A View From the Bridge, opera: Act 1. Orchestral Introduction
A View From the Bridge, opera: Act 1. Scene 1. Red Hook
A View From the Bridge, opera: Act 1. Scene 1. Hey, Eddie!
A View From the Bridge, opera: Act 1. Scene 2. Where you goin' all dressed up?
A View From the Bridge, opera: Act 1. Scene 2. Beatrice! Hurry up
A View From the Bridge, opera: Act 1. Scene 2. Get used to it, Eddie
A View From the Bridge, opera: Act 1. Scene 2. But when you're gone
A View From the Bridge, opera: Act 1. Scene 2. Now listen, both a yiz
A View From the Bridge, opera: Act 1. Scene 3. Remember Vinnie Bolzano
A View From the Bridge, opera: Act 1. Scene 3. Eddie was a man
A View From the Bridge, opera: Act 1. Scene 4. You're on your own now
A View From the Bridge, opera: Act 1. Scene 5. Marco! Rodolpho!
A View From the Bridge, opera: Act 1. Scene 5. Then when I am rich
A View From the Bridge, opera: Act 1. Scene 5. Rodolpho, are you married, too
A View From the Bridge, opera: Act 1. Scene 5. I sing jazz, too
A View From the Bridge, opera: Act 1. Scene 5. Eduardo, if you let us sleep here
A View From the Bridge, opera: Act 1. Scene 6. Now there was a future he must face
A View From the Bridge, opera: Act 1. Scene 6. It's after eight o'clock
A View From the Bridge, opera: Act 1. Scene 6. Eddie, when am I gonna be a wife again?
A View From the Bridge, opera: Act 1. Scene 7. Eddie never knew he had a destiny
A View From the Bridge, opera: Act 1. Scene 7. Hey Eddie! Wanna go bowling tonight?
A View From the Bridge, opera: Act 1. Scene 7. Where'd you go?
A View From the Bridge, opera: Act 1. Scene 7. Aria. I love the beauty of the view at home
A View From the Bridge, opera: Act 1. Scene 7. Rodolpho, I thought I told you to go in
A View From the Bridge, opera: Act 1. Scene 7. Arietta. He's a hit-and-run guy!
A View From the Bridge, opera: Act 1. Scene 7. Aria. Was there ever any fella that he liked for you?
A View From the Bridge, opera: Act 1. Scene 8. There's nothing illegal about it
A View From the Bridge, opera: Act 1. Scene 9. You know where the two of them went?
A View From the Bridge, opera: Act 1. Scene 9. Whaddya say, Marco
A View From the Bridge, opera: Act 1. Scene 9. Eddie, you're pretty strong
Track Listings (20) - Disc #2
A View From the Bridge, opera: Act 2. Orchestral Introduction
A View From the Bridge, opera: Act 2. Scene 1. Hey guys! It's whisky!
A View From the Bridge, opera: Act 2. Scene 2. Rodolpho! Didn't they hire you?
A View From the Bridge, opera: Act 2. Scene 2. It's true
A View From the Bridge, opera: Act 2. Scene 2. Aria. But you do not know this man
A View From the Bridge, opera: Act 2. Scene 2. Somehow, somehow
A View From the Bridge, opera: Act 2. Scene 3. Aria. On December twenty-seventh I saw him next
A View From the Bridge, opera: Act 2. Scene 3. He won't leave!
A View From the Bridge, opera: Act 2. Scene 4. Where are they?
A View From the Bridge, opera: Act 2. Scene 4. Eddie has something to say, Katie
A View From the Bridge, opera: Act 2. Scene 4. Bea, could I take two pillows up?
A View From the Bridge, opera: Act 2. Scene 4. That man! I accuse that man!
A View From the Bridge, opera: Act 2. Scene 5. Aria. To America I sailed on a ship called hunger
A View From the Bridge, opera: Act 2. Scene 5. Aria. Orchestral interlude
A View From the Bridge, opera: Act 2. Scene 6. For the sake of my sister
A View From the Bridge, opera: Act 2. Scene 6. Marco's coming, Eddie
A View From the Bridge, opera: Act 2. Scene 6. Come, Catherine
A View From the Bridge, opera: Act 2. Scene 6. Eddie, listen to me!
A View From the Bridge, opera: Act 2. Scene 6. Eyes like tunnels
A View From the Bridge, opera: Act 2. Scene 6. When the tide is right
This is the world-premiere recording of William Bolcom?s tragic opera, unanimously acclaimed as one of the most significant additions to the American opera repertory in recent times. View is based on Miller?s powerful play... more » depicting the fall from grace of a longshoreman, Eddie Carbone, whose barely repressed desire for his now-grown niece, Catherine, leads to the betrayal of his community and disastrous personal consequences. Bolcom?s beautifully crafted and richly varied score embellishes but never overwhelms Miller?s dark drama. Bolcom is an important composer in his prime, who writes confidently in an eclectic style that is musically sophisticated but always accessible. The material has been craftily adapted by the composer?s longtime collaborator, Arnold Weinstein, who retains the drama?s taut structure while still allowing ample opportunity for lyrical expansion. The Lyric Opera?s production could not be more effectively mounted or splendidly cast. Dennis Russell Davies encourages the orchestra to savor the score?s purely musical beauties without compromising the drama?s swift pacing. Working as a honed ensemble, the cast never strikes a false note.« less
This is the world-premiere recording of William Bolcom?s tragic opera, unanimously acclaimed as one of the most significant additions to the American opera repertory in recent times. View is based on Miller?s powerful play depicting the fall from grace of a longshoreman, Eddie Carbone, whose barely repressed desire for his now-grown niece, Catherine, leads to the betrayal of his community and disastrous personal consequences. Bolcom?s beautifully crafted and richly varied score embellishes but never overwhelms Miller?s dark drama. Bolcom is an important composer in his prime, who writes confidently in an eclectic style that is musically sophisticated but always accessible. The material has been craftily adapted by the composer?s longtime collaborator, Arnold Weinstein, who retains the drama?s taut structure while still allowing ample opportunity for lyrical expansion. The Lyric Opera?s production could not be more effectively mounted or splendidly cast. Dennis Russell Davies encourages the orchestra to savor the score?s purely musical beauties without compromising the drama?s swift pacing. Working as a honed ensemble, the cast never strikes a false note.
"I would like to put in a few good words for this opera, which has received some negative and lukewarm reviews on here on Amazon.com. This is a tense psychological drama set to brilliantly crafted music. Bolcom's music is a cornucopia of American styles and also takes into account the Italian operatic tradition. It is edgy and modern, but very accessible. Some might complain that the opera is more like continuous arioso than lyrical writing. So are most of the operas of Wagner, and I'm sure, many 20th-century operas! As a matter of fact, there is a great deal of lyricism in BRIDGE, and there are instances when the endless melody (or endless recitative, depending on your view) flowers into a genuine aria - such as in Rodolpho's show-stopper, "I love the beauty of the view at home" (also known as "New York Lights"). As for the performers, suffice to say that they are all superb, but that baritone Kim Josephson stands out in the role of the tormented Eddie Carbone. His voice-type is perfect for the role, and he sings with expressive warmth, beauty of tone, and dramatic power. I would urge any opera lover to check BRIDGE out. It is a valuable contribution to the operatic repertoire."
Powerful Theatrically, but not Operatically
Christopher Forbes | Brooklyn,, NY | 07/15/2002
(2 out of 5 stars)
"I suspect that this opera works better in the theater than on disc. The Arthur Miller play works like Greek tragedy, even in it's original version. The problem is that the Bolcom music just doesn't seem to add all that much to the procedings. There is little that is memorable in the musical moments. Much of the vocal writing resembles extended arioso rather than true melodic writing. This is certainly a popular way for modern opera to be written, but in the hands of all but the greatest masters (Debussy, Berg, Janacek, Britten) it never really works as opera. A play is better as a play. Unless the music really elucidates something that can't be found in the words, it renders itself superfluous. No fault can be found with the performances. They are definitive. This is probably an opera that composers and fans of modern opera should hear at least once. Bolcom is an important composer and derserves exposure. But most will probably not find themselves drawn to a re-hearing."
A solid modern opera
Allen Ruch | Brooklyn, NY USA | 10/03/2002
(3 out of 5 stars)
"Generally hailed as one of the best recent American operas, Bolcolm's take on Arthur Miller's play has all the ingredients of a traditional opera -- tragically flawed characters, soaring melodies, even a revenge aria -- and yet strikes a thoroughly modern chord, its dynamic score underlining themes of family dysfunction and incest. Drawing from a eclectic palette that serves to support the characters rather than bury them, Bolcolm's music moves deftly through an emotional and stylistic landscape, from jazz to lyricism to dissonance. Although the beginning of the opera is a bit talky, the arrival of Rodolpho brings a wonderful Italian tenor into the mix, his spirited voice soaring above the Brooklyn dockworkers and pulling the opera along to its tragic conclusion."