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Arthur Bliss' Scores for Robert Helpmann: Musical Responses to Ambitious Creative Challenges
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In this article, I explain the demanding creative challenges that Robert Helpmann had to face regarding Miracle in the Gorbals (1944) and Adam Zero (1946) by examining the difficulties presented by the concepts behind the scenarios and Helpmann's own artistic commitments. In relation to the reception of these ballets, I explore the controversies surrounding Helpmann's choices of subject matter as well as the perceived imbalance between the theatrical and the choreographic aspects of these works. I argue that Arthur Bliss' scores for both ballets show him as an ideal collaborator for Helpmann. Bliss' creative personality made him a sympathetic and effective composer for these ballets, given their dramatic requirements. Finally, I contend that only an awareness of the theatrical reality of these ballets will allow us a proper assessment of Bliss' scores for Helpmann.
Title: Arthur Bliss' Scores for Robert Helpmann: Musical Responses to Ambitious Creative Challenges
Description:
In this article, I explain the demanding creative challenges that Robert Helpmann had to face regarding Miracle in the Gorbals (1944) and Adam Zero (1946) by examining the difficulties presented by the concepts behind the scenarios and Helpmann's own artistic commitments.
In relation to the reception of these ballets, I explore the controversies surrounding Helpmann's choices of subject matter as well as the perceived imbalance between the theatrical and the choreographic aspects of these works.
I argue that Arthur Bliss' scores for both ballets show him as an ideal collaborator for Helpmann.
Bliss' creative personality made him a sympathetic and effective composer for these ballets, given their dramatic requirements.
Finally, I contend that only an awareness of the theatrical reality of these ballets will allow us a proper assessment of Bliss' scores for Helpmann.
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