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Jack Beeson: Sorry, Wrong Number

Kimako Xavier Trotman (baritone), Dominic Inferrera (baritone), Richard Holmes (baritone), Roosevelt Andre Credit (baritone), Patricia Dell (vocals), Charlotte Surkin (mezzo-soprano), Maria Bedo (vocals), Patricia Sonego (soprano), John E. Schumacher (vocals), Wendy Hill (soprano), Gerald Steichen...

Jack Beeson: Sorry, Wrong Number
a much-needed addition to the American opera discography

Jack Beeson: Sorry, Wrong Number

Kimako Xavier Trotman (baritone), Dominic Inferrera (baritone), Richard Holmes (baritone), Roosevelt Andre Credit (baritone), Patricia Dell (vocals), Charlotte Surkin (mezzo-soprano), Maria Bedo (vocals), Patricia Sonego (soprano), John E. Schumacher (vocals), Wendy Hill (soprano), Gerald Steichen...

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a much-needed addition to the American opera discography

About

Practice in the Art of Elocution, An operina for soprano and piano was adapted by the composer-librettist from The Standard American Speaker and Entertainer published in 1901, while Sorry, Wrong Number was adapted from the play by that name by Lucille Fletcher. Both of these witty one-act operas are given delightful performances by the cast and orchestra of the Center for Contemporary Opera. Beeson, inspired to write operas while still a teenager, has 10 operas to his credit, as well as music for orchestra, concert band, vocal and choral groups. In addition to composing, Beeson has had a distinguished career at Columbia University where he is the MacDowell Professor Emeritus of Music.

Artists

Kimako Xavier Trotman (baritone), Dominic Inferrera (baritone), Richard Holmes (baritone), Roosevelt Andre Credit (baritone), Patricia Dell (vocals), Charlotte Surkin (mezzo-soprano), Maria Bedo (vocals), Patricia Sonego (soprano), John E. Schumacher (vocals), Wendy Hill (soprano), Gerald Steichen (piano)

Center for Contemporary Opera, Richard Marshall

Contents and tracklist

Awards and reviews

a much-needed addition to the American opera discography

There are many things to like about Jack Beeson...The stories are engaging, effectively structured, have a popular appeal, and are inhabited by interesting characters. The music is often conservatively tonal, but with enough dissonance or dodecaphony to unmistakably place it in the 20th century.
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