| Main Performers | Elizabeth Harwood,
Helen Watts,
Gwenyth Annear,
Gerald English,
Forbes Robinson,
Jill Chalcraft - vocals,
John Morton - ondes martenot
Mia Farrow,
Lila Kaye,
Emrys James,
Jeffrey Dench,
Michael Gambon - actors |
| Orchestra or Band | London Symphony Orchestra |
| Choirs | Ambrosian Opera Chorus,
Orpington Junior Singers |
| Set List | 'Joan of Arc at the Stake', Honegger |
| Performance Notes | The event was recorded by BBC Sound.
"JOAN AT THE STAKE IS THE HOTTEST TICKET IN TOWN.
Mia Farrow and André Previn bring a touch of Hollywood glamour to the Albert Hall.
Not since someone threatened to shoot Daniel Barenboim from a box has there been such excitement at the Royal Albert Hall. Tonight, along with a huge crowd of actors, singers, musicians and the ondes Martenot (a rare French instrument used by Hitchcock in his thriller Spellbound), the Previns are performing on stage, live.
André Previn, gnomish conductor of the London Symphony Orchestra, will direct a performance of Arthur Honeggers huge dramatic oratorio Joan of Arc at the Stake. His wife, Mia Farrow, who became the screens favourite mother when she produced twins last summer, plays Joan. She has had her hair cut like Little John for the occasion.
Even without the Previns, this Joan would be a high point of the years concert season. A critic once described the 90-minute production as a ghastly exposure of contemporary bankruptcy but not everyone agrees with him. It has been performed only twice before in London, once with Ingrid Bergman as Joan.
Tonights production has cost around £8,000 to stage. And that covers everything, said Previn during rehearsals. Obviously Mia isnt doing it for the money.
Without the Previns there would be no glamour or whatever it is this couple have so much of. Both are slight and pale. You would be pushed to find a more drably dressed pair of pin-ups. Both were in brown for yesterdays rehearsal. Previn, beige open-necked shirt and chocolate slacks, discussed volume with fellow American Harold Lawrence, the LSOs general manager.
Mia was wearing a sort of homespun russet sweater and corduroy trousers half tucked into boots. After the pay-off line: Greater love hath no man..., the orchestra clapped briefly. She stood awkwardly on one foot, scratching that weird half-tonsured haircut and said she didnt want to say anything. Someone was sawing something furiously on the stage, so you couldnt have heard her anyway.
Later, she relented and said she found speaking in time to music very hard. She wasnt very musical; she played the guitar a bit, thats all. Her stage colleagues call her a real old pro and she admits it. You have to be with an orchestra like this they expect it.
Recently, she met the granddaughter of Paul Claudel, who wrote the words for Honeggers music. They discussed the production long and seriously. Her only criticism was the translation, said Mia. Like she thought Lets have a little drink was a bit casual and changed it to Let us celebrate the occasion with a drink or something.
Mia said it was time to go back to the babies. She never brought them to London, except to see the paediatrician. Theyd get urban hang-ups. She hated cities herself, shopped twice a year, detested the noise.
The Previns left to get a taxi. Mr Lawrences New York wife waved fondly after them and said: Dyou know, they are going to ride the ordinary commuter train home. Isnt that wonderful!
(The Observer, 7 February 1971) |
| Related Archival Material | Programme (RAHE/1/1971/16) |