Composer: David Bedford
Works: My Mother, My Sister and I
Performers: Evelyn Tubb (soprano), Jacqueline Barron (soprano), Mary Wiegold (soprano)
Recording: 1999
Label: Classicprint CPVP003CD
David Bedford’s “My Mother, My Sister and I” emerges as a poignant cantata that delves into the complexities of familial bonds against the backdrop of the suffragette movement. Composed in 1999 with a libretto by Allison Powell, this work draws not just from the fervor of political engagement but also from the intimate disintegration of relationships among iconic figures such as Emmeline Pankhurst and her daughters, Christabel and Sylvia. Bedford, known for his eclectic approach to composition, here intertwines historical context with modern musical language, creating a tapestry that both celebrates and critiques the legacy of women’s suffrage.
The performance by the three sopranos excels in conveying the emotional weight of the narrative. Tubb, Barron, and Wiegold navigate their roles with impressive clarity, each voice distinct yet harmoniously interwoven. Particularly striking is the opening March of the W.S.P.U., which bursts forth with a rousing energy akin to the communal spirit found in Gershwin’s “Strike Up The Band.” Bedford’s ability to portray the initial unity is palpable, yet it is in the subsequent scenes that the fissures in their relationships become evident. The contrast between Christabel’s self-preservation in Paris and Sylvia’s indignation over her sister’s retreat transforms the musical landscape into a battleground of ideologies. The dizzying waltz for Christabel sharply contrasts Sylvia’s operatic recitative, illustrating the divergent paths that threaten to pull the family apart.
Musically, Bedford employs a rich palette of techniques, from operatic flourishes to folk-like melodies, ensuring that his subjects are painted in vibrant tones. The Lament for the Martyrs serves as a harrowing reminder of the sacrifices made by women in the movement, layered with chords that evoke both reverence and sorrow. A notable strength is the skillful juxtaposition of musical styles, which Bedford uses to illuminate the broader socio-political rifts represented by the characters. However, the decision to incorporate a synthesizer for the accompanying tape raises questions about authenticity. While Bedford’s intention to reflect the popular music of the time is commendable, the resultant sound often feels more like anachronism than homage, lacking the textural richness that live instruments would have provided.
Recording quality remains a critical point of contention. The singers’ voices shine, yet the lack of acoustic space diminishes the overall impact. It is as if the backing track was confined to a sterile environment, stripping away the richness and depth that could have been achieved with a more dynamic recording context. This decision detracts from the emotional resonance, especially during crucial moments like Sylvia’s farewell soliloquy, where the fading repetitions of “Something so good should never end” should evoke an expansive reflective quality, yet instead feel constricted.
While Bedford’s work stands as a significant contribution to contemporary classical music, it is not without its flaws. The absence of the libretto in the CD booklet limits accessibility, necessitating multiple listens for full comprehension—an unfortunate oversight that hinders what could be a profound engagement with the text.
The performance by the sopranos, replete with nuanced interpretations and controlled vibrato, is commendable, yet the production choices ultimately undercut the work’s potential. Bedford’s musical language is engaging, but the execution leaves one longing for a more authentic sonic experience. By choosing to utilize synthetic elements rather than real instruments, he risks alienating an audience that craves historical authenticity.
“My Mother, My Sister and I” is a compelling exploration of the intersection of personal and political narratives, yet it is marred by production decisions that impede its full realization. While the vocal performances offer much to admire, the work as a whole would have benefitted from a more thoughtful orchestral approach and a recording environment that supports its emotional depth.
