Month: November 2018

The great composer Giuseppe Verdi (1813-1901) had a long prolific life. From “The Chorus of the Hebrew Slaves” from his first success Nabucco in 1842 to Falstaff in 1893, his work consisted of 28 or so operas that captivated the opera world and still do. Verdi’s Aida is a miracle work and a true sample of “Grand Opera.” It remains like the classic film Casablanca basically the story of three people subject to circumstances that they are powerless to resist.

Radames, Aida, and Amneris are the protagonists. The premiere of Aida was on December 24, 1871, in Cairo, Egypt. The Italian premiere at La Scala in Milan was a few weeks later. On November 26, 1873, Aida was performed at the  Academy of Music in New York. The libretto was written by Antonio Ghislanzoni although Verdi said the libretto was the product of “my work.” Verdi was 57 when he composed Aida which was his 26th opera. It hints of Meyerbeer in its grandeur but its human story is what keeps it fresh and popular and who could resist its world-famous Grand March?

The Gateway Classical Music Society was founded by Maestro Ida Angland in 2003 and it has grown to great acclaim. The Gateway Orchestra is comprised of outstanding musicians from the tri-state area. The orchestra’s performances have been extolled by numerous publications in New York and Connecticut.

This production of Aida was at the Good Shepherd Faith- Presbyterian Church, in the Lincoln Center area on Sunday, November 11th thanks to sponsor, John Gingrich. Gateway’s 2018 performance of Verdi’s Aida was dedicated to the late Franklin Brownell Manley (1929-2017) beloved founding patron and advisor. Maestro Ida Angland was the Music Director and Conductor and Roberto Stivanello of the renowned Stivanello Costume Company was the Stage and Lighting Director. The magnificent gowns worn by Aida and Amneris were regal and impressive as were the tuxedo-clad gentlemen singers.

The huge orchestra of over 70 musicians was ready as Maestro Angland stepped to the podium. After a moment or two of silence, Maestro Angland lifted her baton and the beautiful music began, quietly, reached a few peaks and ended with peace.

Gregory Geis was Radames and his lyrico spinto tenor ravishingly negotiated the paths of the iconic “Celeste Aida.” His vocal delivery was to tighten the voice, then release it, swelling powerfully. In the MGM film, 1948 Luxury Liner the great Danish heldentenor Lauritz Melchior sang the Act 3 finale duet with soprano Marina Koshetz using the same technique. Melchior made four mega-hit films for MGM and later one for Paramount. His magnificent voice, six foot four height and white hair made him a true star of the silver screen. Mr. Geis sang a beautiful “Celeste Aida” ending it with a full voice, “Vicino al sol.”  Mr. Geis evoked the golden age of tenors on the old phonograph with his full middle voice and strong upper reaches of his instrument. I saw Melchior in Guy Lombardo’s Arabian Nights at the Marine Theatre in Jones Beach in 1955. He sang “A long Ago Love” in beautiful fresh voice at age 65.

The immortal tenor Enrico Caruso was Radames in Aida with the Metropolitan Opera on tour at the Brooklyn Academy of Music on January 17, 1909. The conductor was the iconic Arturo Toscanini. Caruso’s 1911 recording shows him belting out the final “Vicino al sol” in full golden voice. Verdi might have preferred it be hit softly but I am a Caruso devotee and I much prefer it as Geis and Caruso chose to sing it! I enjoyed Mr. Geis’s “Mortal diletto ai Numi-“Nume custode e vindice” followed by a powerful drum rolling “Immenso Ptah” sung with Ramfis. His scene with Amneris, “Gia i sacerdoti adunansi” was passionately done. At the finale of Act Three his “Sacerdote, io resto a te” was exhilarating. “La fatale pietra” was sung with fateful utterance and ample lyrics and his final “O terra addio” in the tomb had heavenly highs and one felt that his voice and ascending spirit were one. A truly stellar performance.

Kimberly Lloyd was an Aida to remember. Her “Ritorna vincitor” revealed a beautiful soprano with reserve and staying power. Her confrontational scenes with Amneris always evoked sympathy and her singing of “O patria mia!” was exemplary. Her acting and powerhouse singing with her father Amonasro was indelible. Her upper reaches were seemingly unstoppable, her closing dramatic utterances remarkable and her floating notes ethereal. Ms. Lloyd’s singing in the final act was heartfelt and her blending with Radames in “O terra, addio” was purity itself. An outstanding performance.

Because of Amneris’s great dramatic music and fierce persona, some thought that the opera should have been called Amneris. This is partially true and a great Amneris coupled with a weak Aida can steal the show. However, with “equal billing” you get “The show of Shows” as Amneris, Galina Ivannikova was superb. Like Santuzza in Cavalleria Rusticana she literally kills her ex-lover by “snitching.” Hers is a different scenario. Amneris’s lover Radames is on the cusp of reigning with Amneris his bride to be, but Amneris senses his love for the slave girl Aida. Amneris has a change of heart when Radames is condemned to death. Her passions, fears and the collapse of her dreams make Amneris a snake with venom who was forced to do so. She lives on but loses everything she really wanted to Aida. Galina Ivannikova’s scene with Radames, “Gia i Sacerdoti Adunansi-Misero appien mi festi,” in Act 4 was sung with the most emotional passion. Caruso’s 1910 recording of this with American mezzo Louise Homer bears listening – such intensity. Ms. Ivannikova’s scenes with Aida were properly spiteful and with Radames seething and despondent but in the Act Four Judgement scene “A lui vivo, la tomba!” was sung powerfully, ending with “Empia Razza! Anatemo su voi! La vendetta del ciel” which left us virtually gasping for air! Such magnificent singing, such emoting,  such despair! Ms. Ivannikova’s sumptuous mezzo soprano with its passionate top burnished lows trembling mood left the audience like sinners at a Billy Graham rally – transfixed, stunned and rhapsodic!

Alexander Boyd was Amonasro, the King, father to Aida. My very first opera at the Met was as a standee on March 8, 1952. The cast was the great tenor Mario Del Monaco as Radames, legendary soprano Zinka Milanov as Aida and blessed and sacred Bronx born Leonard Warren as Amonasro. All three were unforgettable. The strong Amneris I believe was Nell Rankin. Warren’s singing of “Ma tu, Re, tu signore possente” in Act Two was stupendous. I never heard such a magnificent baritone. Del Monaco and Milanov had voices you remember and vividly relive.

Alexander Boyd as Amonasro possessed a strong baritone with some wonderful high notes with a round secure middle and very congenial lows. In Act Two, he did a beautiful job and his voice was dynamic and lyrical especially in “Ma tu re, tu sognore possente”. In the third act, his “Tu sei la Schiava” rocked the house with its power and volatility in one of opera’s most dramatic scenes. This scene with his daughter Aida made her choice inevitable.

The King was Christopher Nazarian. His rich voiced basso was superb in “Or di vulcano al tempio” “Alta cagion di v’aduna” leading to “Su! del Nilo al sacro lido” with the chorus joining and his greeting to the triumphant Radames, “Salvator della patria, io ti saluto.”

Ramfis, the High Priest was sung by Kofi Hayford. The “Immenso Ptah duet” was quite exciting with Radames’ golden tenor and Hayford’s deep dark bass joining forces of light and dark to offer sacred power. A magnificent recording of this duet “Numi custode e vindici” exists in the RCA Victor catalog or on the internet with the unforgettable basso born in Rome, Italy, Ezio Pinza and the famed Metropolitan Opera tenor Giovanni Martinelli (1885-1969). Ezio Pinza, (1892-1957) great star of the Metropolitan Opera and Broadway’s South Pacific is buried near Greenwich, Ct. where he lived. I am certain Pinza would be gratified to hear such a splendid Ramfis and Martinelli, such a splendid Radames as we did this magical performance.

Heather Bobeck was the High Priestess. Her soprano was angelic in its purity and made a strong impression on the audience.

Dorian Balis was the clarion-voiced Messenger and made one sit up and take notice of the heroic aspects of his strong tenor.

The finale of Aida with the lovers onstage in front and Amneris evoking “Pace, Pace” wishing for peace, ends this monumental work on a quiet, peaceful and beautiful note. All the triumphs, passions and tragedies end with death with the one you love for eternity.

Maestro Ida Angland’s conducting from memory without a score like the iconic Toscanini, of this incredible masterpiece by Italy’s greatest composer was sublime. Watching her use the baton made me realize how Aida and Verdi transformed her into a great interpreter. I saw and heard the great predecessors that made Ida Angland what she is today but she broke out of the skins of the past and gave us an Aida to remember forever. The Grand March and Meyerbeerian influences were thrilling but all the ingenious things that make Aida so unique were brought out by Maestro Ida Angland, the very gifted singers, the heavenly chorus, the exciting dances, and the superb Gateway Orchestra. The great singing and acting taking place center aisle gave us all proximity to the performance.

The chorus was excellent, especially in the “Immenso Ptah” and “O terra addio” scenes. Maestro Angland’s chorus experience as a choral director with the New York Grand Opera under her mentor the late Maestro Vincent La Selva and as a soprano soloist elsewhere (WQXR radio) always assure superb performances.

It was nice to greet the former concertmaster the elegant and affable superb violinist Gino Sambuco and “good will” chorus members who are longtime dear friends, Josef Fedor, and Robert Malfi. Roberto Stivanello who did the lighting and wondrous costumes for this concert version was happy to see everything go so gloriously. Roberto, our best to your wonderful Mom Yolanda. Hannah Murphy’s accompaniment on the harp was beneficial.

It was a great joy to chat with Maestro Angland and the cast. Caracalla in Rome, The Metropolitan Opera in New York and the arena in Verona, Italy had their inner ear on New York City. This was an Aida that in its perfection makes us all better and closer to the ideal. Being “up close and personal” to Giuseppe Verdi is reaching the ideal. The glories and memories will live in our hearts forever. Brava Maestro Ida Angland! Bravo Gateway! Bravo Verdi!

The Kosciuszko Foundation in New York on Thursday, November 8th was the scene of Classic Lyric Arts Fall Benefit Gala. Glenn Morton, President, and Artistic Director, graciously welcomed the audience to a wonderful evening of young opera artists. “Classic Lyric Arts (CLA) is a nonprofit organization that supports the training of young artists in the field of opera, offering immersive programs each summer in France and Italy.” Glenn Morton spoke of the tremendous importance of these programs and how they influence the young singers as a catalyst for creation.

There are in the program quotes that best describe going to France and Italy to prepare for a career in singing. Each year, Classic Lyric Arts offers about a dozen students a 3-week intensive training program focused exclusively on French opera and song. “The French sing more through their words than through their music. The singer becomes a painter, describing a landscape, suggesting an emotion, one must use the entire palette of colors of the voice.” Michel Sénéchal Co-Founder of Classic Lyric Arts France (1927-2018)

CLA Italy trains 25 singers in the “bel canto” traditions and techniques of singing in Italian. Ubaldo Fabbri, principal coach of CLA Italy, noted that “The great singers who become true legends are, not by coincidence, those who have impeccable diction, one that is intrinsically connected to their vocal technique.”

Gaspare Pacchierotti, castrato, (1740-1821) said: “Our language is so melodic that when it is pronounced precisely, its practically sung.”

The program began with “Pace, pace, mio dolce tesoro” from Mozart’s (1756-1791) Le Nozze di Figaro. The singers holding each other, some in whisper, some in trepidation, some in confusion, stolen kisses, misplaced vows, unfounded jealousies and ultimately expressions of true love and forgiveness.

The young singers were an ensemble in upheaval, disorientation and happy tears of harmony. Chantal Brundage, Sarah Bacani, Aleea Powell, Melanie Dubil, Leah Israel, Travis Benoit, Fernando Cisneros, Ari Bell, Yongjae Lee, with Mina Kim as the excellent accompanist. They were never Stepford wives in their perfection of voice and movement, but happy, gleeful youth, performing Mozart with truth and ardor.

Next was the Cherry duet from Pietro Mascagni’s (1863-1945) L’amico Fritz. According to the program notes, “Fritz, is a wealthy landlord, determined to being a bachelor who meets Suzel the daughter of one of his tenants. As they are harvesting, she and Fritz begin to fall in love, while enjoying the abundance of Springtime.” Stephanie Guasch as Suzel and Taicheng Li as Fritz with Lochlan Brown as the pianist. Pietro Mascagni’s gentle, lyrical opera is quite a contrast to the mega-hit Cavalleria Rusticana, but it is equally resourceful in its sweetness and beauty. Guasch and Li are following a special line of lyrical singers. Recommended listening tenors, Ferruccio Tagliavini, Beniamino Gigli, Tito Schipa, Luciano Pavarotti and their female partners left us with enchanted recordings that will live forever. Ms. Guasch has a lovely soprano, never forced and able to negotiate the upper reaches with elegant yearning and awakening. Taicheng Li sports a fine tenor that showed the hearts awakening and yearning. Later on, the duet ends with almost stratospheric pianissimi at loves blooming. It ended before that happened. Nonetheless, it was a joy to hear it once more. I remember seeing “Fritz” at the wonderful Amato Opera on the Bowery and recall two chirping man-made birds singing along. It is such a gorgeous duet.

“Soave sia il vento” from Cosi fan tutte by W.A. Mozart was sweetly sung by Sarah Bacani, Rosario Hernandez and Ari Bell with Marianna Vartikyan as the pianist. Mozart’s group of duets, trios, and ensembles always enter the heart and mind with eagerness and they were a joyful blend. Don Alfonso Rosario Hernandez, laughs at the two-faced escapades of women, deliciously and devilishly sung by Sarah Bacani and Ari Bell.

“Venti scudi” by Gaetano Donizetti’s (1797-1848) in Elisir d’amore has Nemorino (Ganson Salmon) desperate for money to buy the famous elixir of love that will assure the affection of Adina, the girl he longs for, agrees to join the army for Venti Scudi (Twenty pennies). His braggart bellicose rival Sergeant Belcore makes him an offer “he dare not refuse.” Ganson Salmon has a lyric tenor voice that carries well and has additional resonance in the upper reaches. This duet offers tenorial opportunities to really shine and Mr. Salmon by virtue of a good technique did just that. Xiaomeng Zhang took advantage of his foolish rival in some strong baritonal outbursts which added to the fun. Nemorino is always endearing and seemingly naive and Belcore is always self-assured and cynical. The blending and clashing of these two rivals for Adina is in its own way heartwarming. Required listening-Venti Scudi by Enrico Caruso and Giuseppe De Luca in 1919. Caruso’s voice darkened in his later years and he “lightened” it for Nemorino. Sadly, on December 11th, 1920 Enrico Caruso suffered a throat hemorrhage at the Brooklyn Academy of Music in Elisir d’amore and the curtain came down after Act One. The greatest of tenors sang three times more at the Metropolitan Opera, his final performance being in La Juive December 24, 1920. He died in Naples, age 48, on August 2, 1921. The whole world mourned.

The program ended part one with two alumni reminiscing, tenor Ganson Salmon-Italy 2017 and Xiaomeng Zhang who gave it two thumbs up. The proof lay in the Italianate interplay in Venti scudi. In order to be more Italian in his interpretations, the great and sacred Bronx born American baritone Leonard Warren studied with Italian Baritone  Giuseppe De Luca.(in NYC) Warren died on stage at the Met in La Forza del Destino in 1960. He is a legend and an immortal. The critics noticed the tremendous difference in his singing from the Italianate studies with De Luca.

Part two of the program opened with the iconic “Au fond du temple saint” from The Pearl Fishers by Georges Bizet (1838-1875). Recently it was sung by Andrea Bocelli and baritone Bryn Terfel on PBS. Zurga and Nadir two pearl fishers in love with the same woman. Both are torn by their desire for Leila the Princess of Brahma. Even with Enrico Caruso, Giuseppe De Luca, and Frieda Hempel, the original 1916 production won critical praise and the”opening night” gala was a major social event-it was gone by the next season and did not return till a few years ago. Tenor Beniamino Gigli’s recording with Giuseppe De Luca of this duet is a classic. Enrico Caruso’s 1904 recording of Nadir’s aria “Mi par d’udir ancora”(Caruso made another “Darker” recording of this aria in 1916) was played in Woody Allen’s film Match Point other great interpreters were Beniamino Gigli, and Corsican tenor Tino Rossi. Each one gives the listener a learning experience. Zachary Goldman has a sweet lyric tenor that eases its way into darker territory with some strong outbursts. Sunyeop Hwang has a pleasing baritone that rang out in the dramatic portions and caressed in the strength of their friendship.

Next the religious lust combo of the “Te deum” from Giacomo Puccini’s masterpiece (1858-1924)Tosca. (1900) Still current with the “casting couch” but one must remember the ruthless, evil Scarpia is a man of sophistication and charm. I saw baritone Tito Gobbi in 1965 as Scarpia with the legendary Renata Tebaldi, his voice and performance haunt me still. Running a feather on Tebaldi’s back at the Palazzo Farnese and his entrance in the Church was frightening. His moderate sounding voice became huge when he made his entrance, he made you jump out of your seat in the theatre. Charles Laughton’s unexpected entrance in the Barretts of Whimple Street had everyone jump with fear. Those are things that must be learned like in cooking, a dollop of ricotta is not a large tablespoon, so too with singing.

Baritone Fernando Cisneros is the handsome seducer and when I saw him climb the stairs to get onstage, he was already Scarpia. Scarpia could not focus on the “Te deum” since he had a dual purpose to his overt religious spirit. It was heat for Tosca, the sign of the cross was a blessing to his steed loins to find a new rider, Tosca, and to rid her of her lover, his soon to be prisoner Mario Cavaradossi. Tosca was the lamb to be on the plate for Baron Scarpia, Chief of Police at the Palazzo Farnese. Travis Benoit and the chorus sang fervently and Mina Kim was the spirited conductor and pianist. The choristers who passed by earlier sang in earnest. The proximity of singers and audience made us all part of the experience.

The Septet from the Tales of Hoffmann by Jacques Offenbach (1819-1880) is described thusly, “Hoffmann has agreed to forfeit his shadow, his reflection, his essence, for his lover, the courtesan of Venice, Giuletta. She, in turn, abandons him for another.” The Septet, Blair Cagney, Daniela Magura, Zachary Goldman, Ganson Salmon, Sunyeop Hwang and Ari Bell with Cherie Roe as the dynamic accompanist. I suggest the Tales of Hoffmann’s 1951 film by Michael Powell and Emeric Pressburger whose hit about ballet in” The Red Shoes”  is now an iconic classic. This film version of Hoffmann is magical, grotesque and passionate and deserves its cult immortality. Filmmakers George Romero and Martin Scorsese were profoundly affected by this film. Each would rent it at the same record store and knew the other had it. City Opera tenor Robert Rounseville stars as Hoffmann and many notables of ballet and opera provide other voices – highly recommended. Sir Thomas Beecham is the conductor. Ballet star Robert Helpmann is Hoffmann’s “sworn enemy.” Ballet dancer Moira Shearer is Olympia, Ann Ayars is Giuletta and Leonide Massine gives a haunting balletic sequence as well. A must see!

Gran pezzo concertato from Il Viaggo a Reims by  Gioachino Rossini (1792-1868) “On their way to Reims for the coronation of Charles X of France, a group of European aristocrats, officers and a poetess (Lochlan Brown – conductor, Mina Kim Pianist) prepare to attend the royal festivities.” The entire company was outstanding. Victoria Policht and her lovely soprano were especially noteworthy. The cast shined and brought the light of art and music to all of us. They were Rachel Querreveld, Stephanie Guasch, Melanie Dubil, Emily Hanseul Park, Shan Hai, Yue Huang, Travis Benoit, Taicheng Li, Nathan Seldin, Fernando Cisneros, and Ari Bell. Each one a brilliant jewel on this musical necklace.

The finale, honoring the centenary of the late Leonard Bernstein (1918-1990 ) conductor and composer. “Make our Garden Grow” from Candide. Pangloss the world’s greatest philosopher declares that “We live in the best of all possible worlds.” The singers here were Rachel Querreveld, Bela Albett, Rosario Hernandez, Travis Benoit, Nathan Seldin, Ari Bell, chorus and Jonathan Heaney, conductor and pianist.   

The great Leonard Bernstein is buried in Brooklyn’s Greenwood Cemetery not far from our home in Carroll Garden’s South Brooklyn. The people on the street applauded his funeral hearse in Brooklyn since he composed West Side Story, Candide and On the town. Louis Moreau Gottchalk, a favorite of Bernstein, is also at Greenwood and the Pantano family! l will be in great company!

We were happy to attend the reception and to see so many singers and friends from the world of opera. The Gerda Lissner Foundation with Stephen De Maio as President received special thanks for supporting tonight’s gala. Cornelia Beigel, Gerda Lissner Secretary, was in attendance as well as contributors Alfred and Christine Palladino, Maestro Eve Queler, composer Philip Hagemann, Vocal Programs Joy Ferro, International Concerts Diana Corto and writer Meche Kroop were some of the friends and opera lovers present.

Glenn Morton, Artistic Director spoke to the singers at the concerts’ end and one felt the devotion that he inspired in the young singers. Through him, they enter the journey of the beauty of opera and the tranquil and exciting world it promotes in hearts and souls of their audiences.

We thank Glenn Morton President and Artistic Director, John Hunter, Vice President and Board Chairman, Alan Frankel, Secretary, Charles Perrier Treasurer, and Kathryn Stone. This evening will long live in cherished memory. Some “before the holidays” fun and a very gratifying look towards the future with such an abundance of young fresh talent!

On the evening of Monday, October 29th, the Martina Arroyo Foundation celebrated its 14th Anniversary at the JW Marriott Essex House in New York City. The program honored Simon Estes, Metropolitan Opera bass-baritone and Rufus Wainwright, singer songwriter and composer, and Maestro Anton Coppola, conductor and composer who received the Michel Maurel Award for Lifetime Achievement.

Martina Arroyo welcomed one and all and truly is a beacon of light for the promotion of young opera singers. “The mission of the Martina Arroyo Foundation is to prepare and counsel young singers in the interpretation of complete operatic roles for public performance.” This is accomplished through  Prelude to Performance which showcases the singers progress.

The Gala chair was Gary Spector, who spoke briefly and introduced the host for the evening, the iconic Nimet Habachy from WQXR radio whose honeyed speaking voice has charmed millions for decades.

The first awardee was the great bass-baritone Simon Estes who hails from Centerville, Iowa and began his career in the 1960’s. He recalled his memories of iconic soprano Shirley Verrett and the charming, witty great Italian basso Cesare Siepi. Mr. Estes regretted not singing with Martina Arroyo. In earlier days on the rise, he recalls singing for 84 companies. His grandfather was a slave and Simon always used his grandfather’s love of the Church to enhance his belief that “justice is stronger than injustice.” Helping children and giving them spiritual nourishment makes him a messenger of good today. He teaches master classes throughout the country and currently is a professor at Iowa State University. I remember Simon Estes when I was a young man in Bensonhurst, Brooklyn and I loved the special richness and power of his voice. To me, he was always a pioneer and a hero. It was humbling to meet and greet the great Simon Estes.

The second awardee was Rufus Wainwright singer, songwriter and opera composer. He was introduced by musicologist Cori Ellison who admired  Mr. Wainwright’s love of opera and his work. I was surprised and inspired by his opera Prima Donna which evoked some of the best in Louise by Charpentier and Tosca by Puccini – but had its own distinct sound and momentum. His newest opera, Hadrian was favorably reviewed by The New York Times critic Anthony Tommasini. Mr. Wainwright, looking Mephistophelian in red including his shoes, told the audience of his talented singing parents and his boyhood in Toronto, Canada. “There were tenors aplenty” on the phonograph and he especially recalled the great Italian tenor Beniamino Gigli. Music was all around the house and opera gave them all harmonic happiness. He loved Giuseppe Verdi’s music. Wainwright’s enthusiasm and his friends were all there to lend support.

Soprano Maria Brea sang the wondrous aria “Depuis le jour” from Gustave Charpentier’s (1860-1956) Louise. Ms. Brea sang with a lovely mezza voce and rhapsodic full voice. She floated tones heaven bound and reached ecstatic vocal climaxes that dazzled and thrilled. Maestro Stephen Crawford caught all of the color and sparkling radiance of the music in his superb accompaniment.

The great Scottish-American soprano Mary Garden (1874-1967) who dazzled the French with herLouise in 1900 was the rage of Paris. Louise was a unique opera and composer Gustave Charpentier wrote a sequel called Julien but it never surpassed Louise. Enrico Caruso courted his American bride Dorothy in his Julien costume. Mary Garden made a haunting recording of “Depuis le jour” in 1926. As a young woman she lived on President Street in Brooklyn near Park Slope. I met her at The Brooklyn Academy of Music in 1951. She was in her late seventies and lecturing on her autobiography that was just published. In 1920, she became the head of the Chicago Opera. Her film of Thais made her even more notorious. She never sang as a member of the Metropolitan Opera but had a long career in Chicago and she did appear with Enrico Caruso in concert. I kissed her hand and years later Maria Jeritza’s hand. Two legendary divas and Martina is next, that’s for sure.

“O soave fanciulla” followed sung by soprano Maria Brea and tenor WooYoung Yoon. Puccini’s La Bohème never fails to captivate the listener but this particular moment was special. Judy and I honeymooned at Essex House in 1966 and to see and hear two such singers so rhapsodically entwined recalled the memory. Their voiced blended beautifully and Mr. Yoon was an ardent suitor and she equally so. They ended the duet arm in arm leaving the room with two rhapsodic high C’s with power and loving brio! Stephen Crawford’s accompaniment was like a full symphony of life and love!

The next performance was by tenor WooYoung Yoon. The familiar “Ah mes amis” from La Fille du Regiment which catapulted Luciano Pavarotti to fame with 9 high C’s in the early 1970’s at the Metropolitan Opera. Mr. Yoon has a sweet and vibrant tenor with good projection and even flow. He added embellishments to embellishments giving us a double thrill. His upper voice is manly and stratospheric and he seems very comfortable in those high altitudes. But that did not remove the “frisson” that makes this aria so exciting. One must “conquer” the 9 high C’s and that he did. Stephen Crawford ably accompanied Mr. Yoon and the thrill was brought forward with this partnership.

Maestro Anton Coppola now 101 years of age attended with his beloved wife Almerinda. We met them at the Columbus Club a few years before when he wrote a song for her, a former ballerina he married long ago. We also met Maestro Coppola at a Verdi Festival at the Casa Duse, where Joan Sutherland lived in Park Slope, Brooklyn. He was always a phenomenon and when asked how he has lived so long he replied, “Pasta Faggioli” (Spaghetti with beans). Bravo Maestro! Maestro Coppola was given the Michel Maurel award for Lifetime Achievement named after Martina’s beloved late husband.

Maestro Coppola was given a mike and he addressed Martina Arroyo with some hilarious repartee in a loud clear voice. She responded with wit and wisdom and the audience in on the joke laughed heartily. In Coppola’s new finale for Puccini’s Turandot, Empress Turandot guesses Calaf’s name and he gets his head chopped off with the others. I personally don’t care for a “headless” Calaf but it suits the flavor of our times.

A superb dinner followed and much good talk. We chatted with Met mezzo Jane Shaulis, President of Opera Index, Murray Rosenthal treasurer and composer Philip Hagemann (Popular choral composition Fruitcake) and Janet Stovin who fondly recalled living close to Ebbets Field and the great Brooklyn Dodgers. Janet recalled Jackie Robinson’s ascendancy with the team of blessed memory. Former Met mezzo, the effervescent Nedda Casei, was with us as was her most charming friend Diane Gallagher.The debonair Robert Steiner and Faith Pleasanton were also at our table. It was so nice to see the talented soprano Victoria Miningham from the New York Grand Opera. We spoke of the great Maestro Vincent La Selva and his incomparable operas free every summer in Central Park. We discussed recipes with Paolo Petrini and Rigoletto with opera coach Robert Lombardo. Soprano Elaine Malbin still looking every inch the youthful soubrette, Maestro Eve Queler and Cavaliere Eddward Jackson, Met tenor Anthony Laciura and his wife Joel and writer chef Meche Kroop. I discussed Beniamino Gigli with Rufus Wainwright and friends and told him that I saw Gigli at his return and farewell at Carnegie Hall in 1955 when the 65 year old tenor sang his heart out with a dozen arias and another dozen songs from opera and his films, including Mamma and Quanno ‘a femmena vo’ where he did a “bump.” (No grind)

We thank Martina Arroyo, Deborah Surdi (From Sicilian Bensonhurst like me) and everyone who planned this glorious and wonderful event. Her father, the late Demetrio Arroyo, worked as a supervisor at the Brooklyn Navy Yard to help pay for his talented daughter and who today is the great Metropolitan Opera legend, pioneer and source of delight as a teacher and head of the Martina Arroyo Foundation. Her special award at the Kennedy Center Awards made us all proud. Brava!