||
| 2. Act I, Scene I: The Bathers - Elizabeth Green/Thomas Claffy/Dennis Howell/The Kansas City Lyric Theater Chor/Russell Patterson | |||
| 3. Act I, Scene I: Mourners And Bathers - The Kansas City Lyric Theater Chor/Russell Patterson/Carolyne James/Paula Siebel/Walter Hook | |||
| 4. Act I, Scene I: Scene, And Mother Rainey's Aria: 'The Wages Of Sin' - Carolyne James/Paula Seibel | |||
| 5. Act I, Scene II: Interlude And Love Scene - Robert Owen Jones/Noel Rogers | |||
| 6. Act I, Scene II: Billy's 'Love Song' - Robert Owen Jones/Noel Rogers | |||
| 7. Act I, Scene II: Scene, Waltz And Quarrel - Noel Rogers/Robert Owen Jones | |||
| 8. Act I, Scene II: Betrayal - Paula Seibel/Carolyne James/Noel Rogers | |||
| 9. Act I, Scene II: Sister Rose Ora Easter's Aria: 'When I Was A Child' - Noel Rogers | |||
| 10. Act I, Scene II: Scene, The Lifeshine Radio Hour Memorial Service, And March-Trio - Carolyne James/Noel Roger/The Kansas City Lyric Theater Chor/Russell Patterson/Judith Anthony | |||
See all 11 tracks on this disc
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| Disc: 2 | |||
| 1. Act II, Scene I: Boardwalk Beauty Contest, Lifeshine Parade, And Two Confrontations - William Latimer/Elizabeth Green/Robert Owen Jones/Thomas Claffy/Dennis Howell/Noel Rogers/Paula... | |||
| 2. Act II, Scene II: In The Lifeshine Ark: Welcome-Home Service - The Kansas City Lyric Theater Chor/Russell Patterson/Judith Anthony/Noel Rogers/Carolyne James... | |||
| 3. Act II, Scene II: Illustrated Sermon And Kidnapping Dance - Carolyne James/Noel Rogers/The Kansas City Lyric Theater Chor/Russell Patterson | |||
| 4. Act II, Scene II: Sister Rose Ora Easter's Aria: 'A Someday, Somewhere, Maybe Salvation' - Noel Rogers/The Kansas City Lyric Teater Chor/Russell Patterson/Judith Anthony/Carolyne James... | |||
| 5. Act II, Scene III: Interlude And Billy's 'Aria'; 'Reconciliation Duet' (Reprise Of #6, Act I) - Robert Owen Jones/Noel Rogers | |||
| 6. Act II, Scene III: Murder In The Miracle Room; Accession Of The Sister Elect - Paula Seibel/Carolyne James/Robert Owen Jones/Noel Rogers/The Kansas City Lyric Theater Chor... | |||
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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 (1 customer review)
1 of 2 people found the following review helpful:
3.0 out of 5 stars
A long parody of an opera, 4 Mar 2009
By Cory - Published on Amazon.com
This review is from: Sweet Bye & Bye (Audio CD)
Sweet Bye and Bye is a deliberate poke at Aimee Semple McPherson, the larger-than-life miracle healer evangelist of the 1920s and 30s. The opera is a piece of historical fiction based on the alleged kidnapping of Aimee at a beach. She was assumd drownd, but showed up mysteriously in Arizona near the border, claiming she was kidnappd and held for ransom, but managed to escape. Skeptics charged that her disappearance was to have an affair with a married man. She enjoyed all the media attention, and continued ministering and healing, using all her theatrical ability, at her Angelius Temple in California, and also continued somewhat smaller celebraty-like [sic] scandals. Her movement was the founding of te Four Square Gospel church.
As for the opera itself, it is, in essence, a two hour parody. Two hours of a parody can get tiring, and in the several years I've owned this recording, I've always enjoyed listening to excerpts (Beeson had some great ideas), but to listen to the whole thing, or even half of it, or more than one scene, I'd rather not. The bantering back and forth between "Sister Rose" gets tiring, and in terms of character development, is simply not convincing. While the opera is a comedy, I suppose, it's brand of humor is worn after 15 minutes.
I'm also not convinced about the forced, cliche ending of the opera. It simply doesn't fit or flow into the opera, but seems like an escape to an endless parody opera.
Again, great ideas in the music, some exellent music, but the storyline itself and the character development leaves much to be desired.
Then again, how many American composers have attempted a large-scale comedy opera? Carlisle Floyd's Cold Sassy Tree is about the only successful attempt that comes readily to mind, unless you also count Bernstein's Candide.
A recorded opera of Jack Beeson's is always welcome though. His operatic contributios to American music were comparatively significant, and deserve more attention.
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