Though they had re-composed bits and pieces of existing classical works for film, Song of Norway was the first effort by Robert Wright and George Forrest at writing a full show based on another composer’s music. It came about at a time when Rodgers and Hammerstein were revolutionizing music theater, and many observers felt that this production’s old-fashioned operetta style would sink it. But it proved immensely popular and inspired the composing team to use the same formula in writing ensuing shows, most notably Kismet, based on the music of Alexander Borodin. Much of the success of Song Of Norway was due to the choice of Edvard Grieg’s music. The Norwegian composer was one of the greatest melody writers in the history of music, so Wright and Forrest were able to construct songs that the audience could take away into the night, remembering them long after the final curtain. Melodies from such sources as the Piano Concerto, Norwegian Dances, and Peer Gynt continually enliven the show from beginning to end.
The cast is impeccable: David Rendall and Valerie Masterson are especially thrilling and radiant as Rikaard Nordraak and Nina Hagerup. The chorus and orchestra are right on the money all the time, and conductor John Owen Edwards brings flair and insight to every page of the score. The finale includes a ballet set to a truncated version of the piano concerto, and Yit Kin Seow plays this so well that you wish some enterprising label would give him a chance to record the complete work. The sound is excellent, with a good stage spread and depth, and satisfactory dynamic range. The liner notes, by Wright and Forrest, are very interesting and informative, but there is no synopsis of the plot.
