When emotion is more profound, more extreme, more all-consuming than movies can capture, filmmakers traditionally turn to one source: Opera.
The makers of blockbusters from "Philadelphia" to "The Shawshank Redemption" have all used operatic music to underscore the emotional life of their films. This week, Marilyn Horne talks about singing for actress Dorothy Dandridge in "Carmen Jones" ("I was 20 years old at the time and pretty fearless.")
Operavore's Fred Plotkin explains how the women in "Moonstruck" and "Pretty Woman" didn’t get turned on to opera. James Jorden (also known by his alter-ego, La Cieca) names winners in special movie categories (for the worst opera music written for an opera in a movie, we have a tie). Plus, we hear about how the opera Faust turned up in Steven Spielberg’s movie "Lincoln."
Recordings highlighted in this episode:
Carmen Jones Original soundtrack
Lyrics by Oscar Hammerstein set to music by George Bizet
"Stan’ Up an’ Fight" ("Toreador Song")
"Dat’s Love" (Habanera)
"Dere’s a Café on de Corner" (Seguidilla)
Mozart: The Marriage of Figrao "Canzonetta sull’aria" (YouTube)
The Roots of Swing: "If I Had a Talking Picture of You"
The Pasadena Roof Orchestra
Citizen Kane and Other Film Classics: "Salaambo's Aria"
The Australian Philharmonic Orchestra
Samson et Dalila: "Bacchanale"
The Philadelphia Orchestra Eugene Ormandy
The Phantom of the Opera: "Don Juan Triumphant"
Original film soundtrack
Christoph Willibald Gluck
Iphigénie En Tauride: Introduction
Orchestra of La Scala
Die Walküre: “Hojotoho!”
Vienna Philharmonic Orchestra
Results from the best use of opera in the movies poll from last week:
Below: Soprano Mary Dunleavy talks about her work in "Lincoln":