A Liberal's Libretto

Welcome back, Maestro Levine!

2013-05-20T14:45:00.000-04:00

He's back...

After much anticipation by fans - and, I think, by the Met Opera's administration - James Levine has returned to conducting after a two year health related absence.

Anthony Tommasini of the New York Times reported on Maestro Levine's return:

On Sunday afternoon Mr. Levine, one of the greatest living American conductors and a musician who has defined the Metropolitan Opera for more than 40 years, cruised onto the stage of Carnegie Hall in a motorized wheelchair and conducted the Met Orchestra in a substantial program, his first performance anywhere in more than two years. The audience, which packed the house, stood almost in sync to give him a hearty welcoming ovation.

The podium area was enclosed on three sides with painted wood panels that fit with the design of Carnegie Hall interiors. Behind the panels, a rising platform lifted his chair. His entrance was choreographed so that after facing the audience, blowing kisses and waving his hands, Mr. Levine was able to turn his chair around and get to work in just over a minute. Then he led a serene, poised and glowing account of the Prelude to Act I of Wagner’s Lohengrin.

So he really is back. This was Mr. Levine at his best. There are still big questions hovering over the Met about whether he can fulfill the duties of music director, which remains his title. But this was a day to celebrate his return and bask in his musical glory.

Now, it's on to 3 productions at the Met.

Welcome back, Maestro. Wishing you Godspeed as you continue in this next part of your journey!

Incidentally, if you want to listen to a truly spectacular interview with Maestro Levine, please click over to the WQXR's Operavore blog. In this interview, conducted by Marilyn Horne, Maestro Levine discusses his health issues, the state of opera today and also discusses the current inadequate supply of large voices.

Hiroyuki Ito

Another Favorite Clip: Verdi for Vital Voices

2013-05-20T14:06:00.003-04:00

Alright, Ladies and Gents ... it's been a long time since I brought you Another Favorite Clip. 6 months, to be exact. When I was alerted to this clip though, I instantly knew this would be the one to bring the feature back.

I mean, who doesn't love a good Operatic Flash Mob (done right, of course).

Last week, 100 plus people came to a cocktail party here in NYC for the Vital Voices Mentorship Program. Little did they know that they were in for a surprise serenade. Ten singers from Canada, USA and Puerto Rico - under the guise of being New York City socialites - absolutely thrilled the unsuspecting crowd with a little Verdi.

And for such a wonderful cause, too. Vital Voices - which was in the news recently when Hillary Clinton spoke at their Global Partnership 2013 Global Leadership Awards - states that its mission is to identify, invest in and bring visibility to extraordinary women around the world by unleashing their leadership potential to transform lives and accelerate peace and prosperity in their communities.

I encourage you to check out Vital Voices as they are most certainly a force for good.

BUT... not until you see this first. Directed by baritone Jonathan Estabrooks, this is sure to add a little enjoyment to your Monday!

Soprano Angela Meade named Artist of the Year by WNO

2013-05-14T15:11:00.000-04:00

Meade as Norma with WNO - Photo by Scott Suchman

Opera's rising superstar, Angela Meade, has just been named Artist of the Year by the Washington National Opera (WNO). The May 13 announcement comes on the heels of the soprano’s triumphant company debut, in which she “thrilled WNO devotees with her nearly mind-blowing mastery of Bellini’s most challenging music” (Washington Times) in the title role of Norma.

Previous recipients of the Artist of the Year award, which carries a $5,000 cash prize, include mezzo-sopranos Frederica von Stade and Denyce Graves, tenor Jerry Hadley, and conductor John Mauceri.

“I’m so honored to be chosen as Washington National Opera’s Artist of the Year and I appreciate their generosity with this award,” Meade responded when she heard the news. “I had such a wonderful time in Washington, DC this winter, and performing the role of Norma for the first time in a staged production was thrilling for me.”

“It was a privilege for the entire company to work with Angela as she performed her first staged performances of Norma,” said WNO Artistic Director Francesca Zambello. “Our audiences were riveted and thrilled by her fearless delivery, and many people told me they came back for multiple performances. As Angela garners worldwide acclaim for this role in the coming seasons, we will remain proud that she debuted it here in Washington.”

This coming October, the soprano – who is also the winner of the 2012 Beverly Sills Artist Award and 2011 Richard Tucker Award – will reprise Bellini’s heroine at the Metropolitan Opera. In the meantime, she looks forward to appearances as Donna Anna in Don Giovanni at Cincinnati Opera (June 13 & 15) and to her return to the Caramoor International Music Festival to celebrate the Verdi bicentennial. Besides performing the Italian composer’s Ave Maria, volgarizzata da Dante with string quartet (June 27), Meade will headline a semi-staged performance of Les vêpres siciliennes in the original French, with Will Crutchfield and the Orchestra of St. Luke’s (July 6).

Mezzo-soprano Cecilia Bartoli goes old-school with "Norma".

2013-04-26T15:31:00.002-04:00

Cecilia Bartoli sings Norma with Sumi Jo as Adalgisa.

Bellini's Norma is one of my top 5 favorite operas.

I'd like to think the reason for that is Bellini's music... but, I have a sneaking suspicion that my love for Norma also stems from the fact that when, as a young apprentice, I covered the role of Oroveso ... Richard Bonynge was conducting in the pit.

Having the ability to observe him in rehearsal - as well as sing in the chorus with him in the pit - was one of those awe-inspiring, breath-taking times in ones life. One of those times when you can do nothing else but soak every second up like a sponge.

Two things I will never forget: The first was his advice "Don't sing so much. Never give 100%." Which, when put into context, meant: "Don't sing so big - don't sing so loud." The second thing I will never forget was his hard-bound orchestral score: it was dark red leather - almost blood red. And, it had his name embossed in gold at the bottom corner. I made a comment about it to a friend: "Oh god... the legendary performances that have come from that score..."

Maestro was within earshot, apparently. He turned and said, "Isn't it lovely? It was just re-bound in this leather. It was a gift from Joan."

That made me want to reach out and touch it... just to say I had.

I say this because Norma is my jam. And, there are so many superb pairings of Norma and Adalgisa: Callas and Stignani. Callas and Ludwig. Sutherland and Horne. Sutherland and Troyanos. Sutherland and Caballe. Caballe and Verrett. Sills and Verrett. Scotto and Troyanos. Scotto and Freni ... the list could go on and on.

Then, of course, there are the Normas coming to the MET next season: Radvanovsky and Aldrich. Meade and Barton.

Well, it was only a matter of time before mezzo-soprano Cecilia Bartoli decided to put her stamp on Norma - yes, in the title-role. As part of the city’s annual Whitsun Festival, Norma will receive its first staging in Salzburg this May. Cecilia Bartoli, in her second year as artistic director of the Whitsun Festival, will perform the title-role in company with John Osborn, Michele Pertusi, Orchestra La Scintilla and Giovanni Antonini.

But, that's not all...

In Decca’s new recording, Norma is presented in a form that is complete with the exquisite mix of vocal and instrumental colors that Bellini allegedly intended for his ‘tragic opera’. Cecilia Bartoli’s Norma evokes the style and artistry of the legendary soprano Giuditta Pasta, the opera’s original heroine. The Italian superstar continues her mission to reveal lost details of expression and emotional variety in music covered by the dark varnish of later performance traditions. Norma, often portrayed as a superhuman priestess, emerges in Bartoli’s performance as a woman of flesh and blood, torn between duty and love. Bartoli's Adalgisa is Lyric Coloratura Sumi Jo - clearly cast as Bellini intended, which was to have Adalgisa portrayed by a soprano.

Rounding out the leads are John Osborn as Pollione and Michele Pertusi as Oroveso.

Decca’s studio recording of Norma employs the latest critical edition of Bellini’s score, painstakingly restored from manuscript and early printed sources. The sounds of period instruments from the composer’s time, brought to life by Orchestra La Scintilla and conductor Giovanni Antonini, underpin and blend with the timbres of a cast carefully chosen.

Norma is set to drop on June 11, 2013 - but, you can preorder Bartoli's Norma by clicking here.

Here are a couple of trailers to wet your appetite.

Happy Birthday to: Ella Fitzgerald

2013-04-25T11:30:00.001-04:00

Google hit the nail on the head with it's Google Doodle this morning.

Happy Birthday to the Queen of Scat: Ms. Ella Fitzgerald.

If you watch nothing else today - you must watch this:

Shame on you, Senators: Background check expansion bill defeated.

2013-04-17T18:10:00.003-04:00

In a shameful act against the will of the American people, today the Senate did not pass background check expansion legislation.

As NBC News reported:

Despite an impassioned push by President Barack Obama and an emotional lobbying effort by the families of mass shooting victims, proponents of a compromise measure to expand gun background checks on Wednesday fell six votes short of passage in the Senate.

Even though 90% of the American people support universal background checks that make it harder for a dangerous person to buy a gun, the vote was 54 to 46. Sixty votes were needed for the amendment to be adopted.

I'd like to point out that 54-member majority supported the Manchin/Toomey amendment, while 46 opposed it. But, because of Republican obstructionist tactics, proponents needed a 60-vote supermajority and came up far short. Technically, it would have been 55-45, but according to NBC News, Majority Leader Harry Reid had to switch his vote for procedural reasons.

For their part, the National Rifle Association - who willfully lied about the legislation - released the following statement:

This amendment would have criminalized certain private transfers of firearms between honest citizens, requiring lifelong friends, neighbors and some family members to get federal government permission to exercise a fundamental right or face prosecution. As we have noted previously, expanding background checks, at gun shows or elsewhere, will not reduce violent crime or keep our kids safe in their schools.

One of the biggest pushes for changes in our gun laws has come from a group of parents who lost their children at the massacre in Newtown, CT. Some of those families were in the gallery when the Senate voted.

Feeling good about your votes, Senators?

Former congresswoman Gabby Giffords - who nearly died after being shot in the head by a gunman who went on a rampage outside a grocery store in Tuscon, AZ - and her husband Mark Kelly, slammed senators for "ignoring the will of the American people":

We will use every means possible to make sure the constituents of these senators know that their elected representatives ignored them, and put Washington, D.C., special interest politics over the effort to keep their own communities safer from the tragedy of gun violence.

Giffords and Kelly's PAC Americans for Responsible Solutions vows on their website to "encourage elected officials to stand up for solutions to prevent gun violence and protect responsible gun ownership by communicating directly with the constituents that elect them."

When the vote was finished, a woman in the Senate gallery shouted "shame on you" at the members below. But, she was ignored. As were a majority of the American people, the families from Newtown and one Congress' own - Gabby Giffords.

Yes... SHAME ON YOU, Senators.

It seems to me that the only people who fear a background check when buying a firearm are the people who know they can't pass one.

Are young singers unreliable? Or are the fundamentals of opera changing?

2013-04-05T15:34:00.000-04:00

Legends Caballe and Horne in rehearsal.

Here we are. Again.

Last month, Sir Antonio Pappano created a furor when he made some comments about what he sees as a new trend of unreliable young singers who have a propensity for cancelling. Norman Lebrecht of Slipped Disc reported that Sir Antonio said:

It happens more and more. There’s something about this generation of singers, that they are weaker in their bodies or don’t care. I don’t know what it is, but it’s something that is very very frustrating for me personally.

This led the Met Opera's Principal Conductor, Fabio Luisi, to respond:

Dear Norman,

I think nobody, not even Tony, came to the core of the problem, and we, as conductors, have to pronounce a very clear “mea culpa” in this. Most singers, especially the young ones, are simply too young, not prepared enough, with technical problems and they get the wrong roles. Take e.g. a good, young soprano who makes a successful debut with, let’s say, Micaela or Liu’.

Some agent will eventually ask her if she could take over Violetta, then Leonora (Trovatore), at the end probably Butterfly or Tosca. “You know, darling, they are looking for a new, young and pretty Tosca in that international Opera House, director and conductor would love to have a new voice, they would love to discover a new star. That’s you!”

It can work maybe a couple of times, if the orchestras are not too loud, if the director is understanding, if the conductor helpful (not looking for Magda Oliviero’s sounds). Of course, we do need Butterflies and Toscas, but are they the right roles for a young soprano? Definitely not. You can sing them of course, with a fresh voice, but not for long. So they start to cancel – and then they disappear.

Gruberova never accepted such roles (she sung even Violetta not very often) – and she still sings. If I read that the Nemorino-tenors are approaching Des Grieux (Puccini) or Cavaradossi, of course I am curious, but I already can see… it won’t last long. How many singers, Norman, have we seen “bruciati” by famous conductors? Freni and Butterfly? She was smart enough to do it only once (and, as soon as I know, never on stage), but she had a 40 years long career. Gruberova ditto.

Best regards to all.

Yours
Fabio

Maestro Luisi wasn't the only one to weigh in (so to speak). Two famed mezzo sopranos, Susan Graham and Rosalind Plowright, also had a few things to say on the matter.

But, I still don't think the core of the issue has been touched. I think the root is something that I've been harping, gnashing and wailing about since day one of A Liberal's Libretto.

You see, we are at a place in opera's history when it appears that the fundamentals of the opera world are changing. Opera is a big art form which requires big orchestras, big voices, big gestures and big personalities. It has always been centered around the voice and around making a sound big enough to cut over the orchestra and to fill a house without amplification. That sound must be healthy and should be cultivated and cared for in a manner that will promote longevity. But, cultivating longevity no longer seems to be the focus. Indeed, opera now seems to be metamorphosing to fit a small, very confining screen - be it the TV or Movie Theater screen. Part of the metamorphosis is the focus on singer's looks as opposed to their voices.

Soprano Sondra Radvanovsky called out some of her colleagues about this very thing:

We’re singers and we make funny faces, and this is broadcast around the world. I think a lot of my colleagues have done various things to make themselves look better on camera.

As the opera world changes, I think it has become taboo to celebrate why opera is different from everything else - instead, we try to make it "mainstream".

Opera is *anything* but mainstream.

How does Teddy Tahu Rhodes build stamina? Hint: Not by singing.

I will make this point though: Even though Maestro Luisi doesn't tackle the full enchilada, he is still quite correct. Companies, (and agents... and conductors) are always looking for a 20 year old to sing, for example, Butterfly or Tosca. In addition, many of the companies who are looking for the 20 year old Butterfly or Tosca, also mandate that she be size 4 or 6.

Have these people not figured out yet that it is these young singers who are so consumed with being the size 4-ish, 20 year old, Butterfly that all they eat is a salad with lemon juice and a grilled chicken breast for lunch before a performance. Then, they're out of energy before they even hit the stage. Subsequently, they end up pushing themselves through a show ... and that means pushing their VOICE through the show.

After only a short time of that, the voice ... and the immune system ... start to break down. At which point, many current singers simply have vocal surgery to repair the damage and try to go back to work. Not realizing that every time they have another nodule hacked off their vocal-fold, it's making the vocal mechanism a little weaker.

Lather. Rinse. Repeat.

As the demand grows for younger opera singers with the Hollywood look, I believe that we’re getting away from the type of singers that can sing -truly sing- operatic roles in the way in which they were intended to be sung and with some regularity. Some of the current crop of singers sound immature and, quite frankly, anemic. In fact just last week, Elizabeth Frayer wrote this about the Met Opera's Otello:

Now, I don’t know if it was our seats or the production, but I had a very difficult time hearing. It seemed that many of the singers’ voices were not big enough for Verdi’s Otello.

At times there were large groups of people on stage but only one person singing and I could not tell who was singing. I started to wonder if I needed to get my hearing checked. There was one point where the Met titles implied Emilia was singing, but I couldn’t hear a peep...

And she's not the first person I heard this from. One friend, who has a season subscription to the Met, and has had for decades, thought he should have his ears checked because he was continually having a harder and harder time hearing singers on the Met stage. Well, he did. And, his ears are fine.

To be fair, I don't think the singers, their technique, their travel schedules, their diets or their exercise regimes are the only ones at fault, per Pappano. And, I don't think the opera companies, conductors, agents and directors are the only ones at fault, per Luisi.

I think the crux of the issue lies with the current migration away from the fundamentals of what makes opera what it is - what makes opera different and what makes opera grand. I continue to maintain that turning opera into something mainstream ... or normal ... or usual ... or ordinary ... is breaking it down.

All in the name of making opera look like everything else we see on TV.

Speaking of young singers and TV - check out this little gem. And, I use the word "gem" very loosely.

We all know that, from time to time, I have raised question regarding the Met Opera's general manager Peter Gelb. Clearly though, Gelb is doing something right. This change in the fundamentals of opera has, at the very least, been good for the Met and for Gelb. Here's a snip from a recent NY Times Article, The Epic Ups and Downs of Peter Gelb:

The job of Met Opera general manager is as iconic in its way as mayor of New York or manager of the Yankees. By any standard, Peter Gelb, now well into his seventh season, has established his tenure as among the most significant in the Met’s 130-year history. Giulio Gatti-Casazza saw the company through the stock-market crash and the depths of the Great Depression. Rudolf Bing delivered it to its new home at Lincoln Center. Gelb has guided the opera company into the digital age and has put an art form long associated with aristocratic privilege on a more populist footing.

Annual new productions at the Met have nearly doubled; geriatric demographic trends have been arrested, if not reversed; fund-raising is setting records. The Met now has a 24-hour channel on SiriusXM radio; an iPad app; education programs in more than 150 schools in 21 states; subsidized tickets; free dress rehearsals. When Gelb became general manager in 2006, the number of subscribers surged and the percentage of sold-out shows rebounded off historic lows. Subscriptions and the percentage of house seats sold have tailed off in the past few years, and the Met recently had to roll back last season’s 10 percent ticket-price increase, but these negative box-office trends have been offset by the growth of the audience for the Met’s “Live in HD” broadcasts, which Gelb initiated and which last season drew 2,547,243 viewers in 54 countries.

“Peter’s record of achievement and ambition is unparalleled — I think he’s saved the Met from brontosaurusdom, and I say that as someone who has been going to opera since 1958,” says André Bishop, who as artistic director of Lincoln Center Theater has joined Gelb in establishing a commissioning program for new operas and musical-theater pieces.

Can this operatic climate change last? And if it does, will the young singers of today possess the longevity that is needed to build the next generation of operatic legends?

Is building longevity in the next generation of singers even a priority? I mean: once a singer gets past a certain age, will they -like in Hollywood- be passed over for roles that are then given to the younger, more attractive singers?

[SIGH] It certainly seems like we are headed down that road. And some would say we are already there.

We stand.

2013-03-27T12:37:00.000-04:00

Yesterday and today are extremely important days in the movement for Marriage Equality and for Civil Rights in our country.

As my better half discussed on her blog yesterday, we are "Praying that all are heard, seen and respected as equals, marriage is for all, and equality is ruled as the truth of our land."

Many opponents to Marriage Equality state that marriage should only be between one man and one woman. When pressed as to *why* they feel that way or *what* the foundation for their argument is, the majority will say either "Because marriage is a sacred institution" or "Because the bible clearly states that marriage is between a man and a woman."

Here is my response to that:

If you are going to bring me your "marriage is between one man and one woman" argument and prop up that argument with the pillars of religion (that marriage is "sacred" and "biblical") then, you need to take that argument to your church. Not to the courthouse. Go to your preacher, priest, minister or whoever the authority is in your chosen religion and tell them, "I believe that Marriage is between one man and one woman based on what the Bible says. So, I advocate that our church not marry those individuals."

Taking the religious foundation of your argument to the courthouse in order to DEFINE marriage as being between one man/one woman, thus trying to force your religious beliefs - through legislation - to become the law of the land is simply not ok. And, quite frankly, I believe that to be unconstitutional.

Marriage is not a religious word. In fact, marriage is already defined in the Dictionary:

1. a. the social institution under which a man and woman establish their decision to live as husband and wife by legal commitments, religious ceremonies, etc.

b. a similar social institution involving partners of the same gender: gay marriage.

2. the state, condition, or relationship of being married; wedlock: a happy marriage.

3. the legal or religious ceremony that formalizes the decision of two people to live as a married couple, including the accompanying social festivities: to officiate at a marriage.

Now, I can already hear the resounding chorus swell of "we were founded as 'one nation, under God'". Listen folks, no one is trying to take God out of our country. No one is trying to take the Christ out of Christmas and, no one is trying to co-opt Easter. It is key to understand, however, that we were founded without a national religion. Freedom of Religion also means freedom FROM religion. In other words, it seems by most accounts that the Founding Fathers said, "We believe in God and believe that our nation stands under God - but, if you don't believe that, that is your right and we are not going to force you to believe what we do."

In that vane, if you believe that marriage should only be between one man and one woman because the Bible tells you so, that is your right. Just as it is my right to believe that God gave us reason - and, my God-given reason tells me that the law of our land should not discriminate based on a "sacred" or "biblical" argument. My God-given reason tells me that if two men or two women love each other and want to bond their lives together in marriage, they should have the legal right to do so.

So, We Stand ...

In Memoriam: mezzo-soprano Risë Stevens 1913 - 2013

2013-03-22T11:45:00.003-04:00

Internationally renowned mezzo-soprano, turned Hollywood actress, Risë Stevens - who had a 23-year career with the Metropolitan Opera - died on Wednesday at her home in Manhattan ... less than 3 months before her 100th birthday.

On the Met’s roster from 1938 to 1961, Ms. Stevens was a superstar in an era when operatic superstardom was conferred mostly on sopranos and tenors. While at the Met, she performed everything from Fricka in Die Walküre and Octavian in Der Rosenkavalier to Cherubino in La Nozze di Figaro and the title role in Mignon. And then, there was Carmen ... for which she is probably best known.

Over her 23 years and 351 performances at the Met, she performed with singers who shared her legendary status: Kirsten Flagstad, Lauritz Melchior, Lotte Lehmann, Bidú Sayao, Ezio Pinza, Patrice Munsel, Zinka Milanov, Richard Tucker, Leonard Warren, Eleanor Steber, Kurt Baum, Christa Ludwig, Leonie Rysanek, Walter Berry, Roberta Peters, Lucine Amara, Ramon Vinay and Rosalind Elias.

On the operatic stage, Stevens was known for her expansive repertory, her honed acting skills, her precise musicianship and, of course, her voice. Some called it "velvety" - while others called it "smooth and warm", "rich" and "luscious". Her voice was her prized possession and she treated it as such. In fact, in 1945, Lloyd’s of London insured her voice for $1 million. Though she occasionally sang Wagnerian roles early in her career, she soon abandoned them in favor of the less heavy, though no less rich, parts to which her voice was ideally suited.

Known to the public not only through her operatic superstar status, but also through her appearances on radio, television, in print and on the big screen, Stevens never let her fame overcome her. She was always the original down-to-earth, Bronx-born diva.

After retiring from the stage, Ms. Stevens had a prominent second career as an arts administrator. In 1964 she was named, with Michael Manuel, a general manager of the new Metropolitan Opera National Company - which was the Met's touring ensemble. Unfortunately, the company folded in 1967 due to lack of funding. Stevens was later the executive director of the Metropolitan Opera National Council Regional Auditions.

In 1975, Ms. Stevens assumed the presidency of the Mannes College of Music - which is a small conservatory that is now part of the New School here in Manhattan. She helped the college overcome a substantial budget deficit and was the chief advocate for recruited world-renowned musicians onto the school's faculty. One such musician was pianist Vladimir Horowitz. In 1978, Stevens resigned citing differences with some of the school's board members.

Among Risë Stevens' awards are an honorary doctorate from Mannes in 1980. In 1990, she was an honoree of the Kennedy Center in Washington DC. In 2011, Stevens received Lifetime Honors from the the National Endowment for the Arts Opera Honors... to see the Risë Stevens Tribute from the National Endowment for the Arts National Opera Honors, I highly encourage you to click here.

Risë Stevens is survived by her son, Nicolas Surovy.

Former Sec. of State Hillary Clinton gets onboard ...

2013-03-18T15:40:00.002-04:00

Former Secretary of State Hillary Clinton explains why she supports marriage equality for lesbian and gay couples.

SO ... Do we think she's running in 2016?

Madam Mayor? Christine Quinn hopes so ... and, she's not the only one.

2013-03-11T12:36:00.000-04:00

A couple of years ago ... prior to New York legalizing Marriage Equality ... my better half was asked to sing the National Anthem at Marriage Equality New York's "Wedding March". At the pre-march rally, City Council Speaker Christine Quinn spoke to the masses that had assembled. I thought then and there, that Speaker Quinn was a force for progressive politics.

Well, Ladies and Gents ... she made it official yesterday. And I, for one, couldn't be happier.

Speaker Quinn is officially running for NYC Mayor and kicked off her campaign today with a "walk and talk" tour of all five boroughs, yesterday. Designed to showcase one of Quinn's talents, her one-on-one charm, she has promised to walk in "every community in this city." She'll need to because Speaker Quinn's perceived base is Manhattan and, according to NY Magazine:

"[Quinn's] opponents will be trying to attack her as a cultural and geographic elitist who has only ever represented her Chelsea council district. If Quinn, ahead in the polls, is going to lead wire-to-wire, she'll need to piece together votes from all over town. Today isn't really the start of that effort, but she's picked a nice, sunny Sunday to launch the symbolism."

For more on Speaker Quinn, here is the video Who Is Christine Quinn? that the campaign released as her official announcement. From quinnfornewyork.com:

Some are not pleased with this biographical announcement, though ... the 5 minute video said nothing about Speaker Quinn being a lesbian or about her wife. Clearly, Speaker Quinn is open about her sexuality and, in fact, her wedding to Kim Catullo last May was the "political event of the year". But, what is also clear is that Speaker Quinn's campaign most likely made a calculated effort - perhaps to make her sexuality and marriage a non-issue. Let's be honest, when Barack Obama was running for POTUS, he wasn't introduced as "President Barack Obama, who is heterosexual and married..." But, if you *really* need the official gay pronouncement to go with her campaign announcement, look no further than the bio-page on quinnfornewyork.com:

Chris and her wife, Kim Catullo, live in Chelsea, with their dogs Justin and Sadie.

Speaker Quinn has quite a record and that record speaks volumes about her values and beliefs. As a community organizer, anti-violence advocate and now as the second most powerful elected official in the City, Speaker Quinn has created thousands of new jobs, passed a living wage law to increase salaries on city funded projects, balanced the budget while protecting vital services, cracked down on bad landlords, increased access to health care, improved early childhood education, stopped teacher lay-offs, and helped keep our streets safe while fighting for one system of justice in all communities.

To volunteer for or contribute to Christine Quinn's campaign, make sure to head over to quinnfornewyork.com. You can also follow the campaign on Twitter @quinn4ny.

LA Phil's Music Director will conduct at Chavez state funeral

2013-03-08T10:45:00.002-05:00

Native Venezuelan and LA Phil Music Director Gustavo Dudamel, is taking a night off during the premiere run of John Adams’ oratorio The Gospel According to the Other Mary to preside over the music at the state funeral for Venezuelan president Hugo Chavez.

Here is what was sent to the orchestra:

My dear friends,

As you can imagine this is a very difficult time in my country, where our president has just died. On Friday, with the country in mourning, a state funeral has been organized, and I have been asked to return to Caracas to be a part of the ceremony. As the music director of El Sistema and the Simon Bolivar Symphony Orchestra, both important symbols of Venezuelan culture, I simply must return.

Tonight, together we will premiere John’s extraordinary work. And I will return in time to conduct the Sunday performance as well, but on Friday, I have asked our dear friend Grant Gershon to lead the performance. I am deeply grateful to him and to you for your understanding in this unique situation.

Gustavo

Tenor Massimo Giordano to release debut album with BMG

2013-03-05T13:50:00.000-05:00

Massimo Giordano is not quite as well-known as some ... but, he is one of the world’s leading tenors.

So, it's about time that he release his debut album, right? Well, it's happening: Massimo Giordano is poised to release his debut album exclusively with BMG. This will be the first classical solo artist album from BMG since BMG and Sony broke up in 2008.

His soon-to-be-released album will feature exactly what it should as Giordano's first - arias directly from the standard tenor buffet: Verdi, Puccini and Giordano.

Born in Pompei into a working class family, Giordano did not study music until he decided to move to Trieste to study classical singing and flute. He made his operatic debut in Spoleto in Massenet’s Werther.

After conquering the opera stages in Italy, Massimo Giordano began singing in all the major international houses of the world some 10 years ago. Giordano made his Met Opera debut in 2006 as Des Grieux with Renée Fleming as Manon ... you see, whether it be at La Scala in Milan, Glyndebourne Opera, Vienna State Opera or Royal Opera House - Covent Garden, you can be sure that Giordano will be sharing the stage with the likes of notable Divas and will be under the baton of such conducting luminaries as Claudio Abbado, Fabio Luisi and Marco Armiliato...

Plotzing for Norma ... Excited for Levine.

2013-03-01T14:01:00.001-05:00

Plotz . . . If you know me at all, you know that I think this word is too wonderful to be as underutilized as it is.

The word, which is an Americanized version of the Yiddish word platsn, loosely means: to collapse or faint, as from surprise, excitement, or exhaustion.

How would I use it in a sentence? Well, I'm glad you asked. Here's a great example: I plotzed a couple of days ago when the Met Opera announced that Angela Meade would be tag-teaming with Sondra Radvanovsky next season as Norma.

Honestly, Norma is one of my all time favorite operas. Yep. Probably even in the Top 3 category. In fact, I was so excited about this news that I took a screen grab right away and posted it on Instagram.

Wait ... you're not following @JNewmanNYC on Instagram? Shame on you!

I'll wait while you go rectify that issue this very second ...

[Insert whimsical elevator music here.]

And we're back ...

So, I'm not really plotzing over the following tidbit of news, but I am still pretty darned excited...

As you will remember, it was announced in October that the Met Opera's beloved Maestro, James Levine, will return to conducting on May 19, 2013 with the MET Orchestra at Carnegie Hall. He will then lead three operas in the Met’s 2013-14 season, including a new production of Verdi’s Falstaff and revivals of Mozart’s Così fan tutte and Berg’s Wozzeck, while conducting all of the Met Orchestra's Carnegie Hall concerts.

The 69 year old Maestro had been suffering from back pain for years. And even though he had transitioned to conducted while perched atop a chair, he was still conducting through excruciating pain due to, among other things, spinal stenosis, which is a narrowing of the spine that puts pressure on the spinal cord.

Maestro James Levine at the Met Opera, 2011 (Ken Howard)

The Maestro underwent surgeries that for the first time in years made him pain-free. Unfortunately, shortly thereafter, he fell while on vacation in Vermont and injured his already compromised spinal cord. These injuries left him unable to walk.

After two difficult years of being absent for rehabilitation, the Maestro is back to work - coming to the opera house between three and five days a week to coach members of the Met’s Lindemann Young Artist Development Program, hold artistic planning sessions, meet with the Met’s Orchestra and Chorus and, even conduct auditions. It appears that he will begin rehearsing the orchestra in April.

The Wall Street Journal reports that Maestro Levine is somewhat upbeat about the twilight of his legendary career:

"A year ago, I could barely move my legs, let alone walk," he said.

He now walks with the help of a walker and his physical therapists, though only for short distances.

After four decades at the helm of the Met orchestra and two difficult years away, the 69-year-old said Monday he was looking forward to next season and hoping that in his "older years," his conducting will reach new depths of insight.

"Sometimes, as you get older, your perception is redistributed in a constructive way," he said. "I hope to get us on the most constructive, productive, positive track I can." . . .

. . . The maestro said he took inspiration from great musicians who, in their later years, showed even deeper mastery and musicianship. He cited singers such as Jennie Tourel, a mezzo-soprano who continued to perform into her 70s, and Jan Peerce, a tenor who "was still selling out Carnegie Hall when he was nearly 80."

"His breath was shorter," Mr. Levine said, "but his insight was still increasing."

Black History Month: Soprano Camilla Williams

2013-02-26T15:29:00.003-05:00

Ms. Camilla Williams is not a famous, household name - but, what she is known for is being the first African American woman to have received a contract with a major American opera company.

Born in 1919 in Danville, Virginia. The daughter of a chauffeur and his wife, Williams was introduced to classical music at an early age. When a Welsh voice teacher came to the segregated city to teach at a school for white girls, a young Williams took lessons privately from the teacher who was relegated to teaching the "colored" girls in a private home.

After graduating from Virginia State College, Williams was teaching third grade and music in Danville schools when she was offered a scholarship from the Philadelphia alumni association of her alma mater for vocal training in Philadelphia. Shortly thereafter, she began her studies under Marion Szekely-Freschl and and also began working as an usher in a theater.

Remarkably, just four years later on May 15, 1946, Camilla Williams debuted with New York City Opera - singing what would become her signature role, Cio-Cio-San, in Madama Butterfly. Her debut was the first step on a path that would eventually carry singers like Grace Bumbry, Jessye Norman and Kathleen Battle to the operatic stage. According to a New York Times review of the performance, she displayed "a vividness and subtlety unmatched by any other artist who has assayed the part here in many a year". She also appeared with City Opera as Nedda, in Pagliacci, Mimi in La Boheme and in 1948 she sang Aida.

Williams teaching at Indiana Univ. - 1985

Her trailblazing didn't stop there - in 1954, Williams broke yet another color barrier when she became the first African American to sing a major role with the Vienna State Opera, again singing Cio-Cio-San. In 1963, she sang the National Anthem at the White House and, that same year, sang it before 200,000 people prior to Martin Luther King's legendary "I Have a Dream" speech at the Lincoln Memorial. She also sang at King's Nobel Peace Prize ceremony the following year. Her pioneering efforts as an African-American opera singer were profiled in the 2000 PBS documentary Aida's Brothers and Sisters: Black Voices in Opera. She was also profiled in the 2006 PBS Documentary The Mystery of Love.

She continued to sing throughout the United States and Europe with some of the world's leading opera companies until her retirement from the stage in 1971. Williams then went on to teach voice at Brooklyn College, Bronx College and Queens College before arriving at Indiana University. She remained a professor of voice at the IU Jacobs School of Music from 1977-97 and became a professor emeritus of voice upon her retirement.

In January of 2012, Williams died of complications from cancer at her home in Bloomington, Indiana. She was 93.

"They deserve a vote ..."

2013-02-13T11:31:00.001-05:00

So... yesterday, I was wondering what President Obama would say in his State of the Union about our epidemic of gun violence in this country - as well as, the need for REAL gun safety legislation.

It's obvious that we would say something, given his administration's efforts to keep the issue in the media and at the forefront of all of our minds. But, I don't think too many people thought that his remarks on gun violence would bring the emotional response that it did from so many.

Clearly, it was the emotional point of the evening:

They deserve a vote ...

The State of the Union - why this time must be different.

2013-02-12T15:24:00.001-05:00

Constitution of the United States
Section. 3.
He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient ...

"He shall from time to time..." Well, tonight's the night. President Obama gives the first State of the Union speech of his second term. Given what has transpired over the last few months, I am absolutely on pins and needles with anticipation about what he will say.

And more importantly, how he says it.

It is evident that the Obama Administration has been beating the drum for gun safety legislation ever since the Newtown massacre happened on December 14th. And, they're smart to continue to beat that drum. In the past, we Americans hear about a shooting in a movie theater, or a place of worship - we even watch in horror as one of our public servants is nearly assassinated - and, we shout our disdain and pound our fists in outright anger over the massive gun violence sweeping across our country only to let that furor and rancor die out. Days turn into weeks, weeks turn into months and we move on. Then, when another gun related tragedy strikes, we simply lather, rinse and repeat.

This time had to be different. This time, the lives of innocent children ... children younger than my 8 year-old ... were savagely cut short. Mothers and fathers had to bury their babies. In fact, in one such instance, it was reported that the mother of one of the slain children asked Gov. Dannel P. Malloy to view her son's body. From the Stamford Advocate:

Veronique Pozner wanted Malloy to see what the bullets did to Noah, who was barely 6, the youngest Newtown victim.

In the casket, Noah's eyes were closed, his long lashes resting on his cheeks, Naomi Zeveloff reported in the Forward. The bottom half of his face was covered by a cloth.

"... there was no mouth left," Veronique Pozner told the newspaper. "His jaw was blown away."

In Noah's right hand she placed a clear stone with a white angel inside. She wanted to place one in his left hand, too, but that hand was gone.

Noah was shot 11 times.

Horror. Absolute, unequivocal horror.

Here's the bottom line for me: Protecting life is protecting life. It's not a game of pick and choose ... advocating for the protection of life in one instance and letting it slide in another.

Yes, the Obama Administration sees that it must continued to keep gun safety on the front burner, and so do most Americans. This time must be different. We need to continue to beat the drum for gun safety legislation. REAL gun safety legislation.

So, that being said ... what should we look for in tonight's State of the Union?

Politico says there are 5 things to watch for - and, one of them has to do with the subject at hand.

From Politico:

How far does [Obama] go on guns?

The big question is not whether Obama will mention his gun push but which part of it he will emphasize — and how much the issue will dominate the night.

There has been little support beyond Obama and Vice President Joe Biden for a proposed assault weapons ban, and virtually all of the White House’s gun efforts have been focused on universal background checks — which has yet to receive much support from Republicans in the House or Senate.

Gun control is part of a responsibility to protect the nation’s children, Obama says, and on Tuesday he’ll call for congressional action, boasting of bipartisan agreements in place on background checks and new anti-trafficking laws.

Obama will travel later in the week to his hometown of Chicago, which has seen a recent spike in gun violence. But on Tuesday night, he’ll look out at many victims of gun violence and their family members — the administration and its gun control allies are bringing 120 of them to the White House on Tuesday for a briefing and dozens of members of Congress gave their single guest ticket to the victims of gun violence and their families to watch from the gallery.

Former Rep. Gabrielle Giffords (D-Ariz.) and her husband, Mark Kelly, will be in the audience. The parents of Hadiya Pendleton, the 15-year-old Chicago girl shot and killed weeks after performing at Obama’s Inauguration, will sit with first lady Michelle Obama.

“When he talks about guns, he’s going to have enormous support in the gallery and in the country,” said Mark Glaze, the director of New York City Mayor Michael Bloomberg’s Mayors Against Illegal Guns. “Ultimately, we think he’ll have it in the Congress too.”

So, let's watch tonight. Then, we'll actively move forward because this time must be different. It just has to be. For the protection of innocent lives.

As a side note: after the State of the Union tonight, be on the look out for a new ad. The ad comes from Americans for Responsible Solutions, the organization founded by former Rep. Gabby Giffords (D-AZ) and her husband, retired astronaut Mark Kelly. At a six-figure buy, the ad will air on the major cable news networks (and, Fox News too). It will also air in Washington, DC and in the cities represented by congressional leaders: San Francisco (Nancy Pelosi); Cincinnati, OH (John Boehner); Louisville, KY (Mitch McConnell); and Las Vegas, NV (Harry Reid).

Ok, ok - I know. You can't wait until tonight. Well, neither could I:

In Memoriam: Maestro James DePreist 1936-2013

2013-02-08T12:09:00.002-05:00

One of our country's finest conductors, James DePreist, has died - the Director Emeritus of Conducting and Orchestral Studies at The Juilliard School and Laureate Music Director of the Oregon Symphony was 76 years old.

James DePreist was born in Philadelphia to James and Ethel Anderson DePreist and was the nephew of legendary contralto Marian Anderson.

He studied composition with Vincent Persichetti at the Philadelphia Conservatory of Music and earned bachelor's and master's degrees from the University of Pennsylvania. In 1962, while on a State Department tour in Bangkok, he contracted polio but recovered sufficiently to win a first prize in the Dimitri Mitropoulous International Conducting Competition. He was selected by Leonard Bernstein to be an assistant conductor of the New York Philharmonic for the 1965-66 season. DePreist made his highly acclaimed European debut with the Rotterdam Philharmonic in 1969. In 1971 Antal Dorati chose him to become his Associate Conductor with the National Symphony in Washington, D.C.

For more than three decades Maestro DePreist served as Music Director of various institutions such as Orchestre Symphonique de Québec, the Malmö Symphony Orchestra in Sweden, Monte-Carlo Philharmonic Orchestra and the Oregon Symphony. He was currently serving as Artistic Advisor to the Pasadena Symphony.

As a guest conductor Maestro DePreist has appeared with every major North American orchestra, and internationally he has conducted in Amsterdam, Berlin, Budapest, Copenhagen, Helsinki, Manchester, Melbourne, Montreal, Munich, Prague, Rome, Rotterdam, Seoul, Stockholm, Stuttgart, Sydney, Tel Aviv, Tokyo, Toronto and Vienna. He made his London debut with the London Symphony at the Barbican in April 2005.

With more than 50 recordings to his credit, James DePreist has a substantial presence in the recording arena. His varied recorded repertoire includes a celebrated Shostakovich series with the Helsinki Philharmonic and 15 recordings with the Oregon Symphony which have helped establish that orchestra as one of America's finest.

James DePreist was awarded 14 honorary doctorates and was the author of two books of poetry - about which Maya Angelou said, "His poetry has the tautness of a perfectly pitched viola and much of its resonance".

He was an elected fellow of the American Academy of Arts and Sciences and the Royal Swedish Academy of Music, and was a recipient of the Insignia of Commander of the Order of the Lion of Finland, the Medal of the City of Quebec and was an Officer of the Order of Cultural Merit of Monaco.

In 2005 President George W. Bush presented James DePreist with the National Medal of Arts, our nation's highest honor for artistic excellence.

Filed under FYI: Philip Glass' "The Perfect American"

2013-02-06T17:41:00.001-05:00

Philip Glass' new opera, The Perfect American, had it's world premiere at the Teatro Real de Madrid and was streamed live today. In it, Glass tells the story of the final months in the life of a 20th-century character of huge cultural influence, Walt Disney.

The premiere cast of The Perfect American included: Christopher Purves as Walt Disney, David Pittsinger as Walt's brother Roy, Marie McLaughlin as Lillian Disney, Sarah Tynan and Nazan Fikret as his Disney's daughters Sharon and Diane, Rosie Lomas as Lucy / Josh and Zachary James as Disney's famous animatronic Abraham Lincoln.

So ... FYI:

Philip Glass' #ThePerfectAmerican - his opera based on the final months of Walt Disney - streamed live from Madrid. It was phenomenal. Truly
— James Newman (@JNewmanNYC) February 6, 2013

Black History Month: Soprano Jessye Norman

2013-02-05T17:27:00.001-05:00

Soprano, Jessye Norman on Achievement.

And for a bonus ... Jessye Norman with Kathleen Battle are scandalized...

Black History Month: Maestro Henry Lewis

2013-02-01T14:33:00.000-05:00

I first ran this post in February of 2010. But, given that today kicks off Black History Month, I thought I would revisit it because I don't think this particular trailblazer of our industry gets enough credit for the racial barriers that he met and subsequently tackled.

You see, he not only became the first African American instrumentalist in a major orchestra, but at the time, was also the youngest - being just 16 years old. This gentleman broke racial barriers as a musician, and then went on to do the same as a conductor. He was the first African American to head a major symphony as Music Director and was also the first African American to conduct at the Metropolitan Opera.

This musician and conductor was, of course, Henry Lewis.Unfortunately, Henry Lewis seems to be known more for being the ex-husband of mezzo soprano Marilyn Horne than for his own accomplishments [Pictured right, in 1961]. In fact, if you do a Google Images search for Henry Lewis, Conductor Henry Lewis, Musician Henry Lewis or any number of other versions, you'd be hard pressed to find an imagine in which Lewis is without Horne. But, Marilyn Horne always gives Lewis credit where credit is due. In her autobiography, Marilyn Horne: My Life, Ms. Horne says:

Henry Lewis was my prophet and my teacher and my right hand ... I certainly would have had a career without Henry, but it was he who really led me into the paths of bel canto. He labored and sweated and did everything he could to teach me the style.

Also, it was Lewis who put a young Marilyn Horne up to auditioning to be the singing voice for Dorothy Dandridge in the movie version of a musical based on Bizet's opera Carmen; Carmen Jones. Horne got the part and dubbed for Dandridge.

Henry Jay Lewis was born on Oct. 16, 1932, in Los Angeles. He was the only child of Henry J. Lewis, an automobile dealer, and Mary Josephine Lewis, a registered nurse. His mother set him down at the piano when he was only 5 years old, much to displeasure of his father who wanted Lewis to become a "respectable, professional man - not a musician". [NY Times]

When Lewis was in Junior High School, his teacher offered lessons on the double bass. Lewis made the decision to master the double bass because double bass players were rare. He also studied other instruments and voice. But, it was his double bass playing that got him a post as instrumentalist with the Los Angeles Philharmonic when he was just 16 years old - the youngest person to do so, as well as the first African American.

In addition to his post with the LA Phil., his talent and prowess on the double bass won him a scholarship to the University of Southern California. He never graduated, but took more than enough credits to have done so. Later in life, Lewis made up for his lack of degrees by receiving many honorary degrees from several institutions.

Lewis served in the U.S. Army from 1954-57. He not only served with the Stuttgart, Germany-based Seventh Army, but was also the conductor of its Symphony Orchestra.

In 1960, Henry Lewis married Marilyn Horne. In her autobiography, Ms. Horne wrote that she received many warnings from friends and relatives alike about problems that would arise from an interracial marriage in the '60s. She writes about a particularly difficult comment which came from her mother:

'What do you want to marry him for?' Mother said shortly. 'Why can't you just live with him? Be his mistress, for God's sake, not his wife!'

Henry Lewis gained national recognition for the first time in 1961 when he was appointed to the post of assistant conductor of the Los Angeles Philharmonic under Zubin Mehta. In 1968 he became the conductor and musical director of the New Jersey Symphony and was the first African-American to lead a major symphony orchestra. Lewis transformed the small community ensemble with an average yearly budget of $75,000 into a nationally recognized orchestra with a budget well into the millions.

In 1972, Henry Lewis spent his 40th birthday on the podium of the Metropolitan Opera, becoming the first African American to conduct there. He joined forces with the MET again in 1975 to conduct their tour of Japan.

After a rocky relationship with the New Jersey Symphony, Lewis resigned from his post as Music Director in 1976. According to the New York Times, Mr. Lewis said he had imposed stern but reasonable demands on the orchestra's members, but they called him tyrannical. In a three-week strike that preceded his resignation, its is said that the orchestra's negotiating committee actually sought a contract clause stipulating that Lewis refrain from frowning at rehearsals and performances.

Seriously? A conductor not frowning at rehearsals and performances? They might as well have asked him not to wave his arms.

Henry Lewis continued to conducting after leaving his post at New Jersey, though. He not only served as music director of the Opera-Music Theater Institute of New Jersey but also as principal conductor of the Netherlands Radio Orchestra. He also continued touring Europe and America as a frequent guest conductor for opera companies and symphony orchestras.

During their marriage, Marilyn Horne and Henry Lewis - whose daughter Angela was born in 1965 - often appeared together and were the subject of magazine articles that showed them as happy in their music and their marriage. Unfortunately, their marriage ended in divorce in 1979. But, they remained colleagues and more importantly, close friends.

A 1984 article in PEOPLE Magazine put it this way:

... the figure of another man broods over Horne's life: her ex-husband, the conductor Henry Lewis. When Horne gave her American Song-book concert at Lincoln Center, [Horne's companion Nicola Zaccaria] was in Greece. It was Lewis, 51, and their daughter, Angela, who waited backstage with champagne to toast the diva. They speak of each other with a plangent affection. "She's a very, very important person in my life," he says. "There's a niche for her within my heart." Horne echoes him: "There's a deep friendship and a very deep love that will always be there."

Just 12 years later - in 1996 - after battling Lung Cancer, Henry Lewis died at his home in Manhattan of a heart attack. He was only 63 years old.

Lewis' legacy is immeasurable. He contributed greatly to helping build the technical and musical foundation of one of the greatest singers of all time - and also paved the way for African American musicians and conductors alike.

Splatter Opera. It's a thing? Really?

2013-01-31T16:28:00.000-05:00

What do the following statements have in common?

A. These are good times for portable opera. The genre associated with massed choruses, long evenings, and multi-ton sets can also yield a 50-minute show thrown together with a few musicians, some cables, and scenery that will fit in a van.

B. I caught a trio of splatter operas.

C. [Pop-up opera festival] Prototype is the teenage hacker of the opera world, and in its first public action, it’s left a message blinking on Big Opera’s screen: CAN YOU DO THIS?

Can you guess? Give up?

Well, they're statements that are part of a NY Magazine article that, I suppose, is meant to convince me that the "pop-up" opera festival Prototype is a good thing.

Apparently, Prototype should, according to the article's author, quickly evolve into a New York institution.

Armed with a jaunty slogan—“Opera/Theater/Now!”—the producers managed to pull off 29 performances of five premieres in three venues this past week. Audiences materialized too.

Don't get me wrong. That is a truly serious feat ... pulling off five premieres in three different venues. I mean: that's huge. Good for them!

This is nothing against Prototype or its productions. But, I'm just not quite convinced by this NY Magazine article that I need to go and see a small "splatter opera" produced - or "thrown together" - out of the back of a van by a "teenage hacker".

Call me crazy, but that's like saying, "Here, try these oysters! They're super slimy, uber salty and are kind of rubbery and grotesque if you chew them. In fact, it's better if you swallow them whole ... and, do it quickly."

Yeah - not so much on the oysters. And, I still need convincing on Prototype, too.

Divas loving Divas.

2013-01-28T00:29:00.001-05:00

Filed this tweet under "There are no words." It's easily one of my most favorite tweets ... ever.

What a day. President Barack Obama begins his second term.

2013-01-21T20:29:00.001-05:00

I feel such pride for our great country today.

"hope - a new constellation
waiting for us to map it
waiting for us to name it - together" -- Richard Blanco's Inaugural Poem

Now, let the work begin ... together.

WQXR's Operavore to launch a new radio show ...

2013-01-14T11:18:00.001-05:00

As you'll remember, I unearthed - and, subsequently discussed - a spectacular little gem from PEOPLE Magazine last week. It was an article from the mid '80s entitled Marilyn Horne: 'The Greatest Singer in the World' Turns a Feisty 50 with a Met Premiere and a Controversial New Book.

Perhaps I'm a little clairvoyant? Maybe it's just a coincidence ... but, Ms. Horne is back in the news this morning. It's local NYC news - but, it's news all the same.

(A side note: As a guy who loves nicknames, I have to try so very hard not to refer to her as Jax. It's so difficult...)

New York's WQXR radio station has announced that Operavore - their Opera-centric blog - will launch a new 30-minute radio show devoted entirely to the world of ... yes, opera.

Airing every Saturday at 12:30pm ET on 105.9 FM and on WQXR.org, the new show extends Operavore’s online offerings, which include the blog, and their stellar all-opera webstream.

Hosted by WQXR’s Naomi Lewin, Operavore aims to keep its finger on the pulse of the opera scene. Whether it be news bulletins from the around the globe, previews of new recordings or interviews with the players and personalities on the scene ... the Operavore radio show will provide it all. Including ...

[Pause for Herald Trumpets...]

Marilyn Horne.

The legendary mezzo-soprano will give an insider’s take on stories and productions, as well as conduct interviews with a cast of folks from outside the operatic world. Initial guests will include playwright Terrence McNally (Master Class and Golden Age); US Supreme Court Justice Ruth Bader Ginsburg; and beloved star of TV and stage, Tyne Daly, who recently performed the role of Maria Callas in McNally’s Master Class.

Weekly commentary will be provided by Our Lady of Operatic Snarky-ness, La Cieca of Parterre.com ... La C. is, of course, the alter ego of opera critic James Jorden. Operavore blogger Fred Plotkin will also provide commentary and insight.

The radio show will launch as a limited-run series and is set to augment WQXR’s weekly broadcasts of live and recorded full-length operas from the world’s most prominent stages.

And, PS...

Dear Operavore,

I am so pleased that you'll be on the radio and cannot wait to hear the new show.

Please know that should you ever find yourself in need of another contributor, I not only have a nice radio voice - I mean: I am an opera singer, after all - but, I also have previous radio experience.

Shoot me an email - let's chat.

All best,

JN