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Nyman: Man And Boy: Dada

John Graham-Hall (tenor), William Sheldon (boy soprano) & Vivian Tierney (soprano)

Michael Nyman Band, Paul McGrath

Nyman: Man And Boy: Dada
…set in post-World War II London, where impoverished émigré artist Kurt Schwitters encounters the Boy, Michael, on the top floor of a London bus. They're both in search of bus tickets, Schwitters...

Nyman: Man And Boy: Dada

John Graham-Hall (tenor), William Sheldon (boy soprano) & Vivian Tierney (soprano)

Michael Nyman Band, Paul McGrath

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44.1 kHz, 16 bit, FLAC/ALAC/WAV

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320 kbps, MP3

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No digital booklet included

Stream now lossless, 44.1 kHz, 16 bit
…set in post-World War II London, where impoverished émigré artist Kurt Schwitters encounters the Boy, Michael, on the top floor of a London bus. They're both in search of bus tickets, Schwitters...

About

'Man and Boy: Dada' is the first in a triptych of chamber operas written by Nyman with librettist Michael Hastings. It tells the story of the unlikely friendships between the ageing Dadaist artist Kurt Schwitters, who is exiled in war-torn London; a 12-year-old boy called Michael, who shares the artist's obsession with collecting London Transport bus tickets; and Michael's mother, widowed by the war. The recording reunites the cast from the UK premiere performance at the Almeida Theatre in July 2004 – tenor John Graham Hall as Schwitters, William Sheldon as the boy, and soprano Vivian Tierney as the boy's mother. Paul McGrath conducts the Michael Nyman Band. Nyman's identification with the storyline runs deep, for as a child growing up in South Chingford in the 1950s, he hoarded bus tickets as part of a collecting mania that also included cigarette cards, matchbox labels, coins and train numbers. In 2001, Hastings approached Nyman to suggest collaborating on a radio play about a post-war London boy who collected bus tickets. Nyman naturally recognised himself in the main character. But he also had an extra element to contribute to the story line. He had recently returned from Dusseldorf where he saw a Schwitters exhibition and discovered the artist's recurring use of bus tickets in his collages. The fusion of the two characters' mutual fixation leads to a friendship which drives the opera's plot which also reveals the terrible loss suffered by Schwitters as he was forced by the Nazis to leave Germany. The generously packaged, slip cased 2-CD set contains a four-colour 44-page booklet with complete libretto.

Contents and tracklist

Dada, Act I, Scene 1: You Need a Ticket to Breathe the Air
Track length6:58
Dada, Act I, Scene 2: A Few Things I Collect Beside Bus Tickets
Track length6:40
Dada, Act I, Scene 3: Any More Fares Please?
Track length4:16
Dada, Act I, Scene 4: It's Kind of Interesting Rubbish
Track length6:13
Dada, Act I, Scene 5: Scarper!
Track length3:28
Dada, Act I, Scene 6: Forty Sheep and Twenty Reindeer
Track length3:26
Dada, Act I, Scene 7: Coughs and Sneezes Spread Diseases
Track length4:44
Dada, Act I, Scene 8: Except Take a Piss
Track length4:08
Dada, Act I, Scene 9: Doodlebug
Track length2:28
Dada, Act II, Scene 10: A Famous Cup of British Tea
Track length6:29
Dada, Act II, Scene 11: This Was a Good One - Ponders End to Waterloo
Track length4:22
Dada, Act II, Scene 12: I'm Highly Adept at the Tango
Track length6:51
Dada, Act II, Scene 13: Show Me a Bike!
Track length3:39
Dada, Act II, Scene 14: Chuk Persh Szing!
Track length7:33
Dada, Act II, Scene 15: Happy Birthday, Dear Michael!
Track length5:29
Dada, Act II, Scene 16: I Am Having Trouble with Hanky Panky
Track length6:45
Dada, Act II, Scene 17: Latin a la Hammersmith Palais
Track length2:34
Dada, Act II, Scene 18: A Hundred Stops But They Have No Name
Track length8:03
Dada, Act II, Scene 19: I Was Trying to Explain Something About Dada
Track length10:32

Awards and reviews

June 2005

…set in post-World War II London, where impoverished émigré artist Kurt Schwitters encounters the Boy, Michael, on the top floor of a London bus. They're both in search of bus tickets, Schwitters for his Dadaist artworks, the boy for his collection. …the tone is mostly nostalgic... with Nyman's usual ensemble of clarinets, saxophones and strings softened by the addition of a vibraphone. Some of the atmosphere is lost without the ingenious and evocative staging seen in the original Almeida Opera production. But the vocal performances, particularly from the 13-year-old William Sheldon as Michael, are every bit as good as they seemed at the time. And unusually for a contemporary opera, the words are clearly audible. The playing of Nyman's own ensemble is tenderly expressive.

December 2005

Nyman wisely abandons the aggressive forces of the Michael Nyman band and resorts to something nearer a more conventional, classical chamber ensemble...The instrumentalists under Paul McGrath are, I believe, experienced performers of Nyman’s music and this shows in the dynamic confidence of the playing.
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