The American Music Theater Festival Production of Harry Partch's Revelation in the Courthouse Park

Harry Partch (Composer), Frank Berry (Performer), Edward Earle (Performer), Obba Babatunde (Performer), Sylvia Byrd-Leitner (Performer), Suzanne Costallos (Performer), Christopher Durham (Performer), Mary Ellen Grant (Performer), Floyd Wesley III Green (Performer), Todd Gross (Performer), Matthew Kimbrough (Performer), Anne Lewis (Performer), Milo Morris (Performer), Cynthia Marie Prioleau (Performer), Casper Roos (Performer), Shoshana S. Shay (Performer), Kathleen L. Warner (Performer), Olivia Williams (Performer), Rozwill Young (Performer) | Format: Audio CD

Product Details

• Performer: Frank Berry, Edward Earle, Obba Babatunde, Sylvia Byrd-Leitner, Suzanne Costallos, et al.
• Composer: Harry Partch
• Audio CD (September 9, 2003)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Tomato Music
• ASIN: B0000A4GBA
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #96,418 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

5.0 out of 5 stars An amazing concert, February 15, 2011

By 

Kris Marker - See all my reviews

This review is from: Revelation in the Courthouse Park (Audio CD)

I believe I have the same CD as the one listed here, though mine says 1989. It has the same cover artwork as the 2003 CD except the little "Tomato" logo is placed differently. Anyway, it's a wonderful CD. The performance is superb and it was recorded excellently. Of all the Partch available that I've heard this is his most accomplished composition. From start to finish, it's at a high level. To fully appreciate the story line, you'll want to know about the historical story, but it isn't necessary to fully appreciate the music. The basic drama and commentary Partch is layering on it can't be fully realized without seeing the show live, of course. Actually, I'm not sure it could be fully realized even then. The dramatic situation is not wholly "contained" in the piece. It is clear that Pantheus doesn't care for the revels Dionysus is leading his people into, but why exactly that's so cataclysmic is still mostly in Partch's mind--and anyone who can read into how Partch sees the character of Pantheus. That character would be that of a pipsqueak on the throne, afraid of life. But what he represents I don't know. I don't think Partch is pointing at American politicians, for instance. If anything, they seem to be all too willing to let the people have their Dionysian fun, albeit in the form of popular entertainments like sports and pop music (in their live forms). The people are also permitted to enjoy their cup of wine, so long as they don't take it on the road. So perhaps Pantheus is more of a personal demon, one that inhabits each of us. The part of us attracted to *watching* rather than doing, that wants to see the goings on without being a part of them. The part that is fascinated by the spectacle without understanding we are in it too. In the opera what it comes down to is that Pantheus wants to see the sex. That makes sense for him as the little twerp he is, but it doesn't make sense for Partch to be railing against him so, unless he sees something much more insidious there, which he clearly does. But I don't think Partch motivates those darker things, though he clearly sees them.

I'm reminded of Bergman's films. In his films it is very clearly laid out what the problems are, what the issues are. You don't get that in Revelation in the Courthouse Park or Oedipus either. Nevertheless, you do get some marvelous music, and something to wonder at. You can wonder about other levels as you are moved to.