Author: Nino Pantano

On Monday, August 14th, a special Requiem Mass was held for Metropolitan Opera soprano Licia Albanese who passed away at the age of 105 on this date three years ago. She was born in Bari, Italy on July 22nd 1909 and later became a solid patriotic U.S. citizen. On August 14th, the third anniversary of her passing, a special requiem mass and luncheon hosted by devoted friends and admirers Cesare Santeramo and Dr. Robert J. Campbell was held. Mme. Albanese was remembered and lauded for her great artistry and the warmth of her friendship.

The Rev. John Kamas spoke eloquently of Licia Albanese at the Mass which was held at St. Jean Baptiste Roman Catholic Church on East 76th Street and Lexington Avenue in New York City. Kosovo tenor Riad Ymeri sang “Panis Angelicus” in a sweet, clear and moving way. Baritone Mark Watson sang a thrilling “I’ll Walk with God” (Brodsky) from the film The Student Prince made famous by tenor Mario Lanza. (Lanza appeared with Licia Albanese in the film Serenade.) The organist led the singers and all to give inspired performances. The priests were all moved by this special tribute to a great singer and devout parishioner. There are many citizens from Bari in Carroll Gardens Brooklyn affiliated with Sacred Hearts-St. Stephens Church and the Van Westerhout Cittadini Molesi Cultural Sport and Social Club. Niccolò Van Westerhout was a 19th century composer born in Bari but whose family was Flemish. Licia Albanese was well known and loved by “Barese” everywhere.

The delicious luncheon at nearby Orsay restaurant included patrons and friends of Licia Albanese: Holocaust author and pacifist Luna Kaufmann, Sachi Liebergesell, President of the Licia Albanese-Puccini Foundation, Father(Pastor) John Kamas from St. Jean Baptiste Church, tenor Cavaliere Cesare Santeramo, Dr. Robert J. Campbell, Joy Ferro vocal teacher, former Metropolitan Opera great and lead dramatic soprano Elinor Ross, legendary Met Opera mezzo Rosalind Elias and opera coach Corradina and Maurice Caporello. It was an afternoon of brilliant conversation and warm remembrance. We all had incomparable memories of Licia Albanese both as an artist (lead soprano at the Metropolitan Opera from 1940-1966) and a devoted and loving friend. I recalled my appearance with her on television in a tribute to tenor Mario Lanza on the Joe Franklin TV show and her frequent visits to the Enrico Caruso Museum in Brooklyn where Commendatore Aldo Mancusi named his mini theatre after her and publisher Michael Sisca. Judy and I remember her playing a vigorous game of bocce at her beloved patron and friend Louise Peluso’s home and gardens in Bayville, Long Island.

We thank our much honored hosts Cavaliere Cesare Santeramo and Dr. Robert J. Campbell for their making this event so special. Cavaliere Santeramo who sang Alfredo to Licia Albanese’s  Violetta in La Traviata for the New Jersey Opera, suggested a future Verdi requiem as a “fund raiser” for Father Kamas’s beautiful St. Jean Baptiste Church where Licia Albanese worshiped and had her funeral mass.

The following day was the great feast of Ferragosto. Licia Albanese passed away on the cusp of the Virgin Mary’s ascension into heaven. I am certain Licia had an EZ pass and is now with the celestial voices.

 

 

 

On the afternoon of Sunday, September 24th, The Giulio Gari Foundation presented in concert the 2017 winners of the International Vocal Competition at the elegant New York Athletic Club on Central Park South.

After greetings from Stephen De Maio, Artistic Advisor and Chairman of the Board Gloria Gari, the program began. Our host of the evening was the brilliant much missed Brian Kellow who was greeted with cheers by his many admirers. Many “stars” of the operatic heavens were present. Former Metropolitan Opera legends dramatic soprano Elinor Ross and mezzo soprano Rosalind Elias, New York City Opera and NBC Opera star Elaine Malbin are always there to show support for the new generation on the ascendancy. I also chatted with charming guest Maria Natale whose radiant soprano and stunning appearance won plaudits in Portland, Maine as Violetta in La Traviata.

The concert began with “Nemico della patria” from Giordano’s Andrea Chénier sung by baritone Jaeman Yoon. Yoon did not just croon a tune but gave a robust erupting volcano concept of this dynamic showpiece. A little more shading and contrast would have given it the Italianate flavor it lacked.The voice itself is healthy and the strong  potential is there. A touch of salt, pepper and oregano will make it the savory mix it soon will be. Patrons Mr. and Mrs. Frank De Rosa presented the award.

A lighter Bizet was served with the duet “Au fond du temple saint” from The Pearl Fishers. Marco Cammarota, tenor and Kidon Choi, baritone were a strong blend in this pledge of friendship duet. Mr. Cammarota belted the top notes in a heroic manner and Mr. Choi sang strongly and this iconic duet went from the lyrical commonplace into the rare with the exciting tenorial trumpet and a visceral victory for true bonhomie. The award was presented by Dr. Barry Schenk and the fashionable Joyce Greenberg.

Soprano Nicolette Mavroleon sang “Depuis le jour” from Charpentier’s Louise. This aria is a glittering showpiece and from the legendary sopranos Mary Garden, Grace Moore and countless others and is a test of vocal endurance. Ms. Mavroleon sang some stunning stratospheric highs and gave a virtually flawless performance of this captivating aria. The composer Charpentier wrote a sequel to Louise called Julien. Immortal tenor Enrico Caruso courted his American wife Dorothy in his Julien costume. (1918) We look forward to hearing Ms. Mavroleon soon. She is of Greek descent like Maria Callas and generates a special magic! Her award was given by the Max Kade Foundation, Dr. Lya Friedrich Pfeifer, President.

“Non più mesta” from Rossini’s Cenerentola was sung by rising mezzo soprano Corrie Stallings. Ms. Stallings possesses a bright silvery voice with expressive and expansive plenitude of sound, dexterity and flexibility so necessary in producing coloratura flow and ease and gave an exciting and generous performance. Only a few feet from the stage was honored guest, famed iconic mezzo Joyce DiDonato who smiled at Ms. Stallings and whose eyes sparkled with loving encouragement and support. To me, this was a defining moment and a wonderful one! The award was presented by the Florence Belsky Charitable Fund, Dan Schneider Esq.

Back to Bizet with “Je crois entendre encore” from The Pearl Fishers sung by tenor Fanyong Du. A very early Caruso recording of this haunting aria (Circa 1904) was heard on the sound track of Woody Allen’s film Matchpoint. It has been a favorite of lyric tenors and Beniamino Gigli’s magical recording also stands out. Fanyong Du has all he ingredients to do this exotic and delicate aria justice. His tapering of the aria, his lingering on a finely spun phrase earned him the applause of the gods above and the audience below. The award was given by The Lissner Charitable Fund by the ever impeccable Karl Michaelis.

The concert ended with Maria Brea singing “Chi il bel Sogno” from the bittersweet operetta La Rondine by Giacomo Puccini. Ms. Brea possesses a strong caressing coloratura soprano that soars heavenward like a flock of white doves. Her nicely placed top voice sings with sparkling ease, fresh and youthful making us all feel the inner yearning for true love. Ms. Brea’s award was presented by the Max Kade Foundation, Dr. Lya Friedrich Pfeifer, President.

The guests of honor included special awards for mezzo soprano Joyce DiDonato, soprano Angela Meade who had another engagement and was not there and rapidly rising dramatic tenor Issachah Savage. The indefatigable Brian Kellow introduced the special guests all of whom spoke with gratitude for such organizations and how many young singers got their start because of such help and support. Mr. Savage was accompanied by his petite and enchanting wife Shana. It was nice to see him singing along softly from the audience savoring every word.

The superb pianists were Arlene Shrut, whose peerless and fearless playing gives the feel of a full orchestra and Jonathan Kelly, who also becomes as one with the singers. (Courtesy of the Metropolitan Opera)

Famed and in demand opera lecturer Lou Barrella did a presentation in praise of tenor Giulio Gari including Gari’s glorious singing of “Amor ti Vieta” from Fedora and his singing of “The Lord’s Prayer.” There was also a video of praise by soprano Lucia Evangelista and other luminaries of tenor Giulio Gari (1909-1994) who sang at New York City Opera (1945-53) and the Metropolitan Opera (1953-61) and was also a much respected vocal teacher. His wife, the much loved Gloria Gari carries his torch proudly with the organization that bears his honored name along with their daughter Gayle Gari Cohen and her husband Paul E. Cohen and the Board of Directors. Their son, the late deeply loved Glen Gary is always present in gallant spirit.

The reception and dinner afterwards afforded us the opportunity to “meet and greet” so many friends and fellow music lovers. From Opera Index, MetOpera mezzo Jane Shaulis and Joe Gasperec, Murray Rosenthal, Philip Hagemann, and Janet Stovin; opera coach and writer Scott Barnes, Sachi Liebergesell from the Liebergesell Foundation, opera manager Ken Benson, conductor Jan Wnek and tenor Keith Johnson. At our table were Michael Fornabaio from The Gerda Lissner Foundation, Maestro Eve Queler from the Opera Orchestra of New York, Robert Lombardo esteemed vocal coach, and banker financiers Joseph Sedillo and John Lawrence. We saw the ever vibrant civic leader and patron Betty Cooper Wallerstein, effervescent basso Gary Kendall, Bill Ronayne from The Mario Lanza Society located in Brooklyn and poet, Cav. Edward Jackson, Ph.D was his ebullient self. Stephen De Maio stopped by to greet our table and said that he was very surprised about three sections of praise he received in the wonderful program booklet. Mr. De Maio deserves every bit of praise for his extraordinary efforts on behalf of young singers as President of the Gerda Lissner Foundation and his work on so many others. It was nice to see Steve’s charming sister Marie De Maio, an iconic New Jersey educator for over 50 years, energetic secretary and facto tum Cornelia Beigel of the Gerda Lissner Foundation, joyful soprano Barbara Ann Testa and magnetic legendary soprano Diana Soviero, whose sublime Suor Angelica at the Met Opera still surges in my minds eye and heart. At the end of the presentation, Board member Donald Levine gave an impassioned plea for all to work together to strengthen opportunities for young singers in the opera world.

This was truly “an affair to remember.” Thank you Gloria Gari for your indestructible spirit! Judy and I are always proud to be your representatives from Brooklyn. The love you give comes back many fold. Bravo to The Giulio Gari Foundation.

 

 

 

On the afternoon of Sunday, July 9th at the Kaye Playhouse at Hunter College, the 600 plus audience was treated to two gems from Giacomo Puccini’s Il Trittico. Suor Angelica provided the tears and Gianni Schicchi the laughter. Il Trittico premiered at the Metropolitan Opera in New York City on December 14, 1918 to mixed acclaim but Gianni Schicchi was highly praised. Il Tabarro and Suor Angelica have come up from behind and have also earned praise as the masterpieces they are.

Acclaimed Metropolitan Opera (Met) tenor Richard Leech lauded the vision, talent and passion of the young singers and the importance of those who help support the Martina Arroyo Foundation. The young awardees are given an intensive six weeks of training and voice and stagecraft lessons as well as a stipend. They are then presented in opera, fully costumed with orchestra and fully staged before an audience at the Danny Kaye/Sylvia Fine Kaye Playhouse (Named after the immortal Brooklyn comedian and humanitarian and his lyricist/composer wife) as part of Prelude to Performance of the Martina Arroyo Foundation. Mr. Leech quoted from Molière, “Of all the voices known to man, opera is the most expensive.” Maestro  Willie Anthony Waters lifted his baton as conductor and the magic began, with the simple setting of a fountain, a statue of the Virgin Mary, a flower garden and the nuns. Artful in its simplicity, the nuns evoked innocence and devotion. The story takes place in the convent courtyard in Italy in the late 1600’s.

The whispering among the nuns said that Suor Angelica had come from a wealthy family and was sent to the convent seven years ago. She became the pharmacist and her herbs and potent potables were of value to her fellow sisters at the convent. A visitor arrives and word spreads that the visitor was a lady in a royal coach with a family crest. The Mother Superior sends for Suor Angelica and tells her that her Aunt, the Princess, wants to speak to her. Angelica and La Zia Principessa are given time and privacy in the Virgin’s chapel. The Aunt wants Suor Angelica to sign over her share of the property because Angelica’s youngest sister Anna Viola is getting married. Suor Angelica then asks how her young son (born out of wedlock) is. Zia tells her that he died of a fever two years earlier. Angelica screams and falls in a faint. Zia Principessa turns her back and prays. Angelica is bereft, signs the deed and Zia leaves.

Angelica mixes a poison potion for herself and drinks it but regretting her suicide prays for forgiveness. The Virgin statue glows, the stars in the heavens shine brightly, as Angelica’s child appears and welcomes her to heaven.

Michelle Johnson was Suor Angelica. Ms. Johnson’s acting was stretched to the limits but was never overdone. Her emotions were imploding and exploding yet with a sense of humility that touched the heart and tear ducts. Ms. Johnson’s exquisite singing of “Senza Mamma” had the true essence of an Italian soprano with generous volume and a  heartrending outpouring of glorious sound. Ms. Johnson hit the final note “Amore” in a  mezza voce and held it until it became a golden thread to paradise. Suor Angelica’s child (Akari Wientzen) walking towards her with arms outstretched in her final moments was indelible. The composer Puccini, whose sister was a nun, would have savored this moment, and I am certain he applauded from his domain in heaven.The touching libretto was by Giovacchino Forzano.

La Zia Principessa was stunningly sung by Leah Marie de Gruyl whose dark penetrating mezzo and stone cold persona left a chill in the room. La Zia had the righteous might of the old testament but none of the mercy of the new! She could not forgive nor forget Suor Angelica’s transgression and the family disgrace. Once she turned to comfort but recoiled, she was incapable of doing so.

Melanie Ashkar had the proper balance of sternness and compassion as La Maestra delle Novizia. Her flexible  warm mezzo soprano was a perfect barometer for her character and assigned duties.

Molly Burke, Jenna Buck, Renée Richardson, Crystal Glen, Nicole Rowe, Yulan Piao, Amy Guarino, Wan Zhao, Hilary Hei Lee Law and Maria Zollo rounded out the ensemble and sang and acted with heavenly perfection. Their singing with the chorus of “Regina Verginum, Salve Maria” was truly the beacon to heaven’s door.

The second portion of the evening was the brilliant comedy Gianni Schicchi with a libretto also by Giovacchino Forzano. The story takes place in Florence, Italy in the year 1299.

In the middle of their mourning the death of their wealthy relative, Buoso Donati, his greedy relatives hear gossip suggesting that he has left all of his possessions to the monks of the order of Saint Reparata. Rinuccio suggests that they hire Gianni Schicchi, despised newcomer to Florence who knows the law, be chosen to help them get the money. Rinuccio is in love with Lauretta, Schicchi’s daughter. Rinuccio sings “Fiorenza come un albero fiorito.” Spencer Hamlin’s brilliant tenor rang out on the top notes ending with the name of “Gianni Schicchi” with fervor!

The wily Schicchi pretends to be the still dying Buoso. Before playing his role, he tells the family that to lie with wills means getting your hand chopped off and banishment from Florence. “Primo un divertimento” was robustly sung.” Schicchi indeed gives some property to family members but he leaves the main home, mules and grounds to himself waving his sleeveless hand at them whenever they protested. It ends with the greedy family leaving after attacking the house and the young lovers happily singing a love duet “Lauretta mia, staremo sempre qui” with the city of Florence in full view. Hamlin’s vibrant tenor and Ms. Whiteway’s lovely soprano soared ecstatically. Schicchi then addresses the audience that even if he goes to hell (As Dante placed him) that it was worth it!

Joshua DeVane was an excellent Gianni Schicchi and he used his warm vibrant baritone and expressive acting to the fullest. He truly relished the part!

Lauretta was in the pretty and perky package of Anna Adrian Whiteway and her singing of the iconic “O mio babbino caro” was enchanting. Ms. Whiteway’s charming soprano has a pungent fullness that made all eyes and ears, hers!

Steven Mo Hanan was the dead Buoso and was remarkably funny with his Buster Keaton deadpan schtick!

The versatile Leah Marie de Gruyl was hilarious as Zita. Ms. de Gruyl’s amber dark mezzo has all the colors of the rainbow replete with a pot of gold!

Vincent Grana was excellent as Simone, oldest relative and the former Mayor of Fucecchio. His plangent bass-baritone and comedic gestures were truly evocative of the Italian theatre.

All of the “grieving” greedy relatives were sung and acted with aplomb including Melanie Ashkcar as La Ciesca, Nicholas LaGesse as Marco, Nicole Rowe as Nella, Hao Hu as Gherardo, Frida Werner as Gerardino, Karl Buttermann as Betto, while dual roles were played by Ben Reisinger as Spinellooccio and Notaio and Charles Carter as Pinellino and Guccio.

Maestro Willie Anthony Waters conducted the 30 splendid orchestra musicians in a performance that was perfection from the ascending majesty of Suor Angelica to the brassy, brilliant and modernistic insouciance of Gianni Schicchi. The versatile  chorus rose to heavenly heights in Suor Angelica and captivated throughout and in Gianni Schicchi as well.

Ian Campbell’s stage direction was perfect from the calm of the convent to the merry mayhem of Gianni Schicchi!

Charles Caine’s costumes were comforting in the convent and colorful in Gianni Schicchi and brilliantly brought out two aspects of life in Italy centuries ago.

Steven Horak’s wig and make up were colorful, garish when needed and versatile. Even the dead had lustre!

Plaudits to Joshua Rose, set and lighting designer. The glowing Virgin statue still glows in memory!

The audience stood up as one and cheered to the rafters for both operas and both casts bathed in the glow of the ovations for the final bow. Opera lovers who witnessed these superb performances did better than if they flew to Milan to the opera house at La Scala. New York City and the Kaye Playhouse was the place to be for opera at its finest. No “updates,” “no nonsense,” (nunsense) – just wonderful  opera as the composer intended it to be.

It was nice to see friends from the Martina Arroyo Foundation, Met Verdi baritone and Administrative Director Mark Rucker and his wife and accompanist Sadie, Publicity, and Norena Barbella, Development Consultant, as well as many friends from Opera Index, The Gerda Lissner Foundation and others. There was a special memorial page for the much loved and invaluable recently deceased coach and accompanist Joan Krueger.

It was a joy to witness two incomparable performances of Puccini at his best in Prelude to Performance. The indomitable spirit of our guiding light, Martina Arroyo prevails. She is our everything and to witness this type of thrilling performance by these future stars nurtured by the Martina Arroyo Foundation makes us all ennobled and elevates humankind with the beauty and the art of opera! A “toast” to Martina Arroyo and all involved in Prelude to Performance. Here’s to Prelude to Performance 2018!

We look forward to the Martina Arroyo Gala at the J.W. Marriott Essex House on Monday, November 13th when Met opera’s great basso James Morris and promising soprano Ailyn Perez and Broadway legends, Chita Rivera and Tommy Tune will be honored!

On the evening of Friday, June 9th at the Church of the Transfiguration (also known as The Little Church Around the Corner) on 29th Street in New York City, there was a performance of Modern Masterpieces, a memorial concert to Arnold Schwartz (1905-1979), patron and benefactor. Schwartz was born in Brooklyn and together with his wife Marie were acclaimed for their generous donations to the arts. The magnificent church organ was donated by his wife and named in his memory.

Dr. Claudia Dumschat, organist and music director of the Church of the transfiguration, planned a most ambitious and enlightening program for this concert, which included the Transfiguration Choir of Men and Boys, Girls Choir and Camerata plus the excellent Transfiguration Instrumental Ensemble, consisting of Joy Plaisted on the harp, James Kennerley at the organ and Jared Soldiviero on the timpani. The great conductor composer Leonard Bernstein (1918-1990) worked with the Transfiguration Boys Choir in 1961. At that time, the choir sang and traveled extensively with some of the musical giants of that era.

Opening remarks were made by the newly appointed and youthful Rev. Father John David van Dooren. Father van Dooren, a man who cherishes the importance of music and culture in our lives, cordially welcomed one and all to this musical celebration. The program opened with “Rejoice in the Lamb” by British composer Benjamin Britten (1913-1976) is based on the poem “Jubilate Agno” by Christopher Smart, who was a mad poet often institutionalized. This poem is about cat and mouse. “My Cat Jeoffry” – a precursor to “Cats”? The libretto rejoices in the beauty of his cat Jeoffry and his female mouse and all of creation. “Rejoice in the lamb” was sung by Enlun Yin soprano, Joe Redd alto, Ben Thomas tenor and Alan Henriquez baritone, accompanied by the Transfiguration Choir of Men and Boys, and made for a delightful treat to Britten’s haunting, unique and flowing output.

Three Ave Maria settings followed. Everyone is familiar with Ave Maria by Franz Schubert or the Bach-Gounod transcriptions by Leopold Stokowski, but there are many others. Enrico Caruso recorded an Ave Maria by Percy Kahn in 1913 with Mischa Elman on the violin. Giuseppe Verdi composed a beautiful Ave Maria for Desdemona in his late masterpiece “Otello” (1887).

Vladimir Vavilov, using notes supposedly from Giulio Caccini (1551-1616), wrote an Ave Maria in 1970 of poignant tranquility. Composer Bill Heigen, who sang with the Choir years ago, wrote an Ave Maria. The Transfiguration Girls Choir sang this with great reverence. The soft singing made one look at the beautiful grotto in the church devoted to Mary. Heigen dedicated this piece to the choir. The Ave Maria by Franz Beibl rounded out this trio, sung “a capella” by the gentlemen of the choir in a robust, solemn and praiseworthy manner, evoking the a capella group “All The Kings Men”. Ms.Claudia Dumschat led these ascending prayers with a steady hand. The harp of Joy Plaisted made the earthbound audience become heaven bound and on the side of the angels.

The second part of the program began with soprano Sara Paar accompanied on the piano by Anabelinda de Castro in a series of Leonard Bernstein songs entitled “I Hate Music!”. In “My Name is Barbara,” a little girl seeks recognition despite her young age, saucily and defiantly sung in a strong soubrette soprano. “Jupiter Has Seven Moons,” “I Hate Music” and “I’m a Person Too” are some of the sprightly tunes that evoked the insouciance of “I Feel Pretty” from Bernstein’s masterpiece West Side Story. Ms. Paar, will be without peer in such roles as Nannetta in Verdi’s Falstaff and other roles in the lyric repertory. Ms. Paar is both beguiling and enchanting! Anabelinda de Castro was her sprightly and dexterous accompanist.

Joe Redd, alto, sang “A Simple Song” from Bernstein’s “Mass” which was written to honor the slain President John F. Kennedy, whose birth centenary we celebrate this year. Mr. Redd has a warm amber quality to his flexible voice and he negotiated the vocal terrain smoothly.

In early December 1963, Leonard Bernstein received a letter from the Very Reverend Walter H. Hussey, Dean of the Cathedral in Chichester in Sussex, England requesting a composition for the Cathedral’s 1965 music festival involving the setting of Psalm Two, answering the question “why do the nations rage?” From the time of Chichester Psalms sold out world premiere at Philharmonic Hall in New York City on July 15th, 1965, it was apparent that Bernstein had created a magically unique blend of biblical Hebrew verse and Christian choral tradition – a musical depiction of the composer’s hope for brotherhood and peace. From “Make a Joyful Noise Unto the Lord” to “The Lord is My Shepard,” this piece, both jazzy and traditional, has old-fashioned sweetness and more than a touch of brashness.

Chichester Psalms is more akin to Carl Orff’s Carmina Burana than to Verdi’s Requiem, yet like a pigeon and a dinosaur, they are part of the evolution of musical sound. The singers were Luciano Pantano treble, Christina Kay soprano, Tessoro Estrella soprano, Joe Redd alto, Ben Thomas tenor and Alan Henriquez baritone. All of them worked so hard to make it look easy. My grandson Luciano Pantano used his boy treble fearlessly and his voice rang out loud and clear in his solo as he sang in Hebrew in Chichester Psalms – Movement 11 (Psalm 23 and 2:1-4). We are very proud of him and his sister Leeza, who sings in the Girls Choir and is also a treble.

Dr. Claudia Dumschat was truly the Maestro Supreme, conjuring up all the power and majesty of this great work. The superb organist James Kennerley made his instrument sing and soar! I thought of the great Dr. Albert Schweitzer (1875-1965) playing his organ in the jungles of Lambaréné in Gabon, Africa on his mission to humanity. Joy Plaisted on the heavenly harp brought back memories of our mutual friend, the late beloved harp master Dulcie Barlow.

Chichester Psalms is a work of gentle fierceness and a plea for peace. It combines the old testament of righteousness and the new, of mercy. Leonard Bernstein is buried not far from our home in Greenwood Cemetery in Brooklyn. It is said that when Bernstein’s funeral procession arrived for the burial, the working crews in the streets of Brooklyn applauded in tribute. The large audience also applauded this work from Leonard Bernstein.

The reception afterwards in the courtyard ensured us of good conversation, food and libation. We were happy to “meet and greet” Dr. Claudia Dumschat, Rev. Father John David van Dooren, who expressed his enthusiasm for such evenings as this, Stage Director (Amahl) Richard Olson, the singers, musicians and all. Our son Marcello, his wife Tatyana, her parents from Omsk, Russia, Nikolay and Lubov Klitsenko were all there to listen and reap praise. Nikolay is a bayan (Russian accordion) master, Lubov, a choral director at their school in Russia, and their daughter Tatyana was also a chorus conductor. Our son Marcello plays the drums, my wife Judy sang in school choirs and I was “The Boy Caruso of Brooklyn”- is it any wonder there’s a song in our hearts?

On the grave of the great English American Maestro Leopold Stokowski, a Bach expert and pioneer of American music (1882-1977) (Fantasia), is the inscription “Music is the Voice of the All.” Some thought this might have been a misprint but Maestro Stokowski, whose long career began at St. Bartholomew Church in 1905 as an organist and choirmaster in New York, is correct. It was something he would have thought universal and proper.

We all applaud Maestro Dr. Claudia Dumschat, music director and organist, for this special splendid evening on a warm, balmy June night and thank her for reminding us so magnificently that “music IS the voice of the all”!

 

Once upon a time, lets say 1953, they had television executives who wanted to bring culture to a wider audience in America. “General” David  Sarnoff and Samuel Chotzinoff were two cases in point. In 1937, David Sarnoff created an orchestra to lure the just retired great conductor Arturo Toscanini (1867-1957). Toscanini then led the orchestra in a series of broadcasts and telecasts for the next 17 years. (1937-1954)

The NBC Opera was also formed to promote great operas in English. Their first telecast was Amahl and the Night Visitors composed by Gian-Carlo Menotti for television and the NBC Opera. It was an enormous success when performed on December 24,1951. Other operas were Madama Butterfly, Salome and a host of others. The NBC Opera toured America but was disbanded after a few years.

Today most television producers and executives get as glazed as a dunkin’ donut when anything that is not “hip hop “or rock is mentioned. Most opera productions allow outrageous “updates” and violence to fill their coffers if not the house with the tattoo and nose pierced sets. Anything sentimental or traditional is scoffed at or is not considered politically  correct! What a pity because I believe that even the most hard hearted skeptic could not weep at the dilemma of poor Sister Angelica.

The great composer and man of the theater, Giacomo Puccini had a sister who was a nun. The Puccini family were church organists and composers for generations. Suor Angelica was written in 1918 as part of Il Trittico a series of three short operas. Il Tabarro is a dramatic love triangle tragedy, Suor Angelica initially dismissed as a “weak” piece and the delightful comedy Gianni Schicchi. Suor Angelica has come up from behind and is gaining new admirers for its musical elegance and overwhelming drama.

On the afternoon of Sunday, June 10th at the Paley Center located on West 52nd Street in New York City, a brief welcome and introduction was given by Associate Curator Rebecca Paller. She expressed her wonderment at the marvelous treatment given the NBC Opera done “live” with beautiful sets, excellent camera work, intimate shots and thrilling music by the orchestra which was unseen even by the singers. Ms. Paller singled out some special guests like legendary Met Opera soprano Elinor Ross, famed conductor Eve Queler and “practically everyone in  the audience!” Suor Angelica was aired in 1953 and repeated “live” in 1954.

Puccini’s Suor Angelica (Sister Angelica) takes place in Italy in 1680. Soprano Elaine Malbin, a young 21 year old Brooklyn born and raised was Suor Angelica. Sister Angelica’s sweetness and innocence prevailed and she was dutiful and resilient in her being. All the nuns were sworn to obedience and just once you wanted to hear “What do you do with a problem like Maria” from The Sound of Music. Suor Angelica gathers herbs for the nuns. Then there is a special visitor for her, her aunt. Sister Angelica was from a well to do family. She gave birth to a child and her family kept the child and they placed Sister Angelica in a convent. Her aunt, the Principessa (mezzo Winifred Heidt) is on a special mission and needs Sister Angelica to sign some papers dealing with property. Angelica queries about her child and is cruelly told that a few years back the child was ill and died of a fever. Angelica reaches out to the Principessa in her anguish but Zia (Aunt) steps back and prays, always remindful of the family disgrace wrought by Angelica. Ms. Heidt was riveting and flawless in her singing and acting. Her steely taut mezzo was symbolic of Hell’s wrath. Her exit left a chill in the room.

Suor Angelica is shocked by the news and sings “Senza Mamma” (without a Mother) ending on a high note that is from her heart to God. She mixes some poisonous herbs and takes them. In her delirium, she denounces herself for taking her own life which means Hell but as she dies, the Virgin Mary appears and lifts her arms in forgiveness and her child welcomes her to heaven.

Elaine Malbin was intense, her emotion profound, not one gesture wasted, her voice a laser of silver and gold as intense as a forger of steel. The final scene had me in tears, recalling my boyhood when things like the Madonna was so venerated by my Sicilian family. The Mother Superior Abbess (soprano Virginia Viney) was vivid and authoritative, but turned a blind eye when the nuns were eating sweets. All of the nuns sang with passion and fervor and were each and every one a gem. The Zia Principessa was like the ghost of Christmas Future in Charles Dickens’ A Christmas Carol. She was a heartless unforgiving spectre. turning her back on Angelica, showing punishment without mercy – a frightening figure, brilliantly portrayed and sung in a resplendent mezzo.

Peter Herman Adler was the most sensitive conductor and Kurt Browning the superb director. The producer was Samuel Chotzinoff with the Symphony of the Air Orchestra and the NBC Opera chorus. The beautiful sets were by William Molyneux. The English translations were by Townsend Brewster. When the lights were on again, on stage there was Elaine Malbin, looking remarkably young and given a long ovation. The eloquent and knowledgeable Robert Sherman from WQXR (The Listening Room) had a Question and Answer session with Ms. Malbin. She thanked her teachers in P.S. 234 in Brooklyn for her career. One teacher in particular heard her singing and made her join the chorus.

Ms. Malbin sang “Voi lo sapete Mamma” from Cavalleria Rusticana at age 14 and sang with the great Viennese tenor Richard Tauber while still in her teens. When asked by conductor Wilfrid Pelletier where she found such adult emotion at so tender an age she said, “I just felt it through the music – that’s all!”

An early La Traviata with Lawrence Tibbett as Germont and a brief study at the Stella Adler acting studio and the Stanislavsky method which she briefly used. But in reality it was just something she possessed and did. Elaine Malbin was given one weeks notice to learn the part and you could not see the conductor or orchestra. It was all savvy, Brooklyn grit and her own special gifts that allowed her not only to survive bur thrive. She also mentioned her Broadway play My Darlin’ Aida where she sang Aida six times a week. Rudolph Bing warned her “it will ruin your voice” but it never did. She sang at New York City Opera and did coach with Brooklyn’s Beverly Sills teacher Estelle Liebling. When the erudite Robert Sherman asked Elaine Malbin about her career losing its momentum, she proudly introduced her daughter Amy and grand daughter Savannah!

We then went from the Spielberg film room to the main room downstairs. A special Tony Bennett exhibit was on display showing his masterful paintings of people and places. We were pleased to chat with opera manager Ken Benson, conductor pioneer Eve Queler, Met Verdi baritone Mark Rucker and his wife Sadie from the Martina Arroyo Foundation’s Prelude to Performance, WQXR famed hosts Robert Sherman and Nimet Habachy, Opera Index treasurer Murray Rosenthal, Vice Presidents Philip Hagemann and Janet Stovin all from Opera Index. Murray Rosenthal requested this homage for Elaine Malbin and also presented the voices of several legendary sopranos on video: Callas, Caballe and Stratas all singing their interpretation of the famous “O Mio Babbino Caro” from Puccini’s Gianni Schicchi. 

Dramatic soprano Elinor Ross was enjoying the party as was author Luna Kaufmann, Gloria Gari, from the Giulio Gari Foundation and Bill Ronayne from the Mario Lanza Society. Ronayne reminded us that Elaine Malbin made two recordings with Mario Lanza back in 1950 for the film album The Toast of New Orleans.

Unfortunately legendary soprano and “founder of the feast” Martina Arroyo could not attend but sent regrets and a reminder that the Martina Arroyo Foundation will present the young awardee singers in Puccini’s Suor Angelica and Gianni Schicchi and Bizet’s Carmen in early July at the Kaye Playhouse at Hunter College. The playhouse is named after the great funny man Danny Kaye and his wife Sylvia Fine who were both Brooklynites. Martina Arroyo’s father Demetrio supported young Martina’s musical career as an engineer at the Brooklyn Navy Yard.

Can you imagine an America where such magnificent cultural television once reigned? Giving voice to that significant minority-the lovers of classical music and opera? Television executives who respected the taste of their viewers – even if it was 10 million instead of 100 million? Thank you Martina Arroyo in absentia and Elaine Malbin. You brought back the thrill!