Author: Nino Pantano

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!

On the afternoon of Sunday, October 21st, The Giulio Gari Foundation presented the Winners of the 2018 International Vocal Competition. The gala event was held at the famed New York Athletic Club in New York City across from the now autumnal Central Park.

The colorful and informative program reminded us that the mission of the Giulio Gari Foundation is to discover and encourage young classical singers of the highest quality. They received their awards at the annual Gala Winner Concert and dinner which introduces them not only to the public but to the professional world of opera and classical music. Creating the Giulio Gari Foundation was the inspiration of Stephen De Maio and Licia Albanese who admired Giulio Gari (1909-1996) not only as an artist but as a human being and friend. His years as a lead tenor was at the New York City Opera (1945-1953) and the Metropolitan Opera (1953-1961). His generous spirit lives on with his wife Gloria Gari and family, all of whom share the glory of his legacy by helping young singers perform for a public that thirsts for the beauty they offer. Thanks to the Giulio Gari Foundation there will be no roses blooming in the desert unknown and sight unseen.

The concert began hosted by Ken Benson of Columbia Artists Management and the Met Opera broadcasts and co-hosted by Scott Barnes, Broadway expert, director, judge and coach. Brian Kellow who passed away on July 22nd of brain cancer was married to Scott Barnes and both Benson and Barnes paid tribute to Brian’s brilliance as a writer, opera host and warmth as a human being. Scott was an erudite host and found strength in the ever loving spirit of Brian Kellow. There is a special section in the program booklet “In Memoriam” dedicated to Brian Kellow with touching photos of Brian and Scott.

The program began with “Ah! Je ris de me voir…” from Gounod’s Faust sung by soprano Marlen Nahhas. Ms. Nahhas soaring soprano had a safe, secure technique and a strong top. It whetted the appetite to hear her in other repertoire like a treasure chest submerged and full of mystery. A very fine job! The award was given by Barry Schenk.

“Largo al factotum” followed from Rossini’s Il barbiere di Siviglia and was sung by baritone SeokJong Baek. Mr. Baek had a range that allowed him to take the liberties that iconic baritone Lawrence Tibbett had at his disposal: stunning cadenzas, roulades, and flourishes that energized this great aria to special heights. Ironically Tibbett (1896-1960) sang the Barber only once in his entire career. Mr. Baek sang it with ringing freedom, stratospheric highs, dazzling scales, and “Italianate” abandon. Tibbett would have been proud and so was I! The award was given by Louise Simmons and Robert Funck.

(I sang this aria as a youngster at age 13 and was a winner on the Ted Mack Amateur Hour in 1949. I was also a protege of bandleader legend Paul Whiteman (The American Idol) way back then. I learned it phonetically and heard it on record by the great American baritone, Lawrence Tibbett.)

Soprano Jana McIntyre was next with “O zittre nicht, mein lieber Sohn” from W.A. Mozart’s Die Zauberflote. It evolved into a spinning wheel of coloratura, power, elocution and dynamic structure that made us see the essence of the divine Mozart. The award was given by Frank DeRosa in memory of Lucia DeRosa.

Tenor Dangelo Diaz sang “Pourquoi me réveiller” from Werther by Massenet. Mr. Diaz has a pleasing voice, one that wants it to be less laid back in lyricism and more in impassioned thrust. I sensed like a skier, he was mulling the next climb rather than just overtaking it with seeming ease. I have heard Franco Corelli and Alfredo Kraus, differing voices with different techniques sing the heck out of it with both lyrical and dramatic intensity. A little more intensity and Diaz can be listed in that unrivaled list of Werther’s. He’s got the goods – just get out of the woods. His award was given by Jack and Anna LaPadula in memory of Lucia DeRosa. Any relation to famed accordionist Johnny LaPadula – family friends from long ago?

Another sampling from Massenet was “Pleurez! pleurez mes yeux!” from Le Cid sung by Helena Brown. Her burnished mellow soprano had power, fury, allure and an inner mezzo soprano. The great American soprano, Rosa Ponselle had mezzo like darkness and sang Carmen at the end of her career. I kept thinking Amneris more than Aida. Time will tell! Helena Brown is a force of nature. The award was given by Joyce Greenberg.

“Nemico della patria” from Andrea Chénier by Giordano followed. Jaeman Yoon has a strong secure baritone and worked hard to capture the Italianate brio that goes with this role.The immortal Leonard Warren studied with legendary baritone Giuseppe De Luca and the Bronx born Warren, captured the Italianate style. Dr. Philip Frezzo gave the award.

“No puede ser” from La tabernera del puerto by Sorozabal was sung by tenor Cesar Delgado. This Zarzuela piece is a “must” for high Spanish tenors and can capture one’s heart by its blazing intensity. Surprisingly it is one of Placido Domingo’s best encores and always gets a rousing roaring reception. Mr. Delgado has some burnished low tones and throbbing high tones. He aimed for “rapid execution” at the finale but slightly missed the mark. Some of his extra “highs” were a surprise and I long to hear him in a concert of Spanish favorites. Like the great Alfredo Kraus, he has the goods. His award was given by Scott Barnes in memory of Brian Kellow.

Next was Verdi and from Rigoletto, “Cortigiani, vil razza dannata” sung by Kidon Choi whose fulsome baritone had soothing diminuendos, soaring high notes, strong legato phrasing, evoking sympathy and giving thrills. His musicality allowed the Italian phrasing and vocal flourishes to take over and the final “Pieta” was vivid both as a work by Michelangelo and a phrase by Choi. It was very well done. Bravo! The award was given by the Lissner Charitable Fund and was presented by the impeccable Karl Michaelis.

The final selection by first prize winner Hubert Zapiór was “Or dove fuggo io mai?”… “Ah per sempre” from I Puritani. His well-placed baritone negotiated the Bellinian line with the proper flourishes and sad momentum. His cadenzas and legato were flawless and just a tad more melancholy would create the perfect cocktail  – the Bellini! Bravo! The award was given by Max Kade Foundation Dr. Lya Friedrich Pfeifer, President.

The brilliant accompanist was Jonathan Kelly from the Metropolitan Opera. His pianistic virtuosity was like a heavenly orchestra!

In between the singers’ performances, three great artists were honored. Soprano Sharon Sweet looking as lovely as she did when I heard her Leonora at her Metropolitan Opera debut in 1990. I thought to myself, Ms. Sweet is in the great line of Verdi sopranos, Ponselle, Milanov, and Sweet. It was so nice to meet and greet Sharon Sweet and her husband John Sweet. She is a Professor of Voice at Westminster College in Princeton, New Jersey. Ms. Sweet accepted her award with pride and humility, advised the youngsters to never lose hope and to enjoy the musical journey. Sharon Sweet showed us all her persistence, endurance and a sense of vibrant family life with a delightful sense of humor.

Carol Vaness, Metropolitan Opera and international soprano I saw and heard in Tosca with Luciano Pavarotti. Her 30-year career was a wonder to behold. She now teaches and mentors a new generation of singers and is as vital and vibrant as one can be at the Jacob School of Music at Indiana University.

Giuseppe Filianoti has been a noteworthy tenor since his debut in 1998. I remember his brilliant Edgardo in Lucia at the Metropolitan Opera in 2005, a sweet lyric voice with dramatic color. It was like a Mario del Monaco surrounding a honeyed tone. He still sings, makes CD’s and gives master classes and is youthful and pleasant to talk to.

The souvenir program had a beautiful poetic tribute to the late  Glen Gary who was “a Prince of Players” by Steve De Maio.

The concert was followed by a brief fascinating film, edited and compiled by opera lecturer Lou Barella, with footage by Glen Robert Gary and Ron Harris. Some of the highlights of the film showed the great basso Jerome Hines singing “Ol’ Man River,” magnificently in his old age. Soprano Elinor Ross singing a glorious Gershwin’s “Summertime” at a Gari Gala years after her retirement, soprano ever youthful, Elaine Malbin wonderfully singing “Meine Lippen Sie Kussen So Heiz” from Lehar’s Giuditta, Jerome Hines’s wife Lucia Evangelista and Giulio Gari in golden duet from La Traviata, grand soprano immortal and  sorely missed Licia Albanese belting out two final notes from The Star Spangled Banner from one of her superb galas and Giulio Gari in a ringing, heroic “Celeste Aida.”

At this splendid affair, it was nice to see Artistic Director Stephen De Maio President of the Gerda Lissner Foundation and his sister Marie De Maio, extraordinary educator, Gari Board members, dapper Karl Michaelis and ever stylish Joyce Greenberg, Cornelia Beigel from Gerda Lissner, legendary Met mezzo Rosalind Elias, unforgettable Met soprano Diana Soviero and impeccable impresario Bernard Uzan, saucy soprano Elaine Malbin from New York City Opera, Met mezzo soprano the sparkling Jane Shaulis, who is also President of Opera Index and Joseph Gasperec, Executive Director from Opera Index, soprano Barbara Ann Testa, vocal coach Tamie Laurance, talented conductors Maestro Eve Queler and Jan Josef Wnek, very chic Sachi Liebergesell former President of the Licia Albanese-Puccini Foundation, affable lawyer Brian O’Connor, Artists Personal Managers agent Michael Rosen, Betty Cooper Wallerstein, the great civic activist, Anthony Laciura, Metopera tenor and television actor and charming wife Joel, industrious Bill Ronayne from The Mario Lanza Society and classy Michèle Classe export consultant and husband Anthony added their vibrant presence.

The delicious dinner with Butternut Squash Ravioli and succulent chicken, potatoes, and vegetables gave us all the opportunity to wine and dine in fine splendor. We think about past and present and contemplate the “stars,” both the ones on view in the heavens and the young awardees with stardom in their future. Thank you beautiful Gloria Gari, family, staff and awardees for this incomparable and unforgettable gala event.

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 or Puccini’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!

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.