Martina Arroyo, Kennedy Award ceremony honoree, soprano supreme, who has been a beacon of light and pioneer since the 1960’s and 1970’s, a crossover classical singer with a delightful sense of humor still is in the game. She is a brilliant teacher “go getter”and nurturer through her Martina Arroyo Foundation. This gala event occurred at the Kaye Playhouse at Hunter College in New York City on Saturday, July 13th. Danny Kaye, (1913-1987) great entertainer and film comedian and his wife (songwriter-actress) Sylvia Fine (1913-1991) were both multi- talented Brooklynites whose names live on in glorious memory.
Johann Strauss II (1825-1899) was known as the “Waltz King” and he put all that he had in his opera Die Fledermaus (The Revenge of the Bat). With its waltzes, folk tunes, choruses comedy and subplots, it has been a staple since its premiere on April 5, 1874. Die Fledermaus is set in Vienna in the late 19th century. The witty libretto is by Karl Haffner and Richard Genée.
I remember a heroic tenor from the Amato Opera, Boris Cristaldi who was a wonderful big voiced hammy and funny Alfred some four decades ago. At one performance his mustache got stuck on Rosalinda’s cheek! I wished for some broader comedy this time around but Mr. Song certainly did well. I guess not everyone goes as far back as I. It was nice to be sitting next to Amato baritone, Nathan Hull who directs the Amore Opera, now the chosen replacement for the Amato Opera. As we were chatting, the effervescent Barbara Meister-Bender walked by. She of New York City Opera, sang with Groucho Marx and Helen Traubel in a television presentation of The Mikado. Barbara Meister-Bender, ever glamorous could still sing Adele to perfection!
Dr. Falke was in the spirited countenance of Michael Parham. Mr. Parham’s bass is resonant and ear caressing. His singing of Bruderlein song in the second act was noble and with the ensemble it becomes sentimental and tinged with loving sadness. Nice job, Falke! I recall the excellent Falke of the Amato Opera some 40 or so years ago by baritone Walter Kavney. His partner, tenor Vincent Titone, was a staple at the Amato also for many years.
Dr. Blind was admirably portrayed by Esteban Zuniga. This role was toned down a bit and became more of a comedic part rather than a disabled travesty. Mr. Zuniga, while not a Lou Costello, managed to be pleasantly humorous in a buffo role!
Prince Orlofsky, the androgynous host of the party, was superbly brought to vivid life by Elizabeth Harris. With her red topped military outfit and clump of hair, she looked like a combination of Harpo Marx and the chief soccer player currently in Sports Illustrated, Megin Rapinoe. Ms. Harris’s “Chacun à son goût” aria was marvelous and her “King Champagne” aria was exciting with her strong mezzo and the percussion collaborating and her eyes fixed on Adele. Her silent servant, Ivan was well done and always had a drink at the ready!
Frosch, portrayed by Evan Julius Nelson was present but there was no comic interlude. Several years back, at the Metropolitan Opera, I recall the great Sid Caesar as a hilarious multi-lingual incomprehensible Frosch and Dom De Louise also funny, in a later production hiding, then stepping onstage and exclaiming “I’m finally out of the closet.”
The party scene had WQXR radio host Robert Sherman speak and introduce several singers to entertain. At the old Met, on February 16, 1905, Enrico Caruso sang an aria as a guest at Prince Orlofsky’s party and Polish soprano legend Mme. Marcella Sembrich (Rosalinda) sang and played violin! Those were the days! The Marcella Sembrich Museum at Bolton Landing on the banks of Lake George, is open summers and well worth a visit! You will find Artistic Director and composer Richard Wargo eager to provide information about their upcoming events. 9)
Nicole Haslett who amazed us with Nannetta’s “Forest aria – Sul fil d’un soffio etesio” from Verdi’s Falstaff made us realize how perfect this magical aria is. It was written in Verdi’s 80th year and brought to mind Prelude to Performances – splendid Falstaff last year, still flashing in memory.
A “surprise” appearance by coloratura legend Harolyn Blackwell, sang Puccini’s “O mio babbino caro” in a lovely soprano with diminishing pianissimos and all those special skills one associates with her name and claim to fame. Ms. Blackwell is a member of the Martina Arroyo Advisory Board.
The sets were regal and sparkling with projections of old Vienna. Its wonderful costumes were so fine to see and the ladies evoked memories of Zsa Zsa Gabor and family. The gentlemen were in spirit, all like actor Kurt Kasznar or baritone Herman Prey and were perfectly attired. Thanks to Ianna Higgins, Assistant Stage Manager for the elegant smoothness of it all. Many people worked hard to make it look easy!
The chorus, managed by Dror Baitel, sang wonderfully and “Brüderlein, schwesterlein” as always gave me goose bumps. Beautiful music gives one goosebumps not goosesteps!
It was so nice to see great Metropolitan Opera Verdi baritone Mark Rucker and charming and gifted Sadie Rucker (publicity) and Administrative Director Deborah Surdi, whose dedication to the Martina Arroyo Foundation results in such perfect evenings. We greeted our friends from Opera Index Jane Shaulis, Joe Gasperec, Murray Rosenthal, composer Philip Hagemann, Linda Howes, with composer pianist, Steve Phebus and Bill Goodhue, opera manager Ken Benson, Career Bridges Barbara and David Bender, writer Meche Kroop, French diction teacher Susan and lawyer Arthur Stout, opera lecturer Lou and Kathleen Barrella, designer Rafael Sanchez and vocal coach Patricia Sheridan, stellar radio host Nimet Habachy and friend and opera lover Joan Gravallese, all “surprises” on this beautiful summer night. The famed filmmaker team of Powell and Pressburger, The Red Shoes (1948) and Tales of Hoffmann (1951) made Rosalinda (1955) with Anthony Quale, Ludmilla Tchérina and Anton Walbrook which updated Die Fledermaus to post World War II Vienna – well worth searching for!
We found out later that a large part of New York City had a blackout with people stuck on trains and elevators for hours-but all was well at the Kaye Playhouse for a splendid production of Die Fledermaus! Here’s to next year with a toast to the great Martina Arroyo whose father Demetrio worked as a supervisor at the Brooklyn Navy Yard to help with the cost of young Martina’s voice lessons. He often took Martina for baseball games (Brooklyn Dodgers) and delicious hot dogs at Ebbets Field.Thank you Martina’s Mom and Dad and thank you Martina for Prelude to Performance which gives so many young and talented singers such a great lift, enough to see the future, doing what they love. Bravo to all!
A toast to Prelude to Performance from Prince Orlofsky and guests for giving us 15 years of such delightful evenings! Chacun à son goût! Judy and I add the ”special flavor with toppings” to our Fledermaus memory bank that this treasured and fun night offered us from the great Martina Arroyo’s new arrivals at the opera scene in a very captivating and enchanting performance of Die Fledermaus and of course thank you to Johann Strauss II for this glittering masterpiece!
