Anticipation

The minutes are passing too slowly in anticipation of the Sweeney Todd CD signing tonight. I'm trying to heed Mrs. Lovett's words:

Easy now,
Hush, love, hush,
Don't distress yourself,
What's your rush?
Keep your thoughts
Nice and lush,
Wait.

Hush, love, hush,
Think it through.
Once it bubbles, then
What's to do?
Watch it close.
Let it brew.
Wait.

Slow, love, slow.
Time's so fast.
Now goes quickly, see
Now it's past!
Soon will come,
Soon will last.
Wait.

Excerpt from Wait by Stephen Sondheim.

But have they appeared with La Diva?

Operatic Sheep Really Do Grow Golden Fleece

FROM REUTERS: Pampered Australian merino sheep who listen to opera have again produced a bale of the world's finest wool, matching the record set by the flock last year.

Italian designer Loro Piana said the 93 kg (205 lb) bale measured 11.8 microns, compared with the average Australian merino wool which measures 20-21 microns. Superfine wool is defined as 19.5 microns or finer per strand. A micron measures one millionth of a meter.

Loro Piana said it bought the bale from the Highlander Partnership, a fine-wool project in the Snowy Mountains region of New South Wales state, for A$232,500 ($174,800) or A$2,500 a kilogram -- 357 times the normal market price for wool.

"The achievement is truly exceptional insofar as the average fineness of an Australian bale (of which 5 million are sold every year) is generally 20-21 microns, and only 5 percent go below 17 microns," the Italian company said in a statement.

In 2004, the Highlander Partnership flock produced a 91 kg bale of wool measuring 11.8 microns. Loro Piana uses the wool to make suits that sell for up to A$15,000.

The special flock is kept mostly indoors in small groups and listens to music, including Italian opera and recordings of Italian singer Andrea Bocelli.

Each sheep is shorn once a year and the flock is fed a secret diet of grains and specially grown hay, based on advice from a sheep nutritionist.

Just Believe

When you rush around in hopeless circles
Searching ev'rywhere for something true
You're at the age of not believing
When all the "make believe" is through

When you set aside your childhood heroes
And your dreams are lost up on a shelf
You're a t the age of not believing
And worst of all you doubt yourself

You're a castaway where no one hears you
On a barren isle in a lonely sea
Where did all the happy endings go?
Where can all the good times be?

You must face the age of not believing
Doubting ev'rything you ever knew
Until at last you start believing
There's something wonderful...Truly wonderful in you

From Bedknobs & Broomsticks - by the Sherman Brothers*

*Information provided by Billyboy!

NYC feels more like a wonderful London day

Might as well take advantage of the late afternoon inside

FIERCE

Today 3:00 pm - The Met Orchestra at Carnegie Hall, Levine conducting:

Bartok - Suite from The Miraculous Mandarin, Op. 19 (1918-23)

Shoenberg - Enwartung, Op. 17 (1909), ANJA SILJA, Soprano (so, this is what another soprano can sound like - oh my god - FIERCE)

Stravinsky - The Rite of Spring (1911-13)

If you've got it, flaunt it...

And baby, Chita's GOT IT! Tonight I was treated by my friend Ashley to another dose of Chita Rivera's The Dancer's Life. She added "America" from Westside Story to the lineup of recreated numbers and it was fabulous! She is so genuine and so humble and has such a beautiful stage presence. Chita is a force - I think I smiled for the entire two hours.




Another reason to GRIN: Angela Lansbury was in the audience! I was talking to my friend Ashley* before curtain and I just happened to look down the row to the center section. There was Angie herself! I nearly fell out of my chair. I know my gasp was audible throughout the house - it was as if time stopped. I started hitting Ashley on the arm and saying "llloook lllook lllook over there" - she gave me a what the hell look and I finally sputtered out "it's Angela Lansbury over there". I called Noah** during intermission and he demanded that I go speak to her so I marched over! As I walked toward her, "me heart was a'flutter". I'm certain that my heart rate has never been so high. I told her my name and about the letter she sent me to which she immediately responded, "it's so lovely to meet you in person", then gave me a hug! Gasp! I just told her it meant a lot to me that she sent me a letter and that she is so beautiful. She looked tremendous - tall, straight and so beautiful in person. I also told her that I just saw Nanny McPhee last night and she said "Oh, isn't it the cutest?". I nearly hyperventilated and Ashley wanted to get me a paper bag to breathe into. Of course, I don't have a picture with her to share but my friend Ashley did see me across the theatre talking to her. Anyway, a picture may be worth a 1000 words, but this memory is worth a million bucks!

* If Ashley had not decided to go and invited me to go with her, I would not have had this sensational experience. Thank you Ashley!

**Professor Noah regulary conducts master classes in the art of talking to the theatre gods.

DE-LIGHT-FULLLLLL!

After making a much too early in the morning for me trek to the ABC studios at 66th & West End for an appearance by Angela Lansbury and Emma Thompson at "The View" yesterday, I was confronted with a huge NO TAPING TODAY sign. Of course I was disappointed and mostly angry that the website of "The View" indicated that there was a live taping (those bitches). I was set to actually meet Angie in person. I did watch the taped interview - and it was not that great - the hosts were blabbering on so much that there was very little time for a an actual question. Angela looked great - beautiful, tall, straight, regal - really unbelievable that she is 80 years old. She did sing just a bit of "Beauty & the Beast" - she sings it as a story and it is so lovely. You could tell that Emma Thompson has great respect and love for Angela. Emma has been making the rounds on all the talk shows to promote Nanny McPhee. She is damn funny and is looking quite glamorous lately. I really love her work - I believe she is Britain's answer to Streep (check her out in The Remains of the Day or Howard's End). I bided my time through the ridiculously long Friday workday and then fortunately attended a great performance by my friend JayDee in her cabaret act at Danny's on 46th Street. I then ran to 42nd Street to catch the 9:45 showing of Nanny McPhee . One of the fun things about seeing a "kids" movie in New York (although I rarely go to the movies, a fact about myself that was established a couple of weeks ago) is that New Yorkers see no need to drag kids along for appearances sake in order to enjoy a fun movie. Also New Yorkers tend to talk back to the characters and always show their appreciation at the end if warranted. This was one of those times. The audience did love it - there were lots of laughs, called-for groans, sighs and much applause at the end. A knarly-looking Emma Thompson was fantastic as the strangely magical nanny, although she was no Mary Poppins or even Maria Von Trapp. The children were darling and who can look away from Colin Firth...but the scene stealer of the movie was definitely Angela Lansbury. In a quite demographically-mixed crowd of adults, she received the most laughs and applause. This was definitely a delightful movie and I can't wait to own the dvd.

Itube, Boobtube, we all scream for Youtube

(Video link found by Fanadette GraceAnne)

Take 2 and call me in the morning

I get these killer headaches I get one everyday I wake up with a migraine Since you ran awayGot a load of tension Burnin up my neck Something is wrong with my suspension So pass those tablets to this wreck Aspirin damage - Aspirin damage Kills the pain - destroys the brain No one told me bout Aspirin damage Sometimes I find myself shakin from the medication taken Oh yeah I balance my Excedrin And Anacins in stacks I'm a pain reliever junkie I got a Bayer on my back I went to see the doctor He walked me down the hall Said "Strip down 'til you're naked Your suit, your tie and all."Aspirin damage - Aspirin damage Kills the pain - destroys the brain Aspirin damage, my disadvantage Sometimes I find myself shakin From the medication takenOh yeah Aspirin damage - Aspirin damage Kills the pain - destroys the brain Aspirin damage, my disadvantage Sometimes I find myself shakin From the medication taken Oh yeah - Aspirin Damage by Alice Cooper

Keep on rockin, Amadeus

Where were you 250 years ago? Wolfgang Amadeus Mozart was just making his appearance in the world. He only lived 35 years, yet he has remained one of the most prolific composers of some of the most beautiful music in the world. I had been playing horn for a couple of years when my band director Kirk McKenzie gave me the sheet music for the Horn Concerto # 3 to learn for UIL Solo competition. Horn broadened my horizons and boosted my confidence. I was good at it and I loved being a star. It lead to close relationships with my piano teacher/accompianist Liz and my tutor Vanni (although I never did learn theory very well - Vanni will remember her question to me "what is that note? my reply was "first finger"). Mr. McKenzie took a group of us on a field trip and we stopped at a record store. I bought the Tuckwell recording of the Mozart Concerts for Horn on LP. I played along with the record and dreamed of playing as well as he did. Years later, I attended a concert at the University of Texas Performing Arts Center at which Mr. Tuckwell played that concerto with the Austin Symphony. It was one of those transendental experiences where I traveled back to my young life and the wonderful hours spent in the bandhall. Although I no longer play horn on a regular basis, I can still remember the feeling of nailing the impossibly long bar after the cadenza at the end of the first movement. Happy birthday WAM.

Sit you down, sit!

Wait! What's your rush? What's your hurry? You gave me such a --Fright, I thought you was a ghost! Half a minute, can'tcher sit! Sit you down, sit! All I meant is that I haven't seen a customer for weeks! Did you come here for a pie, sir? Well, true I haven't attended since 1/13/06 and well, I do want to just be in the presence of The Master himself! Mr. Sondheim and the cast of Sweeney Todd will be signing the cast recording cd on Tuesday night. My fellow devotee Kari will be there with me. And of course it wouldn't do to just show up for the signing. Well, after all, I haven't been since January 13th and it wouldn't do to succumb to withdrawal pains. Prediction: I will be speechless in front of the Master. Times is hard.

Any Moment

Days are made of moments,
All are worth exploring.
Many kinds of moments-
None is worth ignoring.
All we have are moments,
Memories for storing.

From Any Moment by Stephen Sondheim

WTF!?!

Renée Fleming's people issued a press release stating that she has been replaced by Cecilia Bartoli in this Friday's mega concert celebrating Mozart's 250th birthday. Renée's most ardent fans have intelligently and emotionally questioned this move by the Mozarteum. The only thing stopping the TBVers from throwing rotten tomotoes at the event is that it is taking place in Salzburg; and well also, that La Diva wouldn't approve. Speculation is more rampant than wild fire and bloggers are full of questions here and here. Even Oestreich at the New York Times has raised questions. This has all of the sordid makings of a Vh1 Behind the Music. The Diva herself, ever classy, has taken the high road in placing the blame on herself rather than act like a pop culture diva. Note to self: cancel the timer on the creative recorder.

Must....Get...A....Ticket

The hottest selling ticket for this spring season is for Bernarda Alba, the new musical by Michael John LaChiusa with direction and choreography by Graciela Daniele. This duo has worked together before with hot results. Ticket sales to the general public started on January 22nd and it is sold out for the limited run - snatched by Lincoln Center subscribers and cultural mavens. Speculation is that it will extend, but in the meantime, the Have Nots are scrambling. One hopes that there at least will be a cancellation line.

In November, I saw LaChiusa's See What I Wanna See at the Public Theatre. His work is not easy. It is challenging; at once thoughtful, demanding and joyous. His music forces questions but uplifts the spirit. LaChiusa's work has been compared to opera - and some is performed in opera houses. Later this spring, the divine Audra McDonald is debuting another new LaChiusa piece with the Houston Grand Opera. Similarly, Adam Guettel's A Light in the Piazza, another Lincoln Center production, has been accused of being an opera by Broadway purists. Sondheim's works have been produced in opera houses - the New York City Opera did a stunning production of A Little Night Music, the Chicago Lyric Opera did Sweeney Todd starring the magnificent Welsh baritone Bryn Terfel, etc. In December 2005, The Metropolitan Opera debuted a world premier of the new opera An American Tragedy (much lauded previously by me), which many considered to be very Broadwayish. But in the 2002 OperaNews article Genre Confusion, he himself considers opera and musicals to really be in the same genre - it is all musical theatre - some is more high brow, some is more low brow. My point is that while it is enjoyable seeing a chorus line doing high kicks in an old school book musical or your feet might be dancing at a jukebox musical, you may come away with just a bit more joy in your soul when you're seeing a work that challenges your mind and your heart.

At Home with a Movie Musical

I grew up with movie musicals - they are my first love. Tonight's selection is The Harvey Girls made in 1946. It's Judy Garland's movie, but as a bonus for me, 21 year old Angela Lansbury is in it! Unfortunately, Angie didn't sing for herself although she struts around in sassy saloon girl costumes and gets to play one of those tough as nails female characters that she was so good at in the movies. 24 year old Judy is marvelous of course. It's as corny as they come and I love every minute of it.

Judy sings Sondheim, etc.

http://francesgummcast.blogspot.com/

This is one of the funniest things I've ever heard.

A Broadway Saturday

It was a busy Broadway Saturday yesterday for Noah and me. We left my apartment at 8:00 AM to join the rush que for the new musical A Color Purple for $26.50 first row seats. We scored the cheap tickets and then headed to get rush tickets for the new revival of The Pajama Game. We settled for $36.25 partial view tickets for this one. After a fruitful trip to The Drama Book Shop where I picked up "40 Years of Broadway Musical Flops: Not Since Carrie" by Ken Mandelbaum and "Everything Was Possible: The Birth of the Musical Follies" by Ted Chapin, we headed for slices of cheese pizza. Vowing to stay away from the financially dangerous Triton Gallery, we killed a little time by browsing and making fun of the tourists buying POTO memorabilia at Theatre Circle.

On to the 2:00 matinee of The Color Purple: We arrived at the Broadway Theatre to discover that the leading actress LaChanze was out and that the role of Celie would be played by her understudy Kenita R. Miller. We settled into our first row seats and almost immediately our disappointment faded. Kenita so effortlessly played the role that it was hard to believe that she was the understudy. She took us through the emotional roller coster of this epic story by brilliantly exuding fear and joy at the appropriate times. The entire cast, most of them making their Broadway debuts, was funny and soulful. Being a fan of Alice Walker's novel and the movie starring Whoopie Goldberg, I was excited to see this incarnation. For the most part, the writers transferred the story beautiful into delightful and vibrant lyrics and a thrilling and memorable score. There is little over-pandering of the stereotypical Black Gospel genre and overall the show is exceptional. I was moved to tears almost immediately and by the end, I wanted to run on stage and hug Kenita. I suggest that you see this show and don't forget to bring your Kleenex.


After the stage door experience (where we met Eartha Kitt!), we went for dinner at the Cosmic Diner. At the corner of 8th Avenue and 52nd Street, although just a typical diner where the service is less than desirable, it is often a good place for sighting actors (David Hyde Peirce and Norbert Leo Butz, among others) on their way to theatres . My friend Todd Buonopane, an understudy in Spelling Bee, actually spotted us through the window and joined us for a nice chat.

On to the 8:00 revival of The Pajama Game: The original 1954 broadway production of The Pajama Game starred Janis Page and John Raitt. Shirley MacClaine, a dancer and understudy in the chorus. Shirley, being impatient that she would probably never get to go on decided to turn in her notice and move on to another show. On what would become that fateful night, she didn't bother to arrive on time for the 30 minute call. When she finally arrived, she was met at the stage door by the director telling her it was time to go on for Carol Hainey as "Gladys". She was basically unprepared and when she made a mistake she actually cursed on stage. It did not hurt though because there was a movie producer in the audience and was charmed by her. The rest is history. The new revival by Roundabout is starring the dreamy crooner Harry Conick, Jr. and the beautiful Kelli O'Hara. With its old-school book and recognizable songs (Hey there, you with the stars in your eyes....), it is very enjoyable. The choreography is by Tony Winner Kathleen Marshall who is also directing the production. Last seen in A Light in the Piazza, it is hard to believe Kelli O'Hara is the same actress, which is a testament to her talent. She is stunningly beautiful and she is able to showcase her gorgeous lower range after thrilling us with her high soprano in the previous Tony nominated role. The familiar "Hernando's Hideaway" number is used as showcase for Harry's piano playing. The cast is delightful and the dance numbers are rolicking fun.It was hard not to have a really good time at this very fun show!

Beyond Expectations

I am still overwhelmed by the unforgettable experience of Barbara Cook's debut performance at the Metropolitan Opera.   I attended the special evening with my friend Noah.

The atmosphere at the Met was electric and celebrities were abundant. We spotted Sheldon Harnick (lyricist for Fiddler on the Roof, among other shows) right away and spoke to him. Noah told him that he is a theatre major and asked to shake his hand. Sheldon said that when he was young, he asked Groucho Marx for a handshake. Stephen Sondheim sat about 6 rows behind us, as did Jeanine Tesori (composer of Caroline, Or Change - Noah's favorite musical theatre work) and George C. Wolfe (Broadway director of Caroline, Or Change and Angels in America among other shows).

Our seats were dead center on the second row of the orchestra (it's good to be a Met Guild member). The floor of the orchestra pit was raised to stage level and was occupied elegantly by five piece ensemble . The Met gold silk curtain was semi-opened in front of a red velvet curtain which served as the backdrop. When Barbara entered, she received a thunderous standing ovation. She not only took this sacred stage, she owned it for the almost two hours of her performance.

She did not attempt to sing in the operatic style, but thrilled the crowd with mostly well-known standards by Arlen, Sondheim, Berlin and Coleman. She opened with Cy Coleman's "If They Could See Me Now", with lyrics slightly changed to fit the night. I could tell that she was absolutely excited and delighted to be there. She said that when she was a little girl that she would spend every Saturday afternoon listening to the Met Radio Broadcasts and it is well known that she attends operas regularly. It was clear that this was an honor for her and an almost overwhelming experience.

Barbara introduced her first special guest by saying "my friend has to come early because she has her own gig across town at the Carlyle" which prompted the audience to explode. Elaine Stritch received her own standing ovation and then thrilled us with her trademark "Ladies Who Lunch". They then did the hysterical duet "What's So Wonderful (The Grass is Always Greener) from Woman of the Year. They performed the song from huge sheet music which was very funny. Elaine said she wouldn't do it without the music because she already "had enough lyrics in her head to sink the Met"!

Barbara's second guest was the lovely Audra McDonald whose voice is as lovely as her presence. She sang Sheldon Harnick's "When Did I fall in Love" from Fiorello. Barbara and Audra sang a thrilling arrangement of Blue Skies together.

Barbara's last guest was Josh Groban. He sang "Not While I'm Around" from my favorite Sweeney Todd. I was pleasantly surprised by the beauty of his interpretation. Josh and Barbara reprised the duet of "Move On" from Sunday in the Park with George that they performed together at the Sondheim Concert at the Hollywood Bowl. Their interpretation is gorgeous - almost like she is imparting grandmotherly advice.

Barbara's voice rang like a bell. She often looked almost beatific, entrancing us with her youthful light soprano. Known for her memory lapses of lyrics, she began again on several songs - which only highlighted her excitement of the evening and did not hinder in the least. The height of the evening was her flawless performance of "Losing My Mind", which is arguably the difinitive rendering of Mr. Sondheim's brilliant song from Follies.

Perhaps out of respect for the Met hall which was built for the natural voice, Barbara thrillingly closed the show with "We'll Be Together Again" without artificial amplication. This was one of those nights that will be remembered for a lifetime!

Her Lips Are Sealed!

I've been preparing all week for tonight's concert by listening to Barbara's 2001 live concert recording from Carnegie Hall. It doesn't get much better than that. However, tonight's performance is being recorded for a live album! You'll hear me cheering!

Meanwhile, her lips are sealed about tonight's playlist.

The countdown has begun. T minus 3 hours 53 minutes.

The Melifluous Voice

Barbara at the Met Anticipating a good concert is definitely a favorite pasttime of mine. Anticipating a historic concert is almost too much. In less than two days, Noah and I will be in the second row of the glorious Metropolitan Opera House basking in the glow of the melifluous voice of Barbara Cook. It is not often that the Metropolitan Opera offers its stage to a non-opera singer. But Barbara Cook is so beloved that they have no choice not to offer. Noah and I have been anticipating this concert since tickets went on sale to Guild members early last fall. I was fortunate to see her perform at "Wall to Wall Sondheim" and "Children in Art" in March 2005 but she only sang "In Buddy's Eyes" (the definitive) at each concert. This is a entire evening. Her soprano is like a lovely clear bell. There are also to be special guests and the audience is sure to be filled with celebrities. Perhaps Mr. Sondheim will accompany on piano for her? Perhaps Audra will join her on stage? Maybe even Renee will be there? It will be an unforgettable evening for sure and the anticipation is enough to get me through the horror of working for a living the next two days.

Bounce to Broadway?

Riedel the Needle and Playbill have both reported that Bernadette will take part in a reading of Stephen Sondheim's Bounce at the Public Theatre, with a possible run at the Public to take place next year. This would mark Bernadette's return to New York Theatre after her 2003-2004 Tony-nominted turn as Momma Rose in Gypsy, for which Sondheim wrote the Lyrics. Most of Bernadette's concert repertoir consists of Sondheim's songs and Bernadette brilliantly originated the role of Dot in Sunday in the Park with George and the witch in Into the Woods. Sondheim himself has said that she is his favorite enterpreter of his work. Bounce is the only Sondheim musical that has not made it to the Broadway stage and he can't seem to give up on it. I know very little of it, although critics and friends of mine did not like it when it played out of town, so I must reserve judgment. I long for more Bernadette on the stage in just about anything, so it would be the icing if she were in a Sondheim piece. The Public Theatre is considered off-Broadway but successful shows have moved uptown to Broadway venues. One can dream.

Speaking of dreaming, chatteratti have recently been buzzing about more Sondheim revivals. Roundabout Theatre's Broadway revivals of Assassins and Pacific Overtures over the last two years and now the successful revival of Sweeney Todd, have Sonheimites dreaming of more to come. The innovative and brilliant Sweeney Todd director John Doyle, is directing a similarly conceptual revival of Company (wherein the actors play their own instruments) in Cleveland later this year and there is hope that if it is successful then it will make it to Broadway.

Dreaming on, the weekend chatter about the revival of A Little Night Music still hasn't died down and now Bernadette's name is being thrown out as Desiree to Angela's Madame Armfeldt. Oh it would be bliss.

Wishing Upon a Star

Over the weekend, a very irritating prankster posted on musicals.net that he heard a report on CNN that Sondheim's A Little Night Music was being revived with Angela Lansbury playing the role of Madame Armfeldt. Originally on Broadway from February 1973 through August 1974, Night Music was Sondheim's only real commercial success and has never been revived on Broadway. Angie would be brilliant in this role. This prankster caused verbal battles and heart palpitations...if I ever find him I will wring his neck. Of course there is still the rumor circulating that Angie will return for 70 Girls 70 at Encores later this year. She herself told Linda Winer in a Women in Theatre interview in the fall of 2004 that she would return to Broadway sometime in the next two years. Now, Fairy Godmother, grant my wish! I know it's possible!

Let's Go See A Movie

http://www.mrshendersonthemovie.com/ I'm a person who rarely goes to the movies because I rationalize that they are so expensive in New York City that I'd rather save those bucks for a live Met opera or Broadway performance; but, I can't rationalize missing Dame Judi Dench in anything. Yesterday, we braved the frigid wind to see Dame Judi. She has done it again in Mrs. Henderson Presents. As usual, she is magnificent on the screen - damn funny and beautifully poignant - her delivery is sublime. This was a film I especially enjoyed because it is about a woman who opens a theatre - how could I not like it?

THIRTEEN

It was pure coincidence that I sat in seat 113 on 1/13 and it was my 13th time to attend the tale. After 13 times, I continue to be enthralled with the cast and seeing it from the front row was like seeing it for the first time. The cast continues to increase their intensity in telling the story, digging deeper in both the humor and the horror. I was particularly moved by Diana Dimarzio's performance as the Beggar Woman. The emotion on her face was heartbreaking. Also from the front row, I heard the intricacies of the score - it was astounding to hear the gorgeousness of each instrument working together. It took us a while to be able to leave the theatre so I was thrilled to see the ghost light being brought out. The ghost light is a light with a single light bulb that is traditionally placed on the stage after a performance and is left on until the lights come up for the next performance. It is almost mythical - lighting the way for the theatre ghosts when the house is empty. The stage door experience was enjoyable as usual. It was my friend Kari's birthday (yes - Friday the 13th!) and she had the entire cast sign her windowcard - Michael Cerveris added "Bloody Happy Birthday" to it. I got handshakes from most of the cast for it being my 13th time and Michael Cerveris was very funny in asking if I kept coming back to see if it improved and asked if it really sucked in the beginning. We also finally remembered to tell Miss Patti that we would see her as Momma Rose at the Ravinia Festival in August.

(PS - it was also my grandmother Frances Herring's birthday on January 13th - she would have been 91)

A Baker's Dozen or What is Lucky 13?

Hey Mrs. Lovett, since you don't sell slices, go ahead and serve up my 13th dose tonight to make it a lovely baker's dozen! God, that's good!

Happy Friday the 13th!

Violin Hunk

Tonight we were in the presence of Joshua Bell with the NY Phil! Joshua played the Concerto for Violin and Orchestra, "The Red Violin" by John Corigliano. Joshua plays the voice of the violin in the movie of the same title. Joshua's playing is glorious, fierce and romantic. He plays with his whole body. It was also Jonathan Nott's New York Philharmonic debut as conductor. The Phil played R. Strauss' Eine Alpensinfonie. It is a rather long piece without Nott conducted without the score. He displayed an impressive stamina as the piece is rather long and has no breaks between movements. The Phil were able to show off their abilities to play unusual instruments including a Hecklephone, which looks and sounds like an overgrown oboe, four Wagner tubas which are a type of French horn and an interesting variety of percussion such as a wind machine and a thunder sheet. Afterward, Joshua had a cd signing and I had him sign my new Tchaikovsky album. I told him that it was a real bonus seeing him at the Tribeca Film Festival screening of Ladies in Lavender with Maggie Smith - he is the voice of the violin in that wonderful movie as well. I'm still smiling.

SUBLIME

Stop Three of Diva Weekend was at Carnegie Hall to see the devine Renee Fleming with Maestro James Levine and the Met Orchestra. The Met Orchestra is straight from heaven. The orchestra started with Tchaikovsky's Romeo and Juliet Fantasy Overture. Renee then glided onstage to thrill us with Tchaikovsky's Letter Scene from Eugene Onegin. The audience was reluctant to let her go for the intermission, demanding repeated bows from her. For the second act, Renee returned to chill us with Berg's Altenberg Lieder, Op. 4. She actually whispered at the end of the Berg - I not only heard but felt pure softness of her voice in the balcony. The orchestra continued with Wagner's beautiful Overture and Bacchanale from Tannhäuser. I especially loved tonight's program because the horns were featured throughout. Renee stunned us with the finale of Strauss' Closing Monologue from Capriccio. I honestly don't think I've heard in her better voice. I attended eight performances of Renee's in 2005 and this first of 2006 was the pinnacle.





The backstage experience was first-rate. We were treated to the presence of Van Cliburn (no photographic evidence) and the devine Marilyn Horne! Ms. Horne was delightful - even waving good-bye to us from the elevator.








La Diva did not immediately change from her Gianfranco Ferre plum and black gown. She worked the crowd and visited with friends. The TBV Representatives simply took in the sights and spent the time getting to know each other better. We were the last to visit with La Diva and she said "I'm so glad you all came!" when she saw us. She took time with each of us and then posed for a group picture with us. She said to me "I've seen you somewhere recently" and I was able to remind her that it was in Jersey after the Sacred Songs concert. We talked about An American Tragedy as well. At the advice of her friend Susie Graham, she was able to see the first act. She said she loved it! We had a laugh over the fact that of course Susie would recommend seeing the first act since she's in it the most. After this great experience, we convened a delightful and boisterous summit where some carrafes of wine were consumed and many stories were shared. We are all plotting more visits with each other and La Diva in 2006. For a wonderfully insightful and in depth review, stop by Khaleem's place!

Dance Fever

Stop Two of Diva Weekend was at Chita Rivera's A Dancer's Life with Noah, Mom and Mandy. Chita is THE prima donna of the Broadway stage. This legendary performer was the original Anita in Westside Story, the original Velma Kelley in Chicago, the original Aurora in Kiss of the Spiderwoman and a two time Tony award winner for The Rink (playing Liza's mother - oh my) and The Kiss of the Spiderwoman. A Dancer's Life is a lovely biography of Chita, narrated via song and dance by Chita herself, assisted by a host of Broadway gypsies, whom Chita handpicked. Most of the original songs employed to tell her story are not memorable. I think that it would have been more interesting to hear her sing more songs from her shows; although, I do find myself humming "Dancing on the Kitchen Table". Chita is captivating and funny; at age 72, her dancing still fascinates and sends chills. Her voice is interesting and there is a hint of her co-star and idol Gwen Verndon's influence there. The stagedoor experience was lively and Chita is charming and accomodating. I asked her about The Visit and she said "thank you for asking!" She said that there is still hope that they will bring it to Broadway and she said, "Keep thinking good thoughts!" Noah has the best idea for this one - Angela should do the matinees and Chita should do the evening performances. Noah, hurry up and become a producer! Overall, The Dancer's Life was delightful and I find myself wanting to take dance lessons.

Stick with me, kid...

Noah and me at the Dirty Rotten Scoundrels stage door with the fabulous Joanna Gleason on 1/6/06!


In the spring of 2004, I began visiting the Bernadette Peters message board. Some of us posted that we would be in Schubert Alley proir to Bernadette's last performance in Gypsy on May 30, 2004. My decision to meet with other fans turned out to be one of the best I've ever made. I had seen Noah's picture with Bernadette and knew to look for him. I spotted him right away talking to a woman who turned out to be Vicki. The three of us immediately bonded. We couldn't have been more different, but our shared devotion to Bernadette and Broadway sparked a deep friendship. Since that first meeting, the three of us have visited frequently and have attended many shows and concerts together. Our trio has grown to often include Mandy and Ashley and we have come to call ourselves the Fanadettes. Occasionally, our group expands to quite a party when we gather for Bernadette's concerts as we did in Boston, MA, Peekskill, NY and Bethlehem, PA and will again in May, 2006 at Avery Fisher Hall. I have met some incredible individuals through this group. Knowing Noah has been especially rewarding. His joyful and enthusiastic nature is contagious and his knowledge of all-things Broadway is unbelievably extensive. He encourages me to expand my horizons. He inspired me to see Caroline, Or Change, which transformed my idea of musical theatre. He has introduced me to legendary performers as well as ingenues. I have started saying that I'm attending the University of Noah and am majoring in Broadway. It isn't far from the truth. Of course, I turned the tables when I was able to introduce him to Renee Fleming. Later this month, he and I will be attending Barbara Cook's debut at the Met. It will be his first trip to the Met and I hope it will inspire him to attend an opera there. I am looking forward to many more theatre experiences with this group and especially with Noah - I know I will never fully graduate from the University of Noah because he will always be teaching and inspiring me.

Patrons du Jour!

Thank you Mr. & Mrs. Bass for treating us!

The Best Seats in the House

Last Sunday, the New York Times published the article Amplifying the Classics by Anthony Tommasini. This prompted a discussion between friends where the best seats are for sound. We all agreed that the use of microphones would be a detriment to the experience but not one of us shared the same opinion about the best seat. My opinion is that that if you are there to see the singers (or just to be seen) then the orchestra is for you. If you are there to see and hear then the best seats in the house are in the balcony or the family circle, where the vocal sound rises above the orchestra and there is no muffling from levels above. The family circle, my usual choice, is on the fifth level from the orchestra level - it seems impossibly high and far away from the stage which must be at least several hundred feet away. From these family cirlce seats, you get a full picture of the grandness of the house. The sound rises so beautifully that when I first hear the overture, it is as if my ears are hearing for the first time. My ears then adjust again when I hear the voices. I recently sat near a blind woman at An American Tragedy. At first I felt sad for her because she was missing the acting and sets but then I realized that she was probably hearing so much more than most of us because her senses were focused on the sound. The bottom line of opera is the purity of the sound. The sound at the Met is completely pure and without the static of artificial amplication. It is a testament to the skill of the singers and the acoustical superiority at the Metropolitan Opera House.

The Eyes of Texas Are Upon You!

"The Eyes of Texas are upon you, All the live long day. The Eyes of Texas are upon you, You can not get away. Do not think you can escape them at night or early in the morn-The Eyes of Texas are upon you'Till Gabriel blows his horn! "

The choir of over 40,000 Longhorn fans, accompanied by the Texas Lonhorn Band, singing the Eyes of Texas was one of the most beautiful sounds I ever heard! Hook 'em Horns!

Just 5 Days Away

Anticipation


In 5 days, we'll hear that glorious Met Orchestra and then La Diva Renee will glide on to the lauded stage. What will she wear? Will her hairstyle have changed once more? What bling will she be flashing? The only question I don't have to ask is is about her voice - I know it will be pure bliss.

My personal 12 step program.

1. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 10/6/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
2. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 10/8/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
3. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 10/20/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
4. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 10/31/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
5. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 11/6/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
6. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 11/13/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
7. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 11/15/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
8. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 11/16/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
9. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 11/20/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
10. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 12/2/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
11. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 12/10/2005; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina
12. Sondheim SWEENEY TODD, Eugene O'Neil Theatre 1/3/2006; LuPone, Cerveris, Jacoby, Champlin, Felciano, Gemignani, Arbo, Dimarzio, Magnuson, Molina

Taking inventory

21 visits to the Met and counting...

1. Verdi RIGOLETTO, Met 17.1.2004; Armiliato; Pons, Nioradze, Rost, Flores, Lopardo (with Beth from Austin - the beginning of the madness!)

2. Puccini MADAMA BUTTERFLY, Met 20.1.2004; Armiliato; Bunnell, Villarroel, Berti, Caproni

3. Rossini L'ITALIANA IN ALGERI, Met 20.2 .2004; Levine; Borodina, Florez, Furlanetto, Patriarco (with Robin from Austin - her first opera!)

4. Mascagni CAVALLERIA RUSTICANA, Met 10.11.2004; Davies; Kulko, Urbanova, Golesorkhi

5. Leoncavallo PAGLIACCI, Met 10.11.2004; Davies; Pons, Galouzine, Kwiecien, Litherland

6. Bizet CARMEN, Met 13.10.2004; Domingo; Domashenko, Hong, Abdrazakov, Shicoff

7. Verdi AIDA, Met 8.12.2004; Morrell; Brown, Mishura, Farina, Gradus, Rucker, Youn

8. Handel RODELINDA, Met 22.12.2004; Bicket; Fleming, Blythe, Daniels, Gradus, Mehta, Rensburg

9. Verdi OTELLO, Met 5.1.2005; Levine; Hepner, Frittoli, Guelfi

10. Puccini LA BOHEME, Met 9.2.2005; Oren; Swenson, Litherland, Duval, Croft, Gradus, Patriarco, Plishka

11. Strauss DER ROSENKAVALIER, Met 23.3.2005; Runnicles; Aikin, Denoke, Jepson, Fanning, Polenzani, Rose

12. Puccini TOSCA, Met 15.4.2005; Conlon; Guleghina, Burchinal, Licitra (took Mom to her first opera - her comment after the Act I "It's going so fast!")

13. Gounod FAUST, Met 18.5.2005; Levine; Alagna, Pape, Hvorostovsky, Carfizzi, Perez, Isokoski, Bunnell

14. Massenet MANON, Met 27.9.2005; Lopez-Cobos; Fleming, Alvarez, Chaignaud, Fouchecourt, Robbins

15. Massenet MANON, Met 3.10.2005; Lopez-Cobos; Fleming, Alvarez, Chaignaud, Fouchecourt, Robbins (first row seat! first time backstage - Sally and I were the last to talk to La Diva Renee and we walked out with her a la her entourage!)

16. Strauss ARIADNE AUF NAXOS, Met 5.10.2005; Petrenko; Graham, Urmana, Damrau, Allen, Stevenson, Villars (went backstage to greet Violetta Urmana who is a friend of my subscription mate)

17. Verdi FALSTAFF, Met 19.10.2005; Levine; Terfel, Blythe, Murphy, Racette, Zifchak, Frontali, Polenzani

18. Puccini LA BOHEME, Met 3.12.2005; Auguin; Deshorties, Hong, Aronica, Catana, Chernov, Gradus, Plishka (with Beth from Austin) (Seat 113)

19. Picker AN AMERICAN TRAGEDY, Met 8.12.2005; Conlon; Graham, Racette, Zajick, Gunn, Begley, Bernstein, Burden, Larmore, Aylmer

20. Picker AN AMERICAN TRAGEDY, Met 12.12.2005; Conlon; Graham, Racette, Zajick, Gunn, Begley, Bernstein, Burden, Larmore, Aylmer (Maestro Conlin's 250th performance at the Met)

21. Picker AN AMERICAN TRAGEDY, Met 21.12.2005; Conlon; Graham, Racette, Zajick, Gunn, Begley, Bernstein, Burden, Larmore, Aylmer (Sally and I went backstage to greet Susan Graham)