Mercoledi Musicale

Back in May of 1961 the Metropolitan Opera made its annual appearance in Toronto but with a big difference. Rather than presenting the greats of the time – Tebaldi, Stella, Bergonzi, Del Monaco, Warren, Peters, Merrill et al – in the cavernous Maple Leaf Gardens hockey rink they played in the brand spanking new O’Keefe Centre. The O’Keefe had open the October before with the world premiere of Camelot and the first season was coming to an end with the Met on its Spring Tour.

The colour scheme may be pretty close but there was a big difference between seeing the Met at
Maple Leaf Gardens and the O’Keefe Centre – a really big difference.

Every year since 1952 the vast hockey rink on Carlton St was turned into a makeshift theatre and every year since 1957 my father and I had climbed to the grey section at the top of the Gardens to see – in the far distance – Carmen, Die Fledermaus, The Gypsy Baron and Madama Butterfly.

But in 1961 it was a real theatre and I had an orchestra seat – sadly on my own because my father had had the first of the series of strokes that would take him from us later that summer – for the opening night on May 29.  And I was wearing the white dinner jacket that my mother had made for the occasion.  It was all pretty heady stuff for a thirteen year old.  Strangely Mr Bing had choosen a rather low keyed opera for that opening night – the last for seven years.  The Met struck Toronto from its Spring Tour schedule and would not appear in the city again until 1968.

The fussiness of Oliver Smith’s decor, Motley’s costumes and Carl Elbert’s stage direction meant that
an opera that delighted audiences of the Golden Age was less engaging than it really is.

Martha was a popular work in the early history of the Met – a favourite of artists such as Marcella Sembrich,  Adelina Patti, Enrico Caruso, Eduard de Rezske, Freida Hempel, Frances Alda, Benjamino Gigli – but had last been performed in1928.  It was a favourite “Golden Age” opera that had fallen out of favour.  Mr Bing decided to revive it with, if not quite a Golden Age cast, certainly a remarkable one for the time:  Victoria de los Angeles, Rosalind Elias, Richard Tucker and Giorgio Tozzi.  If vocally we weren’t let down by the cast unfortunately the production team – director Carl Ebert, designers Oliver Smith and Motley – didn’t hold up their end.  The fussy misé-en-scene and bad English translation used were major impediments to what could have been a delightful revival.

If the production wasn’t a total success the singing of (left to right) Giorgio Tozzi, Richard Tucker, Victoria de los Angles and Roselind Elias more than made up for it. Veteran bass Lorenzo Alvery (almost out of sight) completed the cast.

The original German libretto by Friedrich Wilhelm Riese had never been heard at the Met nor was it to be for this revival.  Since its first performance back in 1884 it had always been sung at the house in Italian.  Bing decided to commission an English version from Ann Ronell, the lyricist of Who’s Afraid of the Big Bad Wolf, which proved to be a less than successful match for the graceful music.  And for some reason it was decided that Tom Moore’s words for The Last Rose of Summer would be replaced with a crass substitution.  None the less de los Angeles sang it with a beauty that transcended any translation.

Here singing the original German of the Irish folksong that weaves in and out of the opera is Lucia Popp, one of the most beautiful singers – in every way – of the 20th century. She was taken from us far to young by a brain tumor in 1993 at the height of her career.  She and Siegfried Jerusalem often sang together at their home house in Munich.

I wonder at Martha not being more popular these days – the story is no more contrived than any other operatic libretto and beautiful melody follows beautiful melody.  There are lyric arias, spirited quartets, rousing choruses, drinking songs, moments of high drama and some simply gorgeous ensembles.  One of the most lovely moments is the”Goodnight” quartet from Act 2.  In this version it becomes “Dormi pur” as sung at the Met in 1912 by Frances Alda,  Josephine Jacoby, Enrico Caruso and Marcel Journet with Walter Rogers conducting.

As well know as The Last Rose of Summer is the tenor aria Ach so fromm though it is probably better know by the Italian M’appari as oft record by Caruso.  In 1961 Richard Tucker dutifully sang the rather stilted English translation but at the April 13 performance he reverted to the Italian in order, he said, to “let his fans know how Caruso sounded.”  Unfortunately there is no recording of that performance but the Broadcast matinee a few days earlier when he sang it in English was recorded.

Listening to this, and that broadcast performance I think I may have misspoken earlier – the quartet of singers that evening were indeed part of a “Golden Age”.

March 5 – 1960: Cuban photographer Alberto Korda takes his iconic photograph of Marxist revolutionary Ernesto “Che” Guevara.

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Author: Willym

A senior with the heart of a young'un

One thought on “Mercoledi Musicale”

  1. I learn so much here
    I haven't heard of Ms. Popp; I thought her voice was lovely.
    I too am curious about why some operas 'make it' and others don't. I suppose it gets down to money. The local opera company does only the bromides to get the little old ladies in.
    Once I was asked 'what would I like to see done”. I replied “Der Freischutz” and was looked upon as if I were mad.

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