The Regina Opera Presents a Dazzling Aida

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.

Aida (Carami Hilaire) & Radames (José Heredia). Photo by Colleen Smith.

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.

Left- Amneris (Lara Tillotson) with Adia (Carami Hilaire). Photo by Colleen Smith

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.

Amneris (Lara Tillotson) fanned by her attendant (Kimberly Lloyd). Photo by Colleen Smith

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.

Aida (Carami Hilaire) & father Amonasro, King of Ethiopia (Peter Hakjoon Kim). Photo by Colleen Smith

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.

King of Egypt (Peter Ludwig). Photo by Steven Pisano

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.”

Hyong Sik Jo as Ramfis. Photo by Colleen Smith

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!

Radames (José Heredia) & Aida (Carami Hilaire) sealed in the tomb. Photo by Colleen Smith

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.

Egyptian captive in brown (Sean Murphy)
Egyptian Guard in white (Edwardo Brito).
Photo by Colleen Smith

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.

Dancer Wendy Chu, surrounded by the Egyptian priests. Photo by Colleen Smith

The excellent dancers were Wendy Chu and Kelly Vaghenas. They danced gracefully and were ethereal in their movements.

A dancer entertains Amneris (Lara Tillotson).
Photo by Colleen Smith

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.

Aida Cast. Photo by Marcello Pantano

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!

 

Franco Corelli – A Revolution in Singing Volume 3 By Stefan Zucker

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.

Beniamino Gigli

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.

Mario Del Monaco as Otello

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.

Alfredo Kraus

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.

Enrico Caruso as Canio in Pagliacci

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.

Carlo Bergonzi as Radames

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 Lucia di 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 & Marcelo Alvarez

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!”

Kurt Baum

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.

Luciano Pavarotti

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.

Vittorio Grigolo

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.

Jonas Kaufmann

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

 

Elysium Between Two Continents Presents The Thirtieth Annual Erwin Piscator Awards

Review by Nino Pantano
Erwin Piscator

On the afternoon of Thursday, March 30th, Elysium Between Two Continents Presented The Thirtieth Annual Erwin Piscator Awards at the intimate and elegant Lotos Club in New York City. This program is to benefit Elysium’s International Educational Programs “Art and Education without Borders.” The Lotos Club gathering that afternoon evoked memories of a musical soiree at the Kennedy White House when President Kennedy said it was “the most illustrious gathering of intellects since Thomas Jefferson dined alone.”

Maria Ley Piscator
Movers and shakers notwithstanding, the “big bang” theory goes back to 1985 when Gregorij H. von Leïtis instituted the Erwin Piscator (1893-1966) award honoring Erwin Piscator’s artistic and humanitarian legacy and his lasting influence on theater on both sides of the Atlantic. Piscator was convinced that “art achieves its purpose only when it contributes to the improvement of man.”
 
The interesting program booklet included greetings from Dr. Kerstin Weinbach, City Councilor and Head of the Cultural Department forthe Magistrate City of Marburg, March 2017. The letter announced a newly opened cultural institution bearing the name Erwin Piscator Haus. Piscator went to school in Marburg and returned there in 1951.The new building replacing an older one proudly bears his name and continues his work.
 
After the wine and cocktail reception, the program began with soprano Jeannie Im singing “An die Freude” (Ode to Joy) music by Franz Schubert from a text by Friedrich Schiller. Ms. Im has been with Elysium since 2000 and was in the premiere performance of Ernst Krenek’s “What Price Confidence” at the Teatro dell’ Opera di Roma co-produced by Elysium. Among her many performances under the auspices of Elysium, were concerts of works by performers who were exiled or killed in World War II. Matthew Lobaugh, who is the Music Director of the New York City Wide Youth Opera, was her versatile piano accompanist. Ms. Im strolled through the tables and sang in a clear commanding soprano with joyful abandon.
Michael Müller, the Mayor of Berlin had his representative, Ms. Katja Weisbrock Donovan, who is the head of Cultural Affairs at the German Consulate in New York, bring greetings and speak of the cooperation of the two cities – Berlin and New York. She mentioned the Kellen family who were forced to flee Berlin during the era of the Nazis and the importance of Erwin Piscator and Maria Ley Piscator to the world. The New York Theatre Workshop founded by James C. Nicola a pivotal influence as well. Michael Lahr was the Program Editor and key to this joint effort and of the of the two countries under the banner of art and enlightenment. The dream turned into a reality of Gregorij H. von Leïtis and Michael Lahr.
The welcome was given by Gregorij H. von Leïtis who truly was monarch of all he surveyed. His cherubic demeanor could not disguise his tremendous commitment to evoke the theme of peace and justice through art. Mr. von Leïtis then
proudly introduced the chairperson of the luncheon committee, Louise Kerz Hirschfeld, whose late beloved husband Al Hirschfeld, was the Da Vinci of caricaturists. Ms. Hirschfeld’s energetic defense of the arts and its importance to all, made one think of “The Line King” a wonderful, whimsical documentary of her late great husband.
A fascinating musical excerpt followed, colorfully sung by soprano Jeannie Im “Lied von der Tünche” (Song of Whitewash) with music by Hanns Eisler and a text by Bertolt Brecht. The music evoked the German cabaret offerings of Lotte Lenya and the school of cabaret in the style of The Threepenny Opera. Matthew Lobaugh’s facile accompaniment made the two, one.
The salad was served and now the “salad days” prevailed. Michael Lahr, the erudite and industrious Chairman of the Erwin Piscator Awards Committee spoke. As a specialist of Erwin Piscator, the founder of the political and epic theater, Lahr brilliantly curated the exhibit Erwin Piscator: Political Theater in Exile andit traveled to Bernried, New York, Catania, Salzburg and Munich. Lahr spoke of the great joy and importance of the occasion and introduced the famed playwright Tony Kushner.
Tony Kushner, Doug Wright, and Michael Lahr. Photo by Letizia Mariotti.
Mr. Kushner alluded to the dark days we have been witnessing of late  and how the arts will pave the way for better days ahead. He referred to an earlier era in Greenwich Village and elsewhere when Belafonte, Brecht and Brando championed causes and spread the word of enlightenment and creativity. They knew where they were going artistically and emotionally as did James Nicola in his early days at the studio, which has become a kind of mecca, a place “Where one can roll up in like a blanket” (Fanny). Tony Kushner spoke in staccato sentences like a prizefighter hammering away at the evils of the world and praising the good in his introduction for James C. Nicola.
 
Gregorij von Leïtis made the presentation to James Nicola,”for his enormous contributions to the American theater by producing and cultivating artists whose works inspire and challenge the public.” As Artistic Director of the New York Theater Workshop since 1988, Nicola has forged a unique community of theater artists, a group of writers, directors, designers and actors who form the core of NYTW’s artist development activities. Many plays, premiers including Tony Kushner’s “Angels in America” and “Homebody/Kabul” as well as Tennessee William’s “A Streetcar Named Desire” were performed.
 
James Nicola spoke intimately and passionately about his boyhood desire to excel in theater and his lack of concentration on other subjects. Nicola’s somewhat perturbed parents granted him the right to pursue his goals but he had to measure up academically to attain them. Nicola feels theater is “a sacred light” and that it illuminates the soul. Artists are encouraged to play their chosen destined roles. A force of nature illuminated by a “splendid torch,” a force of nature not to be denied. James Nicola is motivated by a sacred flame and that light has brightened the world.
Heather Randall (from left) with James Nicola and Louise Kerz Hirschfeld. Photograph by Letizia Mariotti.
With so much at “stake” we proceeded to enjoy our delectable choice of steak (or salmon), having feasted on brilliant words and deeds from the hearts and minds of the mighty.
 
Vartan Gregorian is the 12th President of the Carnegie Corporation of New York, a grant making institution and is also a past honoree of the Erwin Piscator award. He is best known for his outstanding service as President of the New York Public Library. (1981-89) His services have earned him nearly 70 honorary degrees.The brilliant Mr. Gregorian spoke eloquently on behalf of honoree Marina Kellen French. With joyful abandon and as Elizabeth Barrett Browning wrote “How do I love thee?” Mr. Gregorian alphabetically listed all of Marina Kellen French’s virtues practically from “A to Z” and why she is so admired. Whether it be art, music, medical, literary, educational, she is there to lend support, advice and encouragement!
 
Gregorij von Leitis with Marina Kellen French. Photo by Letizia Mariotti.

Gregorij von Leïtis presented Marina Kellen French with the Erwin Piscator award “for so generously giving of her time and talent to support so many artistic, cultural and educational organizations both here in New York and in Berlin.” Ms. French spoke of the joys of giving and that it must be earned and of her two unforgettable years as a student in Berlin, the land of her parents birth. The art of philanthropy and of aiding mankind is her mission.” What good is leaving the earth with accumulated wealth but having done little or nothing to help ones’ fellow humans?” That is also the mission of Gregorij von Leïtis and Michael Lahr. That is the path chosen by Marina Kellen French. The honorary Erwin Piscator award of 2017 was in memory of Maria Ley Piscator. (1898-1999) In 2014, Ms. French was awarded the Order of Merit of the Federal Republic of Germany at the residence of the German Consul General Brita Wagener in New York City. 

In a proclamation printed in the program, Governor Andrew Cuomo praised James C. Nicola for his “creative vision to American arts and culture” and Marina Kellen French “for her generous work in perpetuating and preserving a legacy of great art in the world.” Mayor Bill de Blasio also congratulated the awardees and Elysium – between Two Continents in the program with a special proclamation.
 
Jeannie Im accompanied by Matthew Lobaugh sang a lively “Good-Bye Trouble” with music by Mischa Spoliansky and text by Frank Eyton. “I’ve put on my hat, I’ve locked up my flat; the dog’s at the vets, I’ve settled my debts” and concluding with “And if I could design a world, I shouldn’t plan a finer world.” Ev’rything in it I see as it passes Thro’ wonderful rose colored glasses. Good-bye Trouble! I’ve finished with you, Trouble!” With that special “Thank you for coming” from Louise Kerz Hirschfeld, the afternoon drew to a upbeat close as we were enjoying the desserts and sweets of the luncheon – almost redundant when one considers the real “sweets” offered by the words and deeds of the day! 
 
Judy and I were happy to speak to many of the awardees and presenters. James Nicola and I share Italian heritage. His family were Piedmontese from Northern Italy, mine were Sicilian from the South. We laughed about the “rivalry” between Sicilians and non Sicilians. Marina Kellen French is also on the Board of the Metropolitan Opera Guild. I mentioned the great tenor Enrico Caruso singing “Vecchia Zimarra” in “La Bohème”, with the Met Opera on tour in Philadelphia when the bass, Andrés de Segurola lost his voice with the audience unaware. Caruso whispered to his friend, “turn your back to the audience and I’ll sing it for you!” The mighty tenor made a recording of Colline’s famous Coat aria at the insistence of the cast and his friends in 1916 – it is marked “Tenor-Bass.”

Vartan Gregorian was affable and most gracious. He is the “Energizer battery” redux! Louise Kerz Hirschfeld spoke of her husband’s zest for life and creative output. I told her that I especially admired his caricature of the matchless tenor Enrico Caruso (A former Lotos Club honoree in 1916) and the fact that Caruso, who caricatured as a hobby, published several volumes of caricatures. It was nice to chat with Jolana Blau, Vice Chairperson, who was also chatting with Martin Dvorak, Consul General of the Czech Republic in New York, Austrian Consul General Georg Heindl and his wife Neline Koornneef Heindl and the effervescent Midge Woolsey from both WQXR and PBS and her husband economist Dr. Jerry Stolt. Last year’s honoree, President of the Licia Albanese-Puccini Foundation Sachi Liebergesell, was present with General Counsel Brian O’ Connor Esq. and his wife Maura. The lovely intimate Lotos Club is a New York treasure and the perfect venue for this stellar occasion.

Sachi Liebergesell & Vartan Gregorian Photo by Judy Pantano
 
We wish to thank Gregorij H. von Leïtis, President and Michael Lahr, Vice President for the pursuit of a peaceful world through art and artists and for being such gracious hosts and extraordinary humanitarians. As always, their friendship is treasured. If John Kennedy appreciated Thomas Jefferson dining alone, what about his being in a room full of people – men and women who match that ideal and are gregarious and fun as well.

I conclude with a quote from George Bernard Shaw that was referred to during this event, “You see things and you say, “Why?” But I dream things that never were and say, “Why Not?” Bravo to “Elysium – Between Two Continents for daring to ask “Why not?” and for keeping the work and spirit of Erwin Piscator and his wife Maria Ley Piscator alive, ongoing and thriving!

Soprano Jeannie Im. Photo by Letizia Mariotti.