-Almost from the moment I entered the room to meet conductor John Mauceri, having heard that I was a musician, he sat me down at a desk to show me the particular score of Gershwin’s “Porgy and Bess,” which he will be conducting for 12 performances starting on March 20 for Washington National Opera.
An enormous amount of research, clearly a labor of love, was evident in what he showed me. The history of “Porgy” signified a remarkable moment in American music. Just acknowledging that it was a real opera has taken a long time. It became popular initially by calling it musical theater and reducing it from three acts to two.
He said that most of his life has been committed to what we don’t have access to, and because music exists in the art of translation, you have to take it from the page to performing it. He knew that there was much in Gershwin that we didn’t know because much was unpublished. Gershwin wrote over 20 shows. He said that we know the songs but not the shows.
One of the hallmarks of a fine musician is a passion for detail and finding a composer’s original intent; changing markings and changing tempos can make a significant difference. Mr. Mauceri is clearly a scholar, as well as musician. The list of music that he has restored to original intent is breathtaking. He played a section of “Porgy” by a conductor who had not seen Gershwin’s original score and one with different markings. The effect was startling.
Cheryl Crawford, of the Theatre Guild, initiated the effort to turn “Porgy and Bess” into a musical theater piece. The three acts were turned into two and the piece became a success. The Theatre Guild finally donated all its material for archival purposes to Yale University where he found what he needed. As much as possible will be used in the coming performance.
I can’t wait to attend the show.