On the evening of Wednesday, October 10th, Elysium between two Continents celebrated its 35th Year at the NY Lotos Club. According to the program notes included, “Elysium – between two continents fosters artistic and academic dialogue and mutual friendship between the United States of America and Europe. Elysium fights against ignorance, discrimination, racism, hatred, and anti-Semitism by means of art.”
“Elysium was founded on October 11, 1983, by Gregorij H. von Leïtis as a theater company in New York and presented numerous American premieres of German language plays in English translation. Theater and the arts were used for the integration of the socially marginalized groups: Gregorij von Leïtis worked with the children of Puerto-Rican immigrants in the East Village and initiated the program Theater for the Homeless. In 1993, the Elysium Theater Company was transformed into the trans-Atlantic cultural exchange organization, Elysium – between two continents. Over the past few decades, the focus has been on the rediscovery and presentation of music and literature created by artists who were persecuted by the Nazis. Elysium’s theme and banner is ‘Hate is a failure of the imagination.'”
“Elysium’s history is closely linked with Erwin Piscator and his groundbreaking ideas of a politically and socially relevant theater. Erwin Piscator believed that “art only achieves its purpose when it contributes to the improvement of man.” In 1985, Gregorij von Leïtis founded The Erwin Piscator Award Society to honor and commemorate the artistic and humanitarian legacy of the great theater man Erwin Piscator and his lasting influence on theater on both sides of the Atlantic.
The Lahr von Leïtis Academy & Archive in association with Elysium presents ‘Art and Education without Borders.’ Their belief is that education and art can empower and enlighten the younger generation through free lectures, seminars, workshops, and master classes. They want to familiarize young people with the treasures of exiled art to help them create a meaningful future that incorporates the lessons learned from history.”
The program began with an introduction by Michael Lahr, Program Director and Treasurer. He proudly hailed the many accomplishments and the sense of all good things that have progressed in the 35-year history of this noble dream of Gregorij von Leïtis, founding Artistic Director and President.
The first speaker was Dr. Helmut Boeck, the Consul General of Austria who spoke of the art and idealism pursued by Elysium’s founders and supporters.
The next speaker was Jens Janik, Deputy Consul General of The Federal Republic of Germany who had high praise for Elysium and its words and deeds and unshakable idealism during these current challenging times.
Corey Friedlander, who handles public relations for Elysium, spoke with zeal about the presence and prescience of Elysium and how needed it is today. I am not a theologian but “blessed are the peacemakers for theirs is the kingdom of heaven” seems appropriate.
The radiant and always vital Jolana Blau, Vice President of Elysium and Gregorij von Leïtis, Founder and President, gave a touching thank you to all. Their affection and respect were presented with warmth and love in the finest sense of the word. A recent Erwin Piscator awardee, Jolana Blau, is a concentration camp survivor who is a symbol of betterness replacing bitterness. Her sparkling smile is like the warming sun and a new dawn for a weary world.
The playwright David Hirson, the baritone Peter Clark, who has worked with Elysium in the past (he sang one of the parts in Gregorij’s production of Ernst Krenek’s opera “What Price Confidence?” at the Rome Opera House, and also was part of the world premiere of Egon Lustgarten’s opera as a work-in-progress at Weill Recital Hall at Carnegie Hall, also directed by Gregorij). Peter lives in Brooklyn.
The reception gave us the pleasure of speaking to the honorees and friends. Michael Lahr and Gregorij von Leïtis just returned from several months in Europe presenting through Elysium programs, many lectures, and creative and hopeful plays.
It was nice to see tenor and humanitarian Cesare Santeramo, always elegant, witty and charming. We wish his partner, Dr. Robert Campbell, well and missed his presence. Both were honored by Elysium at the Lotos Club a few years ago.
We greeted the gifted photographer Letitzia Mariotti and discussed the talent of famed Corsican tenor Tino Rossi who, next to Napoleon Bonaparte, is a legend from Corsica. Just Google his recording of “Un violon dans la nuit” or his hit “Vieni, vieni.” Letitzia has a family link to Napoleon.
We chatted with young Italian-American Gary Guarinello whose family is from Campagnia and Palermo, Italy and who expressed an interest in seeing his first opera. My wife Judy and I suggested Verdi’s Aida orPuccini’s La Bohème or Franco Zefferelli’s spectacular Turandot at the Metropolitan Opera. We spoke to newlywed coloratura soprano JeanMarie Garofolo and husband Helder De Sa (of Portuguese descent) who are on the threshold to a happy musical and harmonious future. It was a pleasure to chat with Corey Friedlander who eloquently spoke earlier and does publicity for Elysium. I mentioned the “old” saints revered by my grandmother, particularly St. Anthony of Padua comparing them to our “new” saints – Michael Lahr, Gregorij von Leïtis and Jolana Blau who have accomplished and continue to accomplish miraculous good deeds through Elysium the last 35 years, in today’s unsteady world.
The excellent wines and foods at the illustrious Lotos Club were worthy of this joyous celebration. Michael Lahr and Gregorji H. von Leïtis deserve such acclaim. They are now SUNG heroes in my eyes, after 35 years of spectacular and newsworthy “happenings” with Elysium. We are truly blessed to applaud and share this wonderful event. In many an opera, “Esperanza” is what is taught. As long as we have Elysium we have HOPE in abundance.
We thank Program Director Michael Lahr, Founder Gregorij H. von Leïtis and Vice President Jolana Blau. We wish you all at least CENT ANNI and continued great success!
The Rockaway Post Theatre Company presented an exciting production of Arthur Miller’s play A View From the Bridge on Saturday evening, October 6th. The company is located in Fort Tilden, an old historic Army installation between Riis Park & Breezy Point in the Rockaways. This whole area is now part of Gateway National Park along with Floyd Bennett Field, which was a prominent airfield in World War I & II.
A View from a Bridge was written by Arthur Miller in 1955 as part of a two short play production. He re-wrote it as a two-act play the following year. At this time in our history, this play about immigration is very à propos. My wife Judy and I saw it as an opera a few years ago at The Vertical Player Opera on Court Street in Cobble Hill Brooklyn. We were profoundly moved by this as an opera by William Bolcom and now we see it as the magnificent play, a work of understanding and genius. Arthur Miller, a renowned Brooklynite (1915-2005) lived in Brooklyn Heights and we would sometimes see him or author Norman Mailer walking amidst the citizenry of that fabled Brooklyn area. Arthur Miller and his wife Marilyn Monroe often dined at Cafiero’s Restaurant, a legendary eatery that is now an artist’s loft nearby. My father Santo (Sam) Pantano had a Florsheim Shoe Store on Columbia Street for many years in the 1940’s and 1950’s and he was privy to the gangsters and characters of Red Hook, South Brooklyn. Judy and I have lived on President Street for 35 years just across the street from where my father’s former shoe store was on Columbia Street. As a young man, I would walk to the shoe store from St. Francis College that was originally on Court and Butler Streets, my Alma Mater, which was near Ebel’s Restaurant and Ice Cream Parlor and the legendary College Bakery. The “old timers” still call it Red Hook or South Brooklyn and have never really embraced the “new” and uppity name of Carroll Gardens. The neighborhood has changed now but the Italian flavoring still strongly exists with Mazzola’s Pastry shop, the famed House of Pizza & Calzone on Union Street operated in the “old days” by the legendary much loved Giovanni (John) Teutonico and Onofrio Gaudiso. They on occasion still visit current owner Paul DiAgostino and like all of us, are so happy that the tradition is held sacred and continues to this day with great pizza and calzone. On nearby Court Street, Court Pastry, Caputo’s Bakery, Monteleone’s Pastry, Esposito’s Pork Store, Mazzone’s Hardware and a few others are still active in the neighborhood.
When my father had his shoe store, Virgilio Santamaria was the photographer who lived upstairs. He had a cousin, the nuclear scientist Enrico Fermi who told my Uncle Cologero (Kelly) that the longshoremen lived better than he did. The great tenor Enrico Caruso sailed back to Italy to die in 1921 with his wife Dorothy and baby Gloria from Pier 7 nearby waving to the multitudes who saw him off. A decade earlier, Caruso, surrounded by police and undercover, went to Van Brunt Street to capture suspected Mafiosi who threatened him and his family. They were in reality two out of work Italian immigrants who desperately needed money. Ever faithful to his fellow Italians, Caruso was the first one to sign a petition to have them released. Lieutenant Petrosino intervened years before to protect the great tenor from Mafia threats. (See the film “Pay or Die” with Ernest Borgnine as Inspector Petrosino). The legendary “Mondo the Midget” was a gangster wannabee whose job was to feed the pet lion the Gallo family “adopted” to put fear in the hearts of their creditors. It was a rich textured neighborhood and Arthur Miller, sitting in Montero’s Bar along the taverns on Atlantic Avenue, first heard the story that inspired A View from the Bridge. It is Italian oral tradition conceived in whispers, the disgrace and tragedy of Eddie Carbone. If only Eddie Carbone had listened to the soothsayer, the lawyer Alfieri.
The setting is Red Hook, Brooklyn in the 1950’s. The ominous sounds of horns and seagulls filled the theater with the cacophony of the Red Hook waterfront. Alfieri the lawyer narrates the tale, like a Greek chorus and is very much a “Beware the Ides of March” prophet. Bernard Feinerman, a well-known actor from Brooklyn Heights, was an almost Biblical figure, a “wise” man, a prophet raising his voice against a tide that Eddie Carbone embraced. His advice to Eddie is simple pure truth, but it falls on “deaf” ears. Alfieri warns Eddie repeatedly not to pursue what he is feeling, but Eddie stubbornly holds his old beliefs, which consume him and swallow him whole. Feinerman’s excellent diction, emphasis on truth, nobility of utterance, wisdom in law and religion, made him a prophet without honor, an eloquent angel who could not break the wall that the devil set up. In Sicily, honor supersedes law! “You can NEVER have her, Eddie – only GOD makes Justice.” Alfieri’s advice to Eddie, “Let her go and give her your blessing!” was not heeded. Mr. Feinerman gave us a haunting and unforgettable performance that evoked Charlton Heston’s biblical Moses. The striking blazing reds of the backdrop gave us grandeur and the illusion of a Cinemascope film. Frank Caiati is a talent combo of Frank Capra, David Lean and Cecil B. DeMille.
Eddie Carbone was portrayed by Robert Wilkinson, who gave a searing and soaring performance and was a stubborn and complex character who evoked sympathy from his audience, never contempt. One never really felt that he was disgracing his wife and himself by his obsession and infatuation of his niece Catherine. He and his wife Beatrice had raised her since she was a little girl. Now at 17, she is a young, vibrant and pretty young woman, perhaps a bit flattered by his attention but perhaps also naive. I spoke to Mr. Wilkinson and wondered how he captured the essence of Sicilian Eddie Carbone so well. He told me he had some Italian relatives and was able to use that as a reference in capturing Eddie’s character. A truly praiseworthy job, a brilliant performance. A question – in the final, fatal scene with Marco, perhaps subliminal – does Eddie fall on the knife to end it all?
Melanie Mahanna was utterly captivating as Catherine, niece and the “adopted” child of Eddie and Beatrice. She had a sweetness that was beguiling and a “naivete” that was part of the adolescent package. I do not think that there was anything in her lighting up Eddie’s cigar although some might. Her walking around in her slip was not really provocative but who knows what a gossamer garment might provoke? Surely the cigar lighting pleased Eddie very much and it just might have pleased her to make him happy. It is very important that her portrayal steer clear of ambiguity of character. There is and should not be any nuance of ambiguity. Her basic character of goodness must be retained. Her scenes with Rodolpho were in earnest, sex or not, they were normal for a girl of 17. It is to Eddie that the abnormality falls and with a mighty volcanic crash buried in his own putrid lava.
Jodee Timpone was superb as Eddie’s wife. Her slow awakening to Eddie’s problem was like watching a favorite painting melt from too much steam on a cold day. She slowly fell apart, the sameness of their life in Red Hook, his hard work as a longshoreman, hers, cooking and caring for their niece and feeling the chill still of his cooling feelings for her. The family dinner with Eddie and others crossing themselves was touching in its simplicity. What a sublime piece of work and a performance to remember. Bea’s caressing of Eddie’s dead body symbolized her whole life, devoted to Eddie Carbone.
Rodolpho was in the skilled hands of Matthew Barrera. Rodolpho, illegal immigrant was “different.” He loved to sing (Paper Doll, a 1950’s song by the Mills Brothers) he could repair dresses and had an almost effete range of interests. The longshoremen thought him peculiar but Catherine showed interest in him. Eddie warned her about Rodolpho saying he would marry her only to become a United States citizen. In a chilling scene when he sees them together, he suddenly kisses Catherine full on the mouth and does the same to Rodolpho. Near the end, Alfieri arranges for the couple to marry.
Marco was brilliantly portrayed by Guido Corno. Marco has a wife and children in Sicily who he helps support by coming to the United States to work and help. When he finds out that someone has called the immigration police (Submarines) he spits at Eddie. He and Eddie fight and Eddie gets stabbed and dies. This is the day that Catherine and Rodolpho are to be getting married.
Fred Grieco and Brian Sadowski as friends, Mike and Louis were as true as truth itself with warm affable heartiness, Cronin Cullen and Eric Kramer were authoritative in their police officer roles, Francesco Ciaramella and Mike Whelan excelled as the “Submarine” immigration officers with sanitation men attitudes toward the human refuge at their disposal. Mr. Lipari (Kevin Abernethy) and Mrs. Lipari (Ruth Graves) were a perfect fit. The main course actors and ensemble made for a perfect dish, each blending in a perfect meal with extra virgin olive oil and fresh from the grape vinegar. This was a perfect performance of a great work and the wonderful and appreciative audience who applauded and cheered with great enthusiasm in the “wilds” of an oasis at The Rockaway Post Theatre.
Director Frank Caiati is a young man with a fine future. The direction was contained and intimate when needed and broad an expansive when necessary. One’s eyes and mind were always focused on the proper protagonists. Directing is a soufflé that MUST work or it collapses. This was set up to perfection. The reddish sky, the stairway descending to Eddie and Beatrice’s apartment, the bright scenes where Alfieri, like Moses, pronounces his apprehensions and philosophic truths were all indelible and compact. As Alfieri said, “I feel like a lawyer in Caesar’s time – powerless to watch as the events of history run their bloody course.” Eddie Carbone kept worrying about his being disrespected by all including his neighbors in Red Hook. His wife Bea, his niece, everyone not caring about the proper “respect” that was his due – but as a possible “snitch,” his reputation was gone.
Red Hook today has Fairway and Ikea and some new buildings but some of the old “City Island” type areas remain. Sessa’s Bank is gone from Union Street as is Frank Sacco’s Department Store, several movie theatres such as the “Happy Hour” and “The Luna” are gone as are the Sicilian puppet shows (with Orlando Furiso – giant puppets Medieval armor battling Malagiggi the villain.) Ocean liners come in now and dock nearby. Rents and property values have escalated. The iconic swimming pool and parks remain. The housing projects once Scandinavian and Italian are still here as is the imposing Church of the Visitation. The pushcarts and small family owned stores are gone. But Eddie Carbone’s days are memories and dust in the passage of time and a chill in the ocean breeze.
The souvenir program notes welcomed back Suzanne Riggs as Stage Manager, Adele Wendt as Assistant Stage Manager and marvelous costumier.
How do we love thee? For brilliant productions, hard working company, talent supreme, friendly audience, including many from “The Red Hook hood.” A teacher friend of ours, a true gentleman, Les Kraft who lived in Far Rockaway proudly told us of his acting in this Far Rockaway Company. Just before the hurricane wiped out his house, he sold it, married and is now living in Florida. We thank him for his being a factor in our visit.
A resounding bravo to the Rockaway Post Theatre Company! This truly was a night to remember. The applause, cheers and peerless performance still echo in memory!
On the evening of Saturday, August 25th at the Marcella Sembrich Museum in Bolton Landing on the shimmering banks of Lake George, we happily witnessed a program called “A Night in Budapest.” It featured Daniel Szasz, violinist and Laci Rácz on the cimbalom. The two other musicians were József Szász, viola and Lőrinc Szász on double bass. Earlier that evening, we joined the music lovers outdoors midst the high pine trees along side Lake George for Hungarian refreshments and lively talk. We then entered the concert room of the Marcella Sembrich (1858-1935) Museum where the great Polish soprano lived and had her school of vocal students from Julliard and the Curtis Institute from 1924 until her death in 1935. The room had portraits and paintings of Mme. Sembrich and a view of the lake in the front of the room.
Over a decade ago in Eastern Transylvania’s largest city, Daniel Szasz and Laci Rácz joined forces to create the Üsztürü Ensemble. The group has won raves in both Europe and North America. It brings to life a “revival” of the old school of authentic village musicians playing Hungarian music.
Daniel Szasz, master violinist is concertmaster for the Alabama Symphony and is concertmaster of the Lake Placid Sinfonietta and has been praised for his “breathtaking” and “exquisite” playing to which I add, a Hungarian with the style of Paganini!
Laci Rácz is an 8th generation descendant of the legendary Rácz family of musicians playing both violin and piano. He was drawn to the cimbalom and played in many orchestras including the Hundred Gypsy Violin Orchestra and gypsy bands as well as the famed Roby Lakatos Ensemble in Brussels. His studies at the Béla Bartók Conservatory and the Franz Liszt Academy helped him perfect his art.
Richard Wargo, composer and Artistic Director of the Marcella Sembrich Museum, introduced the soloists and ensemble and gave a brief history of the museum and mention of this great soprano Marcella Sembrich. She sang at the Metropolitan Opera the night after it opened in 1883 and later on, including her Gilda to the Duke of Mantua who was the legendary tenor Enrico Caruso in his Met debut in 1903. Enrico Caruso was the subject of last year’s gala at the Sembrich in another brilliant late summer affair. Mme. Sembrich brought her much acclaimed Gilda (Rigoletto) to the Brooklyn Academy of Music with the Metropolitan Opera on tour on November 23, 1908 with fellow Pole, acclaimed basso Adamo Didur as Sparafucile under the legendary baton of Arturo Toscanini. Fortunately, her Caro Nome and the Rigoletto Quartet (with Caruso) are part of her recorded legacy. Her recordings are available at the Sembrich Museum. Her Lucia Sextet with Caruso and The Merry Widow Waltz (Both recorded in 1908) are really worth a listen – such brilliant coloratura and embellishments.
Laci Rácz gave us a brief history of the cimbalom which originated in Persia 600 years ago and his instrument looked like an exotic desk with strands of steel keys that were plummeted by mallots much like a drummer but the soft exotic tones were from another world. The great Hungarian American radio announcer, George Jellinek use to open his program “The Vocal Scene” with a Zoltán Kodály piece, Háry János Suite, which had a cimbalom playing. As a young man, I often wondered what instrument that wonderful sound was from.
The program began with Este a Szekelyeknel (An evening with the villagers) by Bela Bartók. Daniel Szasz played masterfully, the violin had power and precision and the art of seemingly calling the shots, while the cimbalom, in the soul and hands of Laci Rácz, seemingly in agreement, yielding and shining.
The second piece (Traditional) arranged by L. Rácz Citromfa (Lemon Tree) had both violin and cimbalom playing loud and soft swaying like a succulent tree being pushed by a gentle breeze.
Next was Puszta Fia (Son of the Puszta) by B. Keler. This was played by both the violin, sweeping imploring with Daniel Szasz seductive tones and the cimbalom with Laci Rácz yielding to the passionate outbursts. Both instruments and their interpreters played with magnanimity, soft and louder with abandon and panache.
Valse Triste by F.Vecsey, had a touch of Finnish composer Jan Sibelius who also wrote an iconic composition with the same name.
A Csitari Hegyek Alatt, arranged by L. Rácz,proved to be electric and haunting, a virtuoso ensemble with Lőrinc Szász on the double bass adding richness and József Szász fulfilling with his singing viola.
A traditional piece followed, Csipd meg Bogar arranged by Laci Rácz that allowed each musician to express the joys of being Hungarian through music.
The fabulous and familiar Franz Lehar’s Magyar Abrand (Hungarian Fantasy) with its soaring melodies and extravagant grandeur, took us to the heavens and I could swear the ducks were dancing on the waters.
J. Hubay with Hejre Kati (Scene de la Csarda No. 4 op. 32) had a cimbalom solo that was like drummer Gene Krupa in his prime and Enrico Caruso and Marcella Sembrich singing the Rigoletto duet and Paderewski stunning his audience on the piano.
The combination of violin and cimbalom making love that made for musical climaxes that gave goosebumps and the desire to make new decibels with shouts of bravo and bravi!
The Csardas from Hungarian Rhapsody No. 18 by Franz Liszt was foot stomping and bravura! If I did not have any Hungarian DNA, I got it from exposure to such thrilling samples of the soul of Hungary.
The final selection, Csardas by V. Monti was the fulfilling and defining moment of this concert. Feet marching and moving to music, not military strutting about a people that fought to be free and have that beat in their heart and soul. It was brought to vivid and thrilling life at this unforgettable concert assembled by Richard Wargo and staff. I know that the spirit of Marcella Sembrich through Richard Wargo, blessed us all with a night to always remember.
Afterwards we went outside to enjoy superb desserts and libations. The Hungarian delicacies were from the exalted kitchens of the Inn on Gore Mountain with Rich, Susan, Sophia, and Chun Ling Minucci. Even though I am on a diet, a delicious sensual strudel made me an offer I could not resist.
There was exciting Hungarian folk dancing with the exuberant Julia Redo and Csaba Zsolt Tokes and two charming, talented costumed youngsters, who were ushers, Annabelle and Balazs. What fun!
Thank you Richard Wargo, you are a composer of note (Marni Nixon sang in one of your operas) and you looked dashing and very proud wearing a medal given to you by the Polish government for your cultural work. Thanks to Executive Director Elizabeth Barton-Navitsky and Administrative Assistant Michelle San Antonio for your many kindnesses and your assistance hosting this beautiful happening. It was nice to meet and chat with Board President Bill Post Hubert who is also a noted organist and his wife Katherine and board members Philip Kates who is a violinist with the Philadelphia Orchestra and a member of a superb chamber music group called Liebesfreud and Charles and Anita Richards also board members who reside nearby. I enjoyed Charles’ “Buda-Pest” shirt that he wore with ethnic pride!
I met Daniel Szasz and told him that the great violinist Jascha Heifetz would have admired his great talent. I mentioned to Laci Rácz that there was a rum sniffer in Puerto Rico who was called “the Caruso of rum sniffers” so great was his authority in approving the product. I told Mr. Rácz, “you are the Caruso of the cimbalom.”
It was another perfect night under the full moon and stars. Judy and I will always remember “A Night in Budapest” at the beautiful and rustic Marcella Sembrich Museum on the banks of Lake George. A glass of Tokay (or tokaj) “Sto-lat!” meaning “To your health or 100 years!” (Polish) or “Egészségére!” (Hungarian) and a toast to Autumn, the holidays and to next year at the Marcella Sembrich Museum!
Martina Arroyo Foundation’s Prelude to Performance presented an outstanding Falstaff on Friday, July 13th at the Kaye Playhouse at Hunter College in New York City.
Falstaff, which premiered at La Scala in Milan on February 9,1893, was composer Giuseppe Verdi’s final opera completed in his 80th year. (1813-1901) It is one of two comedies he wrote; the first was a failure (Un Giorno di Regno-1840) early in his career. Falstaff has a fresh contemporary sound and feel to it. It is a delight to see and hear. His librettist, Arrigo Boito (1842-1918) was the person who lured Verdi out of retirement by providing a magnificent libretto that did justice to Shakespeare. Boito also composed Mefistofole and Boito’s brother Camillo, an architect, assisted Verdi in his Casa di Riposo for aged and indigent opera people and where Verdi and his wife Giuseppina are buried.
Sir John Falstaff was portrayed by José Luis Maldonado. His singing of “L’onore! Ladri!” at the conclusion of Act One was energetically performed. His repeated use of the word “No” was truly mind-boggling as well as “food for thought.” There is an old recording of this showpiece by Antonio Scotti and Mr. Maldonado gave it everything he had which was like the spumoni dessert tray at L&B Spumoni Gardens in Bensonhurst, Brooklyn. His dark flexible bass-baritone had a very active top which made for some delicious phrases. His second act singing of “Quand’ero paggio” recalling him, as a lean loined youth was noteworthy. “Va, vecchio John” was his theme but it bounces away before becoming maudlin. Falstaff represents defiance of time and his final comments of “Tutto e mondo è burla” are a perfect swan song and definitely not a swine song. Verdi’s Iago in Otello believes in a cruel God but also says “There is no God and heaven is an earthly sham.” (Credo) Falstaff is certainly less cynical and much more conciliatory. Mr. Maldonado with his outrageous courting attire drew many a laugh but he was likeable in his self-anointed futility. One found oneself utterly captivated by this Falstaff and the composer would have been pleased to see and hear such a wonderful performance.
I have seen Falstaff many times and I vividly recall Maestro Leonard Bernstein conducting a fabulous performance at the Metropolitan Opera in 1964. I have seen Tito Gobbi, Paul Plishka, the remarkable 69-year-old Giuseppe Taddei’s Met debut all memorable and Señor Maldonado carries on this great tradition. I recall a fresh voiced Renata Tebaldi late in her Met Opera career as Alice Ford.
Dr. Caius was sung by Kyuyoung Lee whose beguiling tenor coupled with strong acting made for an excellent character portrayal.
Bardolfo was John Kim whose tenor was noteworthy and his instinctive dexterity made for a strong interpretation.
The Pistola of Christopher Nazarian was impressive. His sonorous voice and magnetic presence made one know why ensemble singing is so important. This bass ran the bases and hit a home run!
Meg Page stood out with Molly Burke, whose magical mezzo captivated us all. No wonder Falstaff was enchanted. Ms. Burke has a full, rich caressing mezzo that is expansive and she is a win-win in her acting and singing and clearly an audience favorite.
Alice Ford was sung and played by Nina Mutalifu and was up to the hi-jinx of her character and used her strong soprano as a saucy barometer of mock sensual sound and deed. Her high notes were impeccably hit and her versatility made out of the commonplace and into the rare. (Stranger in Paradise/Kismet) Her orders to put the laundry basket containing Falstaff out the window drew shock and laughter. A great scene. (Act Two, Scene Two)
Mistress Quickly, Emily Skilling possessed a dark amaretto flavored voice. Her mezzo was the coating of a delectable sweet. She had a commanding presence, comedic skills and without outward advertising, the dark undertone of a sad song not released. A real find! Her prancing with her female Falstaff fellow “victims” made for much laughter. She is born for the stage and opera is lucky to have her. Her “reverenza” was beguiling fun like sprinkles on a sundae!
Nannetta was sung by soprano Maria Brea. Her sweetly sung duets with Fenton were vibrant and her aria in the woods as Queen of the Fairies was enchanting. Ms. Brea’s voice and most ingratiating stage presence are very praiseworthy. I see Ms. Brea is doing a myriad of operas with more dramatic potential. Nannetta is a lovely start to a promising career. Her magical singing of “Sul fil d’un soffio etesio” still echoes in memory.
Te Yu Huang was a pleasing Fenton. I have a recording from the Met broadcasts with the immortal Leonard Warren as Falstaff, the inimitable, Licia Albanese as Nannetta and the Sicilian tenor Giuseppe Di Stefano as a flawless robust Fenton. Mr. Huang excelled in duet and solo. “Dal labbro il canto” was abundant with sweetness and charm and “Torno all’assolto” where they briefly blend in ecstatic love was pure sunshine.
Gerardo de la Torre was Ford. He was truly a Rolls Royce among Fords. Señor de la Torre possessed a robust, vibrant and warm baritone that also had range and flexibility. His rage in “E sogno? o realtà….” was contagious. We all felt his jealousy and were swept into the whirling passion of this great aria.
In 1925 at The Metropolitan Opera House, a young American baritone, Lawrence Tibbett was Ford to the legendary baritone Antonio Scotti’s Falstaff. Tibbett got such an overwhelming reaction from the audience that he became a star overnight and Scotti watched his future Fords to protect his career. When Tibbett later sang the role of Falstaff he too, did not want to be overwhelmed by another Ford. Fortunately Tibbett’s recording of Ford’s aria is available. Lawrence Tibbett was a great Met Opera star, also of concert, radio, film and I saw him as the immortal Ezio Pinza’s replacement in Fanny on Broadway circa 1956. There are recordings by Antonio Scotti, (L’onore! Ladri!) and the original Falstaff (Quand’ero paggio) French artist bass baritone Victor Maurel (1848-1923) so just listen and marvel!
Matthew Greenberg was the adroit InnKeeper and Akari Wientzen just entered the world of Verdi as a page/messenger and she will find many wonders there.
Falstaff was accorded many cheers and bravos by this audience at the Danny Kaye (and his wife Sylvia Fine Kaye) Playhouse, two outstanding Brooklynites who I am certain looked down from Comedy Heaven and smiled to see Giuseppe Verdi’s Falstaff so brilliantly performed. The sets with the use of a film projection were remarkable and really gave us the feel of the late 14th century Windsor English countryside.
It was so nice to see the founder of the feast, glorious soprano Martina Arroyo smiling broadly with the knowledge that Giuseppe Verdi led the applause from the heavens and that the future is ensured by such a splendid summertime evening of Verdi. Ms. Arroyo remembers going to Ebbets Field to see the Dodgers with her father Demetrio, who was a supervisor at the Brooklyn Navy Yard which helped pay for her voice lessons. President Obama honored Mme. Martina Arroyo a few years ago at the Kennedy Center.
Special praise to Maestro Richard Cordova whose vital and vibrant conducting brought out all of the delicious flavors from this rich and subtle score with its joyous fortissimo finales. The grand fugue at the finale was brilliantly performed, ending with Sir John Falstaff’s “Tutto nel mondo è burla” (All the world is a joke).
Charles R. Caine’s costumes were glorious, especially Falstaff’s courting outfits. Prelude to Performance acknowledged the special efforts of A.T. Jones and sons in providing the beautiful and elaborate costumes for both Falstaff and Don Pasquale this season, with special thanks to Ehrich Goebel and Mary Bova for their exceptional work. Ian Campbell’s wonderful stage direction, Steven Horak’s wig and make up design and Sergio Stefani was the extraordinary Italian coach. The sets and film projections (Dante Olivia Smith) were colorful and magical. Lisa Jablow gave us superb supertitles, readable and witty by Cori Ellison. Noby Ishida was the chorus contractor and countless others who labored to make us smile.
Metropolitan Opera Verdi baritone Mark Rucker (Administrative Director of Prelude to Performance) who was an excellent Ford in his ongoing career and his wife Sadie Rucker, pianist accompanist and publicist, oversees the Prelude to Performance and they truly are the ones who make this garden bloom and grow along with the divine Martina Arroyo as “the bridge to all.” Mark’s beloved parents Dolarita and Olney K. Rucker, were honored in the program “and all parents who help young artists realize their dreams,” as the theme. Mark and Sadie Rucker have recently joined the vocal and music faculty at Michigan State University.
It was nice to see Nimet Habachi (WQXR radio), Channel 13 spokeswoman and special board member Midge Woolsey and economist Dr. Jerry Stolt, renowned filmmaker August Ventura 27-The Verdi Club, legendary Maestro Eve Queler, and from Opera Index: Met mezzo Jane Shaulis, Joseph Gasperec, composer Philip Hagemann, Murray Rosenthal and William Goodhue; Ken Benson, career maker from Columbia Artists Management, Brooklyn’s Greg Trupiano from the Sarasota Opera who is a Walt Whitman lecturer of renown, Deborah Surdi, active with the Martina Arroyo Foundation and the Brooklyn Academy of Music, Edna Greenwich and Dwayne Owsley from Opera Exposures, Susan Stout French diction coach and husband lawyer Arthur (Trace) Stout, the effervescent Meche Kroop, opera reviewer and chef, the talented soprano Patricia Kadvan from The New York Grand Opera brought back summer memories in Central Park with the late, sorely missed Maestro Vincent La Selva and the New York Grand Opera, Park Slope chorister and world traveler Janet Schoor was also among the revelers plus countless others whose support with endless enthusiasm make it all worthwhile. To “meet and greet” makes for great fun!
Bravo Falstaff, bravo Verdi and brava the indomitable Martina Arroyo, President and Artistic Director of Prelude to Performance and the magnificent awardee students. You gave us opera at its best! We look forward to young singers in Spring, Summer, Autumn and Winter with your wonderful singing to inspire us and give us joy and thanks. We will tell President Stephen De Maio of the Gerda Lissner Foundation of the wonderful Falstaff and it will surely be shared by all.
We wish eminent conductor and music director Willie Anthony Waters a speedy recovery and look forward to him leading the 30 or so talented musicians again and soon. We miss his sublime talent and upbeat personality. A toast to Prelude to Performance next year!
What the great Verdi did for aging and indigent opera singers with his Casa di Riposo, providing free care, Martina Arroyo accomplished with a free stipend in her Prelude to Performance of six weeks awardee study for those young singers starting out who need such vital preparation.
Verdi wrote to a friend, Giulio Monteverde in his last years, “Of all my works, that which pleases me most is the Casa that I have built in Milan to shelter elderly singers who have not been favored by fortune or who when they were young did not have the virtue of saving their money – poor and dear companions of my life.” Architect Camillo Boito, the brother of librettist for Otello and Falstaff Arrigo Boito, assisted Verdi in the building of the Casa. There is a touching and wonderful documentary about the Casa di Riposo (which was completed in 1899 and occupied after Verdi’s death in 1901) called “Tosca’s Kiss.” (1984). Martina Arroyo fulfills with her Prelude to Performance. We applaud the marvelous Falstaff and cast, the spirit of Verdi and the ongoing greatness of Martina Arroyo, legendary Verdi soprano and superb humanitarian.
On the afternoon of Saturday, May 12, Regina Opera, located in Sunset Park, Brooklyn, presented a dazzling Aida. This production of Aida was dedicated to the memory of Marie Cantoni, founder of the Regina Opera. This was truly a special afternoon. Aida has never been done before at the Regina. With its Grand March and “cast of thousands,” and history of outdoor stadium performances, it seemed an impossibility. Gifts from the Donald C. Brace Foundation and The Liu Foundation made this production possible.
Composed by Giuseppe Verdi (1813-1901) for the opening of the Suez Canal in Egypt, its premiere on December 24th, 1871 included a libretto by Antonio Ghislanzoni and was a major happening. It has been in the repertory of the world’s major opera houses and everyone is familiar with the Grand March. The music is pagan and magnificent, and is another Verdi masterpiece.
Music Director Maestro Gregory Ortega stepped to the podium and the magic began. We were in the King’s Palace in Memphis, Egypt. Radames, the Egyptian warrior chosen to battle Ethiopia, is in love with Aida, daughter of the enemy King Amonasro who was also captured by the Egyptians. Radames then sings “Celeste Aida” where he pledges his love for Aida. This iconic aria is one of the staples of opera. Tenor José Heredia was Radames. His singing of “Celesta Aida” was cautious and held back, then grew in strength. His final“Vicino al sol” was sung softly, diminished from the entrance of the note, which is the preferred way.
Enrico Caruso was Radames with the MetOpera on tour in Brooklyn on January 17,1909 with Arturo Toscanini conducting at the Brooklyn Academy of Music (BAM). Caruso belted the final “vicino al sol” in his 1911 recording and it was pure gold. Famed conductor Arturo Toscanini had Brooklyn tenor Richard Tucker sing it loudly, then repeat it softly. Franco Corelli reduced the final note to a whisper and Pavarotti also diminished the tone. Verdi might have preferred it diminished but I am a Caruso man and prefer it sung all out. I think most audiences prefer the “all out” version.
In the next scene I enjoyed Mr. Heredia’s full voiced “Immenso Ptah.” His scene with Amneris, “Già i sacerdoti adunansi” was sung with precision and power. His “Sacerdote, io resto a te” was sung with intense abandon. His “La fatal pietra” with Aida in the tomb was sung with ample lyricism and his “O terra addio” was a bittersweet blending of a struggling and sad-but-together finale. Mr. Heredia was a Radames with strong potential.
For the Regina performance, Carami Hilaire was Aida, a solid Brooklynite with a remarkable soprano voice. In her scenes with Amonasro, she was torn with emotion but she could not abandon Radames or her beloved country. Ms. Hilaire sang “Ritorna vincitor” with passion, conviction and a hint of confusion of her backing her lover against her father. Ms. Hilaire has a strong voice and it goes with her equally strong acting ability. Her “O patria mia!” was sung with beauty of tone, passionate emotion, wonderful power, and tender softness, and was a strong example of Ms. Hilaire’s outstanding talent. Her joining Radames in the last act with “O terra addio” was sung with radiant abandon as they die together. Ms. Hilaire is a true daughter of Brooklyn and a true Verdi soprano. Her performance rates among the very best Aida’s I have ever seen.
Amneris was in the persona of mezzo soprano Lara Tillotson. Her first act triumphs and her fears are combined in a exciting frenzy. Amneris’ soul was revealed by her scenes with Aida, saying Radames was dead then that he was alive, to check Aida’s reactions. The emotions were enhanced by the excellent supertitles by Linda Cantoni. In the Judgment scene in Act 4, Amneris’ “A lui vivo, la tomba” was sung brilliantly and culminated with“Empia razza! Anatema su voi! La vendetta del ciel scenderà!” which was greeted by an ovation for its tremendous – beautifully sung and acted – imploding of Amneris.
Amonasro, Aida’s father was sung by Peter Hakjoon Kim, whose stellar stage presence and superb baritone moved the audience. His singing of “Ma tu, Re, tu signore possente” in Act 2 was eloquent and elegant. Kim’s strong fearless and pliable baritone is truly a Verdi baritone and has beauty, passion and something more. His scene with Aida where he threatens to”disown” her was truly powerful.
The King of Egypt was sung by Peter Ludwig. His robust basso was authoritative inSalvator della patria, io te saluto” and “Or di vulcano al tempio” in which he was joined by the excellent Regina Chorus.
Ramfis, the High Priest was sung by basso Hyong Sik Jo in a clear and regal manner. Mr. Jo does not possess the “dark” tones of a Ramfis. He did very well in the immense Ptah duet with Radames and in other scenes where his voice “took charge.”
Justin Scott Randolph was the Messenger. His fine powerful tenor has a future in larger roles.
Aida Carducci was a splendid high Priestess. Her shimmering powerful soprano took over and made one listen.
Maestro Gregory Ortega led us in a lyrical and powerful performance. The Grand March was triumphantly performed and the “O terra addio” had heavenly qualities to it. This was a truly memorable performance from the 36 splendid musicians. Christopher Joyal deserves plaudits for the strings, which were magnificent. It was nice to see violinist Diana Barkan. Kudos to Jerome Neuhoff on the tympani. The woodwinds, brass, trumpets and horns were stirring and majestic. Bravi tutti!
The Chorus had much to do in the Grand March and the group included chorister Cathy Greco who is truly a good luck sign amidst the various Egyptian codes. The costumes were the magnificent creations of Marcia Kresge and Tamara Belgrave. The sparkling gold dazzled the eyes and haunted the memory.
Stage director and set design was the result of the superb incomparable Linda Lehr. The “wrestling scene” with Edwardo Brito and Sean Murphy in lieu of a spectacular march was very diverting. Wayne Olsen’s brilliant Egyptian graphic design was truly magical.
The excellent dancers were Wendy Chu and Kelly Vaghenas. They danced gracefully and were ethereal in their movements.
It was so nice to meet and greet in the audience, which included the affable bass-baritone Charles Samuel Brown, who was King Balthazaar in Amahl and the Night Visitors at the Church of the Transfiguration (aka The Little Church Around the Corner) in New York City with my grandson Luciano as Amahl. My son Marcello, his wife Tanya, and my grandson and granddaughter Luciano and Leeza enjoyed the Aida with friends Olga and her son Ilia and daughter Nicole and friend Svetlana. They will all be future Regina Opera goers.
Thanks to Francine Garber, President; Linda Cantoni and Maestro Alex Guzman, Vice Presidents; Joe Delfausse, Treasurer; and volunteer Marlene Ventimiglia. This incredible production took us “out of the commonplace and into the rare.” The Regina Opera really makes one feel welcome.
After the opera, we went for a delicious Mexican dinner at nearby Casa Vieja, where Lourdes Peña and staff treat us and our guests royally. Sunset Park is rising high among Brooklyn neighborhoods, thanks to the Regina Opera and such restaurants as Casa Vieja. A sangria toast to The Regina Opera!
Here’s to the upcoming 49th glorious season! Marie Cantoni’s creation is so vital to New York. This magnificent Aida would have made her and her new friend Giuseppe Verdi very happy indeed!
The 2018 Winners of the International Vocal Competition & Celebrating 50 Years with Maestro Eve Queler & Opera Orchestra of New York
Sunday, May 6th, was a very special day for opera lovers. The Gerda Lissner Foundation and the Liederkranz Foundation presented their prizewinners in a grand concert at Zankel Hall, part of the Carnegie Hall Complex. It also celebrated 50 years of Opera Orchestra of New York with Maestro Eve Queler who, with the orchestra, accompanied the young awardees on their operatic journey.
Midge Woolsey was the host of this exciting event. Ms. Woolsey, who was a familiar radio voice for years, is also a familiar face from her manifold duties as host on PBS Channel 13. She requested the audience greet and cheer her co-host, the well known opera writer and Broadway biographer Brian Kellow, who could not attend and Stephen De Maio President of the Gerda Lissner Foundation and “Father” to so many young singers through the years. We reflect on their fruitful lives, wish them well, thank them for their inspired work and thank dear Steve for this glorious afternoon with legendary Maestro Eve Queler and the splendid young singers.
The Liederkranz Foundation sponsored prizes in two categories: the General Division and the Wagnerian Division. The top prize in the General Division went to tenor Matthew White. Soprano Amy Shoremount-Obra was the top prize winner in the Wagnerian Division. President Joseph Pfeifer from the Liederkranz Foundation presented the esteemed awards.
The program began with “Ah La Paterno Mano” from Verdi’s Macbeth sung by tenor Robert Stahley, who at age 26, is the fine ambrosia for a special occasion. His voice has a very pleasing sound; good secure upper register, fluent legato and breath control building up to a strong finale. A good Verdi stylist ready to go!
Next was “Song to the Moon” from Rusalka by Antonín Dvorák. Elena Perroni soprano sang this rhapsodic and beautiful aria with a dark hued sound, power and a great sense of yearning of this sea creature who desires to be a human woman and love a man. The exotic and passionate orchestra with Maestro Eve Queler made for quite a treat with the sound of music and the quest for magic in the air.
I had some spinal surgery at NYU-Langone Hospital and on the corner entrance (East 17th Street & Second Avenue) there was a street sign that said “Dvorák Place.” That was the house where the great Czech composer Antonín Dvorák lived for three years while composing “The New World Symphony.” Regrettably the new hospital tore it down but the sign is still a significant reminder.
Bass William Guanbo Su sang Bellini’s “Vi ravviso o luoghi ameni” from La Sonnambula. Mr. Su has a pleasing sound to his bass and captured most of the poignant Bellinian style. The fioritura was good, the yearning was heartfelt and the “Italianate feel” was intact. With orchestra embellishments at the end of the aria, it was an exciting moment.
Verdi’s “Surta è la notte …Ernani! Ernani involami” from Ernani was sung by soprano Anna Dugan. Since the classic rendition by the great Rosa Ponselle, this haunting and thrilling aria and cabaletta is held to a very high standard. Ms. Dugan possesses a vibrant soprano voice, her highs and lows were forceful and there was a touch of stridency on top in the cabaletta. These insecurities can be worked out and Ms. Dugan will surely help fill the current void of good Verdi sopranos.
“Ah, lève-toi soleil” from Gounod’s Roméo et Juliette was in the capable hands (or voice) of tenor César Delgado. Mr. Delgado is the possessor of a fine lyric spinto voice with softness and thrust. There was good contrast from loud to soft and a strong finale swelling to an impassioned climax.
Baritone Seokjong Baek sang “Cruda, funesta smania” from Donizetti’s Lucia di Lammermoor. He had just the right amount of seething rage at his sister Lucia and he sang with precision, power, shading and elan. His exciting finale on a good high note was held and inspired the audience to cheers.
During the intermission it was nice to see so many celebrities and friends: Host Midge Woolsey and husband Jerry Stolt, Cornelia Beigel, Michael Fornabaio, Karl Michaelis, from the Gerda Lissner Foundation and Joyce Greenberg loyal patron/contributor of the Gerda Lissner Foundation with friend Ralph Petrarca; Philipp Haberbauer from The Liederkranz Foundation, Gloria Gari from the Giulio Gari Foundation, Met mezzo soprano Jane Shaulis, Joseph Gasperec, Murray Rosenthal, Philip Hagemann, Janet Stovin, Cesare Santeramo, Robert Steiner, Faith Pleasanton all from Opera Index; sopranos Elinor Ross, Barbara Ann Testa, Elaine Malbin; Glenn Morton from Classic Lyric Arts, opera managers Ken Benson and Robert Lombardo, vocal coach Tamie Laurance, Deborah Surdi, from Opera Orchestra, Richard Wargo, composer and artistic director at the Marcella Sembrich Museum in Lake George, Brooklyn reviewer Thomas Lenihan, patron activist Betty Cooper Wallerstein, from Stifel investments Alfred Palladino and wife Christine, Luna Kaufman, author pacifist, export consultant Michèle Classe and husband Anthony, designer Rafael Sanchez, vocal coach Patricia Sheridan, City National Bank’s Joseph Sedillo and John Lawrence and famed opera standee Lois Kirschenbaum.
Mezzo-soprano Hyo Na Kim sang “Einsam Wachend in der Nacht” from Wagner’s Tristan und Isolde. Her warm caressing mezzo was indicative of so much more sound being saved for passages of drama. She has both capital and interest on tap and the result leaves one in awe. Her voice evoked the Champs Élysée and the Eiffel Tower in its imposing authority and grace held by great vocal support.
“Dich teure Halle” from Tannhäuser was sung by soprano Amy Shoremount-Obra. It was voice of strength and beauty that lit up the Wagnerian sky with brilliant streaks of light making impact on Wagnerites and giving life to new lovers of Wagner.This selection calls for brilliance of sound and Ms. Shoremount-Obra gave us that in full measure.
The familiar sounds of “Eri Tu” from Verdi’s Un Ballo in Maschera followed and are reminding us all how wonderful it was to have Maestro Eve Queler and her orchestra behind the singers. Baritone Jaeman Yoon sang this poignant and moving aria from dark menacing phrases to those of longing and heartbreak with a full emotional plate and captured it. He hit some ringing top notes and his final d’amore ended with a passionate Italianate thrust.
Puccini’s iconic “Un bel di” from Madama Butterfly was sung by Maria Natale. In the 1930’s she would have been scooped up by Hollywood like Lily Pons and Risë Stevens Met Opera stars and beauties. Jeanette MacDonald sang in opera after she left Hollywood and sang with Ezio Pinza in Faust. Mr. Eddy had a ten-year opera career before he went to Hollywood. My favorite of their films was Maytime. Maria Natale sang with admirable restraint. Her beautiful soaring soprano seemed to be hearing the legendary soprano Licia Albanese “to always sing on the word.” I told Ms. Natale that she gave me tears with her phrases and determination.The finale was beautifully accomplished with power and pathos and the wonderful Maestro Eve Queler and Opera Orchestra. Maria was a second prize winner and just sang a memorable Violetta in La Traviata in Seattle. I have to admit, I handed her a rose making her both a California gal and a “Roseworthy Butterfly.”
Hubert Zapiór, Polish baritone, was a striking looking Onegin singing” Vy mne pisali”…. from Eugene Onegin – by the great Tchaikovsky. Mr. Zapiór’s beautiful lyric baritone has a lovely quality and Adamo Didur, a star Polish bass during Caruso’s time comes to mind. Beautiful sensual voice, subtle yet moving and powerful. I told Mr. Zapiór that the late Dmitri Hvorostovsky, I am certain in singer’s heaven, is happy to see such a splendid Eugene Onegin now that he is gone.
Soprano Courtney Johnson sang “Je dis que rien ne m’epouvante” from Carmen iconicallyknown as “Micaela’s air.” This aria is said to have greatly enhanced the career of young Licia Albanese. People would see Carmen just to hear Mme. Albanese sing “Je dis que.” Ms. Johnson has a full, radiant and lovely voice with power and resilience. A beautiful top and generous shading give her a special offering to the audience. Her ample finale was poignant and heart wrenching. The Opera Orchestra of New York made everything the stuff of dreams. It was so nice to see how proud her family was of this emerging opera star.
Tenor Matthew White was the winner of the Liederkranz top prize. His singing of “O Paradis” from Meyerbeer’s L’Africaina was a sensation! I always found the French diction to restrict the tenor from “opening up” and both Enrico Caruso and Beniamino Gigli recorded it in Italian. I said when I saw the program that “O Paradis,” lovely as it is, is usually a downer because the French doesn’t open and diminishes the thrill. Mr. White opened with a lovely vibrant tenor of moderate size and his first high note was full and round and had a Corellian spark to it. Then he sang all the long phrases and at the finale came on an ascending scale evoking the quality of the great Swedish tenor Jussi Björling and brought down the house. We all felt like we were present at the creation.
Seokjong Baek closed Act One in baritonal triumph and Matthew White gave us a visceral thrill with his wondrous tenor to conclude the concert.
There was a private dinner at the New York Athletic Club honoring Maestro Eve Queler for her 50 years at the helm of the Opera Orchestra of New York. Karl Michaelis hosted, as many sang her praises which she graciously and proudly accepted and a beautiful anniversary cake was presented. She spoke of past triumphs and how she, a female remained firm, certain of her talent and opened the doors for many women who would not have knocked and deprived the world of their talent.
Many friends and opera lovers were there to dine on delicious pumpkin ravioli, salad, breaded chicken, wines, coffees and desserts as we heard so many great things about Maestro Eve Queler. Some at our table or passing by to chat, were Dr. Anthony Abbate, urologist and actress/stage director wife Geraldine, opera lecturer Lou Barrella and wife Kathleen, Vito & Rosa Pietanza, formally from the New York Grand Opera, photographer Anita Sanseverino, pianist Alba Mazza and opera aficionado Dianna De Martino were happy to be among the privileged many on this special day. Bravo Gerda Lissner and Liederkranz, so beautiful together.
Thank you Steve De Maio for making this event so special! You surely have the magic touch and congratulations to Maestro Eve Queler and her marvelous orchestra, loved and idolized after 50 golden years.This affair was truly special, where past and present united and the fresh young singers gave us a dazzling look at the future.
Franco Corelli Volume 3 arrived and any page that one finds is loaded with fascinating detail and beautiful photographs. There are many tenors mentioned including some current ones.
As a child in Sicilian Bensonhurst Brooklyn, I was familiar with some of these tenors because aside from a SPISA (food shopping), music was a part of life at Sunday dinner. Both my Grandfather’s Francesco and Antonio played guitar and Antonio played the mandolin as well. Uncle Giuseppe played perfect banjo and even had a song on RCA Victor records called “Do You Recall the Hour?” My Mother Marie played the piano and we both sang also. We had a great deal of fun and no one read music!
My grandparents would take me to see Beniamino Gigli films and also such operatic stars as Gino Bechi, Ferruccio Tagliavini and Gina Lollobrigida as Nedda in Pagliacci. My Grandmother Rosalia tended to curse the villains and whores from the audience and I guess this was the way it was supposed to be. My father Santo (Sam) would tell me bedtime stories of Orlando, Rinaldo and Malagigi. Oral tradition was from Orlando Furioso and Enrico Caruso, who had a voice of gold. Thanks to Bertha Lang, my first music teacher, I became a winner on The Ted Mack Hour and the Paul Whiteman show. I sang “Largo al factotum, Vesti la giubba” and many other arias and songs and O Sole Mio was sung phonetically. My very first opera was La Forza del Destino at the Brooklyn Academy of Music (BAM) conducted by Father Pavone from Sacred Hearts St. Stephens Church in South Brooklyn. I was 10 years old but recognized the Pace, Pace aria from an olive oil commercial on WOV radio in my grandmother Rosalia’s house.
My first real opera at the Metropolitan Opera (Met) was Aida with Mario Del Monaco, Zinka Milanov and Leonard Warren on March 8, 1952. This was related to my studying briefly with Maestro Astolfo Pescia at the Hotel Ansonia in 1949-50. He taught Grace Moore, Rina Gigli and Dorothy Kirsten. He also I read, hosted a party attended by Florence Foster-Jenkins and that must have been fun! There are many photos to see and many great and popular voices in Mr. Zucker’s current volume, making it a unique literary experience.
I loved Alfredo Kraus. He was a wonderful Edgardo often going “way up” in the Sextet from Lucia di Lammermoor. His elegant singing of the love duet in Lucia was heavenly and his heroic Hoffmann in his late sixties was unforgettable. My wife Judy and I were in a bus in Spain and the driver was playing records by Alfredo Kraus singing Spanish songs, his free flying high notes were thrilling and I made sure to buy that album back in the States. What a singer! His appearance at a Lucia Albanese-Puccini gala concert was simply amazing. I believe he sung “Lamento di Federico” and “La Donna e mobile” then.
I found tenor Chris Merritt to be without merit. I did not care for the sound and quality of his voice. Corelli is correct on this fact. As for booing, Corelli says that the audience can, if it wishes. I disagree. Boo the management not the singers. Jane Eaglen’s Norma in 2001 was a total disaster. Her “Casta Diva” got scattered applause only. However the jealous claque that booed Enrico Caruso in Naples circa 1901, insulted him so, that he never sang in Naples again. He sang of Naples and died there. I don’t think Corelli enjoyed being booed by a young student for whatever reason, when he challenged him to a duel.
I loved the chapter on Michael Fabiano. I saw the documentary on the Met auditions and saw Fabiano attempting to sing one of Caruso’s greatest songs “L’alba separa dalla luce l’ombre” by Francesco Paolo Tosti on the Columbus Day parade a few years ago in New York City. He shouted incoherently and literally killed the song. I find nothing fine in his voice. It is ambition driven – but that clearly is not what it takes to reach the soul of this Tosti song.
Carlo Bergonzi, who I recall singing a superb Ballo in maschera also was a great Edgardo, a very good Radames and Manrico. His tenor, despite its not very open or large size did very well in dramatic parts. I saw a recital of his at Brooklyn College where some of his silvery high notes à la Gigli brought tears to my eyes as did his very moving Canio. His final exit on a banana peel at an Otello concert was a bad dream.
I loved Giuseppe Giacomini’s voice. His Manrico was wonderful, his Canio really good but he had a strange stage countenance that kind of lessened the effect.
Argentine tenor Jose Cura seemed a good poseur but he developed a “sing song” crooning quality that evoked the flaws of John Vickers, Anna Moffo and Renée Fleming that many found irksome.
Ferruccio Tagliavini was much loved and very popular. His films, his sweet, vigorous singing made him quite a favorite. He was Gigli-like in his use of pianissimo and sweetness and his top notes were somewhat pushed but exciting. His debut at the Met on January 10, 1947 was much talked about. His appearances on the Voice of Firestone assured large viewer response for “Anema e core.” I saw him at his “return” to the Met in 1962 in a superb La Bohème and E’lisir d’amore with Salvatore Baccaloni. That and a concert at the Brooklyn Academy of Music (BAM) where he sang the Sicilian song “Amuri, amuri” and the Le Cid aria “O Souverain.” He also came out to the box office afterward to greet his adoring public and hopefully no children yelling “Papa,”Papa”(Quite a Lothario)
Giuseppe Di Stefano, I saw in a wonderful Carnegie concert, then a disastrous Tales of Hoffmann, then at a Maria Callas Farewell. His recordings of Italian songs thrilled us all. His Luciadi Lammermoor with Callas is heaven on disc. However, he sang roles that were too heavy for him, smoked cigars and kept late hours. His voice was ruined and he sang on remnants for quite a while. He died, loved by the multitudes and inspired many for his beautiful, warm, passionate Sicilian sound.
Salvatore Licitra has become a lovely, charming but sad footnote. I saw him in a gutless Canio. He was born in Switzerland and spent some years in Sicily, but like the exquisite Lisa Della Casa, remained emotionally Swiss. The notes were there but Richard Tucker emoted far more. Licitra had a quality in his voice that evoked sadness but not enough. His death from a brain aneurysm while riding his motorcycle in Sicily, was very upsetting indeed. His delivery to me, was more Martinellian than Roberto Alagna who is a very fine tenor but he too, is doomed by his French upbringing.The style differs too much with the Sicilian DNA. Tenor Marcelo Alvarez, a fine artist, is sounding forced and may have sung too much and his reach at this point, may exceed his grasp.
I did a Joe Franklin TV show with Kurt Baum and his spectacular “Di quella pira” was played. He seriously wanted to challenge Pavarotti to see who between them was really the King of the High C’s. He had a radio which he played in the street,of his voice, mentioning to one and all that he was still the King of the High C’s. I liked him despite his braggadocio and I recall the many times he sang the C’s in Il Trovatore. He told me Milanov punched him for not giving her the Aida dressing room and he called Rudolf Bing, threatening to walk out. Bing told him, “Don’t do anything that rash, just step on her gown!”
James Valenti who is a sexy, tall and youthful singer was quoted as saying he was influenced by Pavarotti, Mario Lanza, Gigli and Corelli. (Because of his open throated singing and dynamic stage presence). “I am partial to warm Italianate voices.” He likes Gedda and Bjöerling but is partial to Italianate sounds.
Marcello Giordani has real squillo and tries for a Carusian sound. This does not always work in this strong Sicilian tenors favor. The result is that at times, his voice sounds colorless and tired. Other times he can belt the notes with the glory of Mount Etna erupting. He visited the Enrico Caruso Museum and I saw the reverence in his soul being near Caruso. Giordani has his own sound and he should pursue that. He is among the few Italian tenors left and should pray to Caruso for guidance.
Luciano Pavarotti had great media and public acclaim but he never made me cry. Gigli would make one laugh and cry with his caressing tenor. Soprano legend, Rosa Ponselle described Caruso as having “A voice that LOVED you. It was gold wrapped in velvet.”
Rolando Villazon, a young, gifted Mexican tenor who wanted to sing all out. I saw his debut at New York City Opera (NYCO) in La Bohème and his top note in “Che gelida manina” was sublime and surprisingly echoed in longevity Björling who I saw at the old Met circa 1954. However, Villazon wanted to become Caruso and not emphasize middle notes and use legato. He literally sang on the capital with no interest. Caruso did not shout as Stefan Zucker has said, but Villazon began doing just that. He could have been a young Domingo with a top but he blew himself out. He is a major disappointment but his lack of restraint overwhelmed him. There is a concert where he sings Rossini’s “La Danza” on Classic Arts Showcase. Caruso sang it with power, brilliance and an element of grace and restraint while Villazon tears it to pieces. Villazon’s downfall is cause to pause and reflect on that fatal disease, “tenoritis.”
Joseph Calleja is the Maltese tenor. His early sounds were of Fernando De Lucia and the almost moribund fast vibrato school. But it seemed to come naturally to him and now he is doing Pollione in Norma at the Met. His voice is full of surprises and occasionally passion. He is unique because his school of singing (like De Lucia) is gone. I think the Caruso school has won the battle. Caruso did not sing just loud, listen to his delightful “Noche Feliz” recorded in 1920 or his “De che ritorni” from Meyerbeer’s L’Africana. Was there ever a more nuanced voice?
Tenor Jonas Kaufmann, trying to sing like Corelli and Caruso is, at age 48, very loud or very soft. There is no middle to his voice since he has been pushing too hard. There are a few hints of Corelli but the wreckage is pilling up with cancellations, illnesses and personal problems.
The new tenor of promise is Vittorio Grigolo, who exudes freshness, youth, vigor and sings with romance boiling over. He follows in the Tito Schipa tradition with a more lyrical lighter sound and a more aggressive top.
Corelli’s comment to Stefan Zucker, that Caruso had a beautiful voice and a beautiful soul” stands out. That is what every tenor should strive for. Arturo Melocchi’s larynx lowering might be as pretentious as Dr. Dulcamara’s elisir. Who knows? Whatever works is good enough! Singers should test their instincts and feel if strain is being put on their vocal chords.
There are many gorgeous photographs in this book, among them are the chapters on vocal teacher Bill Schumann with tenors Stephen Costello and James Valenti. The confusion that seems to come when a talented singer goes to a teacher recalls my own youth. You place your soul in their hands and often fear your talent will fly away, never to return. I recall Maestro Astolfo Pescia making me sing (age 13 years) “ma, me, mi, mo, mu,” higher and higher until I fainted. He would then call his wife “Olga, bring some smelling salts for our young tenore.” Other voice teachers followed but it was a very bumpy ride that led me to love my favorite tenors, avoid vocal teachers and become an avid member of the audience.
I don’t know if I would have sung at the Met as Maestro Pescia promised in the far away future, but talent, faith and (mazel) luck mean a great deal!
This splendid book by Stefan Zucker deserves our plaudits, readership and thanks. Mr. Zucker may be an iconoclast but where else and who else can produce such a range of reading on the human voice. “Make a joyful noise unto the Lord” prevails in the brilliance, charm and love that Stefan Zucker has put into these volumes. They keep opening a magic box that modern events have tried to silence by declaring them of the past, forgotten, or of no use. Open the magic box and a pinata of voices come out to enlighten and make one listen to a continuing era of beauty, individuality and creativity! Bravo Stefan Zucker! Franco Corelli Volume 3 Bel Canto Society – 358 pages
The elegant JW Marriott Essex House in New York City was the scene of the annual Opera Index Spring Lunch on Sunday, April 29th, honoring much-loved patron, humanitarian and philanthropist Karl Michaelis. After greetings and “thumbs up” to so many friends and familiar faces, the effervescent President, Jane Shaulis who is THE Jane Shaulis Metropolitan Opera mezzo soprano, sang the opening welcome. It literally “brought down the house” as voices quieted and expectations ran high. In her introductory remarks, Ms. Shaulis eagerly shared the monies collected over the years and the great help it was for so many young and gifted singers. Three talented artists provided the grand entertainment followed by a delicious lunch. All the young artists were accompanied by Michael Fennelly, whose pianistic virtuosity conjures up a full orchestra and gives both reassurance and pleasure.
Kathryn Henry, soprano was the first, singing “Je dis que rien ne m’épouvante” from Bizet’s Carmen. She sang with power and precision, good breath control, poignant French and evoked Micaela’s basic goodness. Geraldine Farrar and Rosa Ponselle, great sopranos were challenged by Carmen, Farrar made Carmen a silent film hit with Cecil B. DeMille and roughed up Enrico Caruso, her Don Jose and some choristers when she returned to the Met Opera. (Hollywood influence) Ponselle, smarting from some critics’ opinions, retired from opera in 1937. Ponselle was struck by the “Curse of Carmen” breaking her arm during a performance in Baltimore. Ms. Ponselle’s filmed Hollywood screen test survives (1938), ironically with the great soprano doing some exciting singing and dancing. Ms. Henry need not worry, her voice rang free and clear. Her encore later on was, “It never was you” from Kurt Weil’s “Knickerbocker Holiday.” It was a captivating Broadway song with wistful and beguiling tone and Ms. Henry sang it beautifully. Kathleen Henry is a charming singer with a beautiful voice and a kilowatt smile. All of this was part of her satisfying presentation as a young artist as George Gershwin would say or Georges Guétary in the film An American in Paris “on her way to the stairway to paradise.”
Michele Angelini has grown in name and fame but is still “a wonderful guy” in his friendliness and personal charm. He sang “Ah mes amis” from La fille du Regiment by Donizetti. This aria, with its 9 high C’s, catapulted Luciano Pavarotti to fame. Michele Angelini is very secure in the upper register and each note was hit securely. He did not sound like the usual bleaty tenor giving us a lemon tart but rather like a master baker with a great pizza in fact 9 of them! His middle register has grown in size and I see a Duke and other great Verdi roles in the future. He gave us all a shot of adrenalin and we look forward to a very promising future for this outstanding tenor.
Soprano Michelle Bradley recently appeared at the Met Opera’s Norma as Clotilde and will soon appear as Donna Anna in Mozart’s Don Giovanni in Santiago, Chile. Ms. Bradley, a Houston native, opened with “D’amor sull ali rosee” from Verdi’s Il Trovatore. Her powerful voice was lowered for some wonderful soft passages and to show what she took away some small refinement. Ponselle and Milanov had perhaps finer pianissimi but Ms. Bradley has her own way of following the operatic highway and she articulates the speed bumps full drive rather than slowing down. Her soprano is rich and opera worthy and she will be a formidable contender for “whose the best” in the not too distant future.
I heard the divine contralto Marian Anderson sing “He’s Got the Whole World in his Hands” at the Brooklyn Academy of Music (BAM) circa 1966 at her “Farewell.” Backstage she gave me a souvenir program signed by her to my students at P.S. 129 in Bedford-Stuyvesant in Brooklyn. I still recall the nuance and shades of tenderness with which she lovingly sang the lyrics. Michelle Bradley awakened that immortal memory for me with her passionate encore, “He’s got the whole world in his hands.” Her soaring soprano took us all “in her hands and heart” as she literally loved us all in this illuminated text of love. Ms. Bradley’s heavenly highs and burnished lows took us on a trip to paradise. A full concert of of spirituals or a series of encores should be a part of her magical bag of gifts!
It was nice to have mezzo soprano Rihab Chaieb so brilliantly sing “The Composer’s Aria” from Richard Strauss Ariadne auf Naxos. Rihab Chaieb was one of Opera Index’s major award winners in the 2016 competition. She did performances in Cavalleria Rusticana, Louisa Millerand the Sandman in Hansel and Gretel at the Met this last season. She will sing Zerlina in Don Giovanni next season. She had a success at Glyndebourne last summer.
Former President and current Treasurer Murray Rosenthal, introduced Karl Michaelis whose work with the Gerda Lissner Foundation, Liederkranz Foundation and Opera Index, have made him like Charles Dickens the voice of Christmas present. He is a philanthropic, kindly, humane man with a fine manner, elegant apparel and a good sense of humor. Karl Michaelis is well deserving of this token of our great esteem. Karl said he was “happy to support the wonderful Opera Index” and stepped down to a fine Tiffany glass apple gift and much applause.
It was nice to meet and greet President Jane Shaulis and Executive Director Joe Gasperec, Vice Presidents Phillip Hagemann and Janet Stovin, Treasurer Murray Rosenthal, Opera Index board members Robert Steiner, John David Metcalfe, Midge Woolsey, Opera Index patrons Jessie Walker and Doris Keeley, the genial Michael Fornabaio and energetic Cornelia Beigel from the Gerda Lissner Foundation, Gloria Gari from the Giulio Gari Foundation, Philipp Haberbauer from the Liederkranz Foundation, Maestro Eve Queler, opera managers Ken Benson and Robert Lombardo, vocal coach Tamie Laurance, Italian teacher Corradina Caporello and husband Maurice, opera legends sopranos Lucine Amara, Elinor Ross and sparkling New York City Opera and television soprano Elaine Malbin. Other familiar faces in the crowd were virtuoso Chopin pianist Marjan Kiepura and his lovely wife Jane, conductor Stephen Phebus and actress Linda Howes, Joy Ferro from Daniel Ferro Vocal Program, the elegant patron and tenor Cesare Santeramo, David Bender from Career Bridges, Edna Greenwich Director of Operaexposures, classy Michèle Classe, export consultant and husband Anthony and innovative filmmaker Marcelo Remizov.
We are all friends at Opera Index and were eager and happy to “seize the moment.” Thank you Jane Shaulis and Joseph Gasperec for sharing the beauty of another memorable event together.
Commendatore Aldo Mancusi who is the founder and curator of the Enrico Caruso Museum in Brooklyn has added his book with the assistance of author and Vice President of the museum, David Mercaldo, PhD. Many have profiled the great tenor since his tragic and untimely death at age 48, in Naples, Italy on August 2, 1921. The book is dedicated to the memory of Michael Sisca, who with his father Marziale Sisca, provided so much memorabilia to the Enrico Caruso Museum. Marziale’s brother, Alessandro Sisca wrote the lyrics to “Core ‘ngrato” (“Ungrateful Heart”) using the name Riccardo Cordiferro. Enrico Caruso, a splendid caricaturist, drew caricatures free for “La Follia di New York” as a favor to his friend Marziale Sisca, the Editor and his son Michael Sisca.
The book contains many caricatures drawn by Enrico Caruso and many personal conversations held with Michael that are first hand memories of Caruso the man. Pictures of busts, death masks, letters, records, phonograph horns, jewelry, ties, Caruso’s black and white shoes, documents, silverware, canes, phonographs, cylinders, recordings, an opera piano and a movie theatre that shows his silent film My Cousin. (1918)
Michael Sisca, while a teenager, was present at Caruso’s last recording session in September 1920 and told me that the greatest of tenors, who just returned from a month long tour of Cuba and the United States, had the beginning of his final illness that day, in the form of a cold. His great recording of “Rachel, quand du seigneur” from La Juive, was sung under duress and one could hear Caruso breathing heavily near the golden finale. Sisca, a charming man, always spoke of his friend Caruso and remembers being in bed since it was nighttime during one of his father’s soirees. Enrico Caruso was there, Puccini, Toscanini and a total of thirteen distinguished guests. Caruso insisted they get Michael from bed to join them because thirteen was bad luck. So young Michael Sisca sat with Puccini, Caruso and Toscanini at that unforgettable dinner.
Members of the Caruso family from his first “wife” Ada Giachetti (Mistress) and his American bride Dorothy Park Benjamin, have visited the museum as well as Eric Murray, Gloria’s son and Caruso’s grandson and his charming wife Lynne. Eric, a wonderful gentleman, is a board member of the museum.
Aldo describes how he first became acquainted with the tenor through his father Evaristo who collected his recordings and his mother Marietta who possessed a lovely soprano voice. There is an original caricature of Caruso’s father Marcellino, donated by Andrew Farkas who wrote the book, “Enrico Caruso, My Father and My Family” with Enrico Caruso Jr. Mr. Farkas tells the story of Pierre V. R. Key, Caruso’s friend and biographer who saw Caruso weeping backstage after singing Canio in Pagliacci. The great tenor said, “Caruso is a damn fool. He feels too much!” There are pictures of the Enrico Caruso postage stamp. I met Enrico Caruso Jr. (1904-1987) at the Postage Stamp ceremony in the late 1980’s at The Metropolitan Opera House. We attended with friends the late Cuban-American baritone and Caruso aficionado Alfredo and his wife Audrey Villoldo. Enrico Caruso Jr. age 82 died a few weeks later (April 9, 1987) He too, was a lovely man – R.I.P!
On pages 86 and 87 are the richest and most poignant gift. It is the last photo taken of Caruso on July 19, 1921 in Sorrento, Italy where he went after partially recovering from his illness. (Lifting his robe and showing his still painful wounds in a photo for Dr. Antonio Stella in New York) A piece of scenery fell on him at the Metropolitan Opera during a performance of Samson on December 3, 1920. He had pains on his side but the house doctor, Dr. Horowitz said it was merely intercostal (between two ribs) neuralgia and taped him up. At the Brooklyn Academy of Music (BAM) in Elisir D’amore on December 11th, 1920, Enrico Caruso began bleeding from his throat and the audience begged him to stop. He collapsed backstage and Met Manager Gatti-Casazza said he had an apparition that this was the end. Surprisingly, Caruso sang three times more in great pain, at the Met that month.
On December 24th, 1920 Caruso sang Eleazar in La Juive. The photographer Mishkin impulsively took his picture backstage and that was Caruso’s last photo at the Met. That night, Caruso went to his apartment for Christmas supper and began screaming in pain. He was heard many floors below. The doctors operated on him several times, removing a rib, probing deep areas of infection and a lifesaving transfusion. After the transfusion Caruso asked, “Am I still Italian?” Straw was added to the streets below his apartment so that sounds of horse or car traffic would be silenced. Fifty pounds lighter Caruso, his bride Dorothy and baby Gloria sailed for Italy on The President Wilson on May 28, 1921 from Pier 7 in Brooklyn. He waved to the cheering crowds telling them he would come back “and sing, sing and sing!!!” This film footage still exists. Caruso spent a happy two months at the beautiful Grand Hotel Excelsior Vittoria in Sorrento, Italy. Friends took him on an exhausting tour of Pompeii and his late mother’s old doctor probed his wounds, possibly causing a relapse. Caruso sent a touching letter to Dr. Stella, who he remembered from New York telling him that he still had persistent pain in his side. He opened his robe for a photo of his wounds and sent them to Dr. Stella in America. Dr. Stella received the letter and photo the day after Caruso died. Caruso died on August 2, 1921 in the Hotel Vesuvio on the way to Naples for an operation. There is a caricature of Dr. Stella drawn by Caruso and a copy of his $15,850 dollar bill for the operation which was “shaved” of $850 at Caruso’s request donated to the Enrico Caruso Museum by Michael Sisca.
Aldo Mancusi received a copy of the letter and the photo, unexpectedly from a member of Dr. Stella’s family. They are mentioned in the book and it was very sad indeed. Penicillin, not yet discovered, would have saved him. But like Abraham Lincoln, Caruso died in his prime, no decline in his magnificent voice (Despite his heavy smoking of Egyptian cigarettes) and remains unsurpassed.
A few years ago in May 2011, Aldo Mancusi got a phone call from 92-year-old Dorothy Alleva from Brooklyn, NY telling Aldo that Enrico Caruso and his wife Dorothy were her godparents. Her parents, Ernesto and Micalina Alleva, owned a restaurant in Manhattan called Villa Manfredi. Caruso and Dorothy loved the restaurant and seeing that Micalina was pregnant said, “If it’s a girl and you name her Dorothy we will become her godparents – well, that is what happened. The baptism papers and photographs show it all. Even the beautiful dress that Dorothy Caruso purchased can be found at the Caruso Museum. Caruso was loved and that is only one small example of his kindness, generosity and largess.
Aldo’s museum, now thirty-five years old, evolved over time and when a tenant left, Aldo was able to use even more space and to give lectures. Artist Marguerite Celesia created a beautiful “sign in” book with Caruso as the Duke in Rigoletto on the front cover. I remember WQXR Opera radio host George Jellinek signing in. Aldo’s wonderful wife Lisa always supported and accompanied Mancusi to many Caruso areas in Naples where they befriended one and all. Many musical and political figures have attended the museum and Aldo Mancusi, like the great Caruso, is a “Commendatore” of the Italian Government. In 1997, former Mayor Rudolph Giuliani helped Aldo celebrate Enrico Caruso Day at Merkin Hall in New York City where a proclamation was given. Great grandson Riccardo Caruso sang a Caruso favorite “M’appari” from Martha by Frederich Von Flotow.
MetOpera tenor, Marcello Giordani, visited as did both Caruso families. Former Brooklyn Borough President, the ebullient Marty Markowitz listened to Caruso’s “Over There” at the museum with the former Italian Consul General Natalia Quintavalle.
New York City Opera bass and Brooklynite neighbor the late Don Yule and his wife artist Jaye Adams visited the old phonographs and recordings and found them to be a great source of fascination. The mini-theatre is named after Michael Sisca and Met Opera soprano Licia Albanese. (1909-2014) Licia Albanese also contributed her Madama Butterfly costume and other items from the Metropolitan Opera. Chairs and old Met Opera wall panelings were gifts from the late board members Enrico Aloi and Joseph Puglisi. They were fans and friends of the late soprano Rosa Ponselle who was a Caruso protege. There is a lovely photo taken by my wife Judy of Mme. Albanese at age 104 joyfully laughing to see her friends Aldo and Lisa Mancusi. A few decades before, the effervescent cable television opera host Lina del Tinto and husband Harry Demarsky introduced Aldo and Lisa to Judy and me and it was a wonderful moment.
Board member and opera lecturer Lou Barrella and his wife Kathleen, volunteered their talents and efforts for the museum; Giuseppe Sarcona and Maria Valenti helped to translate into Italian, Mancusi’s daughters Kim Collins and Cindy Borriello are valued board members and Anthony Mancino, artist and illustrator from The Readers Digest with his beloved wife Grace who is now with Caruso in Paradise.
Aldo Mancusi and board member, Vice President and author, David Mercaldo, PhD have created a mini-masterpiece in this beautifully written and crafted publication. Linda Mercaldo, like Lisa Mancusi gave their talented spouses the freedom of time to create this wonderful tribute to Enrico Caruso and we thank them for that! The book is almost 100 pages of memories, stories, photos, hopes and dreams, colors, caricatures. His over 200 recordings from “Celeste Aida” and “Pagliacci”to “O sole mio” and “Core ‘ngrato” with their message of loves joy and sadness bring out humanity to its fullest and make us all uplifted to a heavenly realm.
Enrico Caruso, from Naples, Italy, conquered the world with “Vesti la Giubba,” the first million selling record. Caruso was held as an idol and example for the millions of Italian immigrants who were made proud by the voice of gold that emerged from the old phonograph horn to give them pride and hope. Not only the opera “swells” at the Metropolitan Opera where he sang over 600 performances in the house from 1903 until 1920, loved the man and the voice, but Caruso loved people of all backgrounds. The man on the street heard his big-hearted message of humanity through song through the Victor Record Company and his many personal kindnesses. Enrico Caruso sang over 20 performances at Brooklyn Academy of Music with the Met on tour and also sang at the police games and a Liberty Loan Rally at Sheepshead Bay Racetrack in Brooklyn on Labor Day 1918. Aldo Mancusi holds forth the banner that gave light to the world. The great sorrow remains that Enrico Caruso did not live long enough to enjoy his wife Dorothy and daughter Gloria. In the book, Aldo Mancusi takes Enrico Caruso on a tour of his museum and knows that he would be pleased.
The book is available through The Enrico Caruso Museum of America and you can email Commendatore Aldo Mancusi at email@example.com. Phone-718-368-3993. The seventy-five dollar price is a truly worthwhile investment! It is like a carriage ride to an exciting past, a past that still lives through the resounding voice of the great Enrico Caruso. This “foot in the past” surely gives hope for the future. Visit the museum by appointment only at 1942 East 19th Street in Brooklyn and see for yourself!
At the prestigious Lotos Club in New York City, Elysium between two Continents celebrated its 31st Annual Erwin Piscator Award. The luncheon on Thursday, April 5th honored J. T. Rogers, Broadway and political playwright and Jolana Blau, longtime Elysium supporter and its Vice President for her immense humanitarian efforts on behalf of arts and culture.
In the excellent program booklet, designed and edited by Michael Lahr, there is a message of greeting by The Lord Mayor of the University Town of Marburg, Germany where a house was opened in 2016 called the Erwin Piscator House entirely dedicated to culture. In Marburg, Erwin Piscator spent his formulative school years and after his return from exile in the United States. In 1951, he directed 4 plays with record attendance.” On behalf of the community of Marburg, I congratulate the honorary Piscator award recipient, the philanthropist Jolana Blau and this year’s Piscator award recipient, J.T. Rogers on this worthy distinction.” The booklet also had Best Wishes from New York Mayor Bill de Blasio. New York Governor Andrew Cuomo also sent a note of congratulations to J.T. Rogers and Jolana Blau.
Playwright/poet/ theatre director Bertolt Brecht said of his partner Erwin Piscator (1893-1966), “Piscator is the greatest theatre man of all time. He will leave a legacy which we should use.”
According to Erwin Piscator, “art only achieves its purpose when it contributes to the improvement of man” and “the purpose of theatre should not only be to teach us about the creative process, but to teach us of human relations, human behavior and capacities. It is to this task consciously and unconsciously, suggestively and descriptively, that the theatre is best suited.”
Gregorij H. von Leïtis, Founder and President of the Erwin Piscator Award and Michael Lahr, Chairman, work to benefit Elysium’s International Educational Programs in conjunction with The Lahr von Leïtis Academy and Archive that promotes “Art and Education without Borders.” These programs follow Erwin Piscator’s humanitarian goals to educate the next generation. Their light takes us out of a dark place. “Hate is a failure of Imagination” is a recurrent theme of Elysium and Gregorij von Leïtis and Michael Lahr have toured many countries to spread the word. They are like two brilliant planets that are a vital part of the positive success of our solar system.
The welcome followed by Gregorij H. von Leïtis, who truly relished seeing this beautiful afternoon develop with enlightenment like some wonderful garden of rare flowers.
Alexis Rodda opened the program with “An die Freude” (Ode to Joy) by Franz Schubert, with a text by Friedrich Schiller. Ms. Rodda’s splendid soprano soared and flooded the room with joyful abandon. Her excellent piano accompanist was Dan Franklin Smith.
Chairperson Heather Randall welcomed the audience. Her late great husband was actor Tony Randall, an opera lover, whose wonderful praiseworthy comments on America’s great baritone Leonard Warren were in author Mary Jane Phillips Matz’s extraordinary biography of the great Verdi baritone from the Bronx. Warren’s brilliant career ended with his sudden death onstage during a performance of Verdi’s La Forza del Destino at the Metropolitan Opera in March 1960. Tony Randall had a long, vibrant acting career including “The Odd Couple” and was a master actor, especially in light comedy, equally deserving of the praise he gave to others. Ms. Randall’s brief comments were much appreciated by her many friends and admirers.”
“Schiffahrt” with music by Egon Lustgarten transferred us to a salon, matching the treasures of the Lotos Club. Lush voiced Alexis Rodda and her fleet fingered accompanist Dan Franklin Smith, evoked a past era, perhaps of cognac and a good cigar (Or a pastry with a dollop of whipped cream and a cappuccino).
Among the guests were representatives of several illustrious consulates stationed in New York: Miroslav Rames, Consul General of the Czech Republic, Jens Janik, Deputy Consul General of Germany, Julius Pranevicius, Consul General of Lithuania and Karel Smekal, Deputy Consul General of the Czech Republic. Lya Friedrich Pfeifer, Vice Chairperson and President of the Max Kade Foundation has been a wonderful supporter of Elysium between two continents as well as Mrs. E.L. Doctorow, whose brilliant late husband wrote Ragtime & Louise Kerz Hirschfeld Cullman, whose late husband was the illustrious illustrator/caricaturist Al Hirschfeld, whose works are all over Sardi’s Restaurant on Broadway in the theatre district and many other venues.
The elegant Michael Lahr made the introduction of André Bishop, Artistic Director of Lincoln Center Theatre, who was to make the award to famed playwright J.T. Rogers. Since Bartlett Scher, the international director of theatre and opera could not attend, Mr. Bishop happily filled in with an inspiring tribute to J.T. Rogers. Rogers gave a brief but truly touching response to an award that represents a lifetime of observing and creating plays such as the award winning Oslo at Lincoln Center and then Broadway and London that not only moved people, but in the right direction. His works have been staged throughout the United States and other venues and Rogers has received many acknowledgments of his work. Gregorij H. von Leïtis also spoke eloquently of the importance of such performances as Oslo and Blood and Gifts, which are in the tradition of Erwin Piscator. Judy and I chatted briefly with J.T. Rogers and he was the epitome of bonhomie and effervescence.
Michael Lahr then introduced distinguished Chev. Cesare L. Santeramo, who along with his lifetime partner Dr. Robert Campbell, have been at the fore of generosity of spirit and time and are lionized by all who know them. Cesare Santeramo introduced the awardee, Jolana Blau. Mr. Santeramo was a tenor of renown with the New Jersey State Opera and active with the Licia Albanese-Puccini Foundation. He also held a high position with Western Electric. His versatile career also included the Board of Opera Index, Let there be hope and Polish Assistance of New York. His is a vital and vibrant presence a past winner of the Piscator award, ever chic and ever head over heels with life, music and helping those in need.
Jolana Blau, a concentration camp survivor, who experienced the horrors of the Holocaust, was liberated in 1945.”It is so important to remember – therefore I am grateful for the work that Elysium is doing. The younger generation, through Elysium’s programs must learn the lessons from history.” Jolana Blau was awarded the Honorary Erwin Piscator Award in memory of Maria Ley Piscator – Erwin Piscator’s wife. After the Prague Spring in 1968, Jolana Blau and her daughter Simona, emigrated via Austria to the United States in 1972. Jolana married Vojtech Blau an antique rug and tapestry dealer whose company supplied rugs and tapestries worldwide and also to the White house. After Vojtech’s death in 2000, Simona Blau managed the company privately. Vojtech himself was also in a concentration camp. The labyrinth paths and twists of fate are written in the sands of time. It was a pleasure to meet Jolana Blau’s charming and appreciative two daughters, daughter- in-law and family. Kathryn Hausman, accompanied by two friends, presented Ms. Blau with a lovely floral bouquet.
Soprano Alexis Rodda sang “Spiel auf Deiner Geige” by Robert Stolz with joyful abandon and dance “Here on the banks of the blue Danube, here in the beautiful Hungarian land, one sings other songs while drinking Tokay” (text by Alfred Grünwald/Ludwig Herzer and translation by Michael Lahr) and brilliantly accompanied by Dan Franklin Smith. Ms. Rodda was a vocal symbol of the strength and resilience of her songs. They spoke for the winners past and present who, despite obstacles beyond belief, have emerged with messages of freedom of expression and universal love.
The names Gregorij H. von Leïtis and Michael Lahr are exalted and they are revered during their lifetimes. They are a force for the good. I leave with a quote from Gregorij H. von Leïtis, “I thank each of our honorees for the Erwin Piscator and Maria Ley Piscator awards, our guests, at the 31st Erwin Piscator award luncheon, our supporters friends and colleagues who join us on our way to create a world of creative and educational exchange and mutual friendship between the people of the United States and the world.” The award winners are immersed in their life’s work but hearing the praise will keep them aware that there are those who applaud, care and are motivated to do the right thing.
As we finished our delicious luncheon and went out into the chill of an uncertain April, we know that, thanks to Elysium – between two continents, Spring will come and the warmth of enlightenment will give us peace, joy and creativity in a milder, more gentle and giving world.