Barbara Cook at Carnegie Hall

Last night we gathered at Carnegie Hall to hear Barbara Cook sing and swing songs from her latest album, Loverman.  Although the official day isn't until October 25th, this was a huge 85th birthday concert for Miss Cook.    It's been an amazing couple of years for her - back on Broadway in Sondheim on Sondehim and then in 2011, most blessedly and deservedly becoming a Kennedy Center Honoree.   It's an inspiration to see lady of her age not just resting on her laurels, but still recording and sharing herself and her art. 

After serenading us for over an hour and half, some friends of hers took the stage to serenade her in turn, suprising and delighting all of us:  John Pizzarelli, Jessica Molaskey, Susan Graham, Sheldon Harnick and Josh Groban. 

I'll listen to Barbara sing anything, but I especially loved this set.   It's all great American songs by songwriters, to paraphrase Barbara, who if they only had written this one song, it would have been enough.  I was particularly grateful that she included Hoagy Carmichael's "The Nearness of You."   Most beautiful was the pairing of "House of the Rising Sun" with "Bye Bye Blackbird" (which happens to be one of my favorite songs, sung by anybody, anytime) and she finalied with a stunning a capella rendention of John Lennon's "Imagine," from the edge of the stage.

She shared little snippets and stories about her career and told some hilarious jokes.   She had us all doubled-over with her confessions of her youtube surfing addiction.   She's very off-the-cuff and down-to-earth and it really feels as though you're in  her living room.

We were teased with the promise of "special guests," but after Barbara carressing us for the entire time with her warmth and humor we thought perhaps that it was all there was.  But when she took the stage again on the arm of John Pizzarelli, she seemed as surprised as we were.   John proceeded to read a letter from Mayor Bloomberg wishing her a happy birthday and proclaiming her as one of New York City's living landmarks.   John's wife Jessical Molaskey joined them on stage and they proceeding to sing a silly and sweet set from No No Nanette, which was written just before Barbara's birth.   

Next to surprise us all was mezzo-soprano Susan Graham.   Barbara is a huge fan of opera and of Susan's - I once stood in line with Barbara to greet Susan after her final performance of Der Rosenkavalier at the Met.   She shared her story about being a little girl and hearing a beautiful voice for the very time - Barbara's voice singing "Till There Was You" from The Music Man on the hi-fi.   She then proceeded to serenade Barbara with her own rendition of this song, sans microphone.   It was divine! 

Tony and Pulitzer winning lyricist/book writer Sheldon Harnick then joined the party.  He sang a song he wrote for Barbara, a take off from "Ice Cream" from She Love Me.   Barbara starred in the original Broadway production of She Loves Me, by Harnick and Jerry Bock, in 1963.

Next, Josh Groban took the stage to sing Sondheim's Not While I'm Around from Sweeney Todd.  Barbara is a huge fan of Josh's - we saw him perform with her at her concert at the Metropolitan Opera in January, 2006. 

Finally, we all joined in to sing Happy Birthday to Barbara.   It was as thrilling an evening as any when it comes to concerts by Barbara Cook.  It doesn't matter if I see her from the balcony at Carnegie Hall or at at a table near the stage at Feinstein's, I always feel as though she's singing and talking right to me.  She's our grandmother telling us sweet  - and somewhat baudy - stories and making us feel warm, happy, and loved. 

Susan Graham

Sheldon Harnick





DiVaR Alert: Barbara Cook at the 2011 Kennedy Center Honors

Barbara Cook & me - Opening Night of Deuce 

One of my favorite performers people is Barbara Cook and she is a 2011 recipient of the Kennedy Center Honor!


On Broadway, Barbara  was the original Cunegonde of Candide, the original Marian the Librarian of The Music Man, the original Amalia of She Loves Me, after making her Broadway debut  in the 1951 Flahooley.  She won her Tony award in 1958 for The Music Man. Her high soprano voice was crystal clear and stratosperic - she sang 21 high C's in Glitter and Be Gay as Cunegonde. 

Barbara is still singing - last year she returned to Broadway to star in the musical revue Sondheim on Sondheim, for which she garnered yet another Tony nomination.  She has recorded over 40 solo and cast albums, many of which are treasured listening on my playlists.


But what Barbara is best as is making you feel like you're the only one in the room as she sings you a story.  While her voice is not longer the high clarion, it is now a warm and luscious sound that wraps around you like a blanket.   I felt this way seeing her from the balcony of Carnegie Hall and even in her sold out concert at the Metropolitan Opera, where she was the first female "pop" singer to sing in a solo concert at the 4,400 seat house.  She also continues to teach master classes - one of her famous students is Hugh Jackman. 

Seeing her at the Met is one of my best memories - Noah and I dressed up to the nines and sat right down front in that packed house.  It was a thrill to see her sing there especially knowing that she is a huge fan of the Met Opera, ever since she was a little girl and would listen to the Met Opera radio broadcasts.   I've also seen and visited with Barbara when we were both patrons at dress rehearsals or visiting one of the divas backstage.   It's fun to know we have similar tastes. 

The performance celebrating the Kennedy Center Honorees - also including Neil Diamond, Yo-Yo Ma, Sonny Rollins and Meryl Streep - was filmed on December 4th and will finally air tomorrow night, December 27th, on CBS at 9:00 pm (Eastern).  It promises to be a great telecast this year! 

Sondheim on Sondheim in the Vanity Fair

From the April issue, The Sound of Sondheim.  Says Sondheim, "I could not not write," he says. "What else am I to do? I like sitting at a piano, and work is fun."  

(See the issue also for pictures of Michael Feinstein &Dame Edna of All About Me, the cast of Come Fly Away, & Kristin Chenoweth & Sean Hayes of Promises, Promises).

The Broadway Moonlighters and their Girl Singer

Barbara Cook joined the Broadway Moonlighters under the direction of Jonathan Tunick at Birdland last night. It was Big Band Heaven! Barbara sang Nashville Nightingale, Autumn in New York and Sooner or Later. The Broadway Moonlighters, comprised of three trumpets, two trombones, five wind intruments including clarinets (sometimes plus Maestro Tunick), bass clarinet and saxaphones, a stand up bass, a drummer, and Lee Musiker on piano, were all there moonlighting on their night off from pits around Broadway. Oh man, the joint was swinging! The band pleased the audience all night, playing jazz standards and even a rendition of the Tunick orchestrated overture to Merrily We Roll Along which practically earned a standing ovation. The set list included two Tunick originals - Buffet Luncheon, an original featuring the clarinets in honor of the Buffet Clarinet Company in Paris, and Pumpkin Lane, after the exit on the Taconic Parkway. We all joined in on Let it Snow and they finished up the evening with Lullaby of Birdland. The audience was full of small world encounters - my friend Jan of Broadway and Me was there to see her husband K knocking us dead in the trumpet section, as was my Little Love, who sat next to her! My friend Kate Baldwin and her husband Graham Rowat were sitting at the table by us and they were joined by Miss Cook! Kate filled me in on the terrific news that she's just about finished her first episode of Law & Order: SVU. Thank goodness she's not playing the victim! Tony winners Priscilla Lopez and Kelly Bishop were behind us. Original production of Gypsy alum, Harvey Evans (replacement farmboy!) and Alice Playten (replacement Baby Louise), shared a table. Margaret Colin and her husband Justin Deas and his The Guiding Light chum Ron Raines were all there too. Marni Nixon was across the room too - thank goodness she didn't try to ghost sing for Miss Cook! I let myself pretend that we were in a swank supper club in the 40s and even treated myself to a dirty martini. The only thing missing from the evening was a dance floor!

Tonight: Barbara Cook with Jonathan Tunick & the Broadway Moonlighters at Birdland

Tonight, Barbara Cook joins Jonathan Tunick & the Broadway Moonlighters at Birdland. My favorite Theatre Aficionado will be there with me.

I Pledge Allegiance to Barbara Cook and Audra McDonald and Barack Obama

On Sunday night, my Little Love Noah and I went to the Broadway Voices for Change concert starring Barbara Cook and Audra McDonald at the Hirschfeld. The concert benefitted America Votes. I arrived in time to see Sarah Jessica Parker and Matthew Broderick getting their picture taken by their Prius. Sarah Jessica, looking ultra sparkley and glamourous, and Matthew introduced the evening, billed for America Votes. The message was clearly get the vote out for Obama. It was a packed house so we ran into various friends, and saw Harvey Evans and then Marian Seldes who said "Isn't this wonderful? I'm so excited to be here." The concert began about 30 minutes late. The musicians onstage were Barbara's small ensemble lead by Lee Musiker plus Ted Sperling, who played for Audra. Audra and Barbara began the evening with Sing a Song. Their voices blend in a heavenly way - Barbara's sweet soprano with Audra's strong mezzo - and it's story-telling at its best. I always have that feeling when I'm listening to Barbara sing, whether it's live or recorded. When Audra joins in, it just elevates to an emotionally thrilling level. The love between them doesn't hurt - it's teacher and student, mentor and mentee, mother and daughter. It's like they are singing for each other and the rest of us are just lucky to witness the love. The two divas alternated sets before more duets. Audra sang There Won't Be Trumpets from Sondheim's Anyone Can Whistle. She said it must have been written for Obama. She also sang I Wish I Were in Love Again, The Glamorous Life, What Can You Lose/Not a Day Goes By, When Did I Fall in Love, Can't Stop Talking About Him, Stars and the Moon (after which Barbara said, "I like that Stars song") and Lover, Come Back to Me. Barbara sang Sooner or Later (from Disney's Song of the South, Rainbow on my Shoulder, No one is Alone, Lost in the Stars/No More, Where or When, Nashville Nightengale. They reprised their Blue Skies duet from The Met concert. Audra kept changing the words appropriately to "Blue States." The surprise of the night was an appearance by Brian Stokes Mitchell. Audra began her introduction of him by saying, "I learned this song 10, 11, 12 years ago..." and then had to make it clear that it was Stokes and not Obama. They just about brought the house down with Wheels of a Dream which could not have been a better chosen song for the night. Stokes stayed on stage for some patriotic songs and then the entire theatre joined in on God Bless America. I'm feeling patriotic right now just thinking about it. The concert is in my Top Ten of all time and I can't get it out of my mind. It was emotionally overwhelming and I admit that although I wasn't on the fence about voting as a Democrat, I have been less than enthusiastic about Senator Obama. I know the point was to raise money and awareness to get the vote out, especially for Obama. The Voices for Change thing? That was for me. My heart needed to change. How appropriate that it took musical theatre songs to highten my awareness and enthusiasm and even muster my hope. Bring on November 4th.



Photo by Glikas/Film Magic

Barbara Cook: Birthday Concert Redux

We can't resist being there again tonight.

The Phil played the Overture to Candide. GLORIOUS! Barbara sang for ninety alternatingly blissful and toe-tapping minutes. As usual, her voice was warm and sweet. It give me chills like no other. Her performances are always transcening. This was an encore of her November concerts but she changed the set list slightly, including more Sondheim this time:

Simple Song/Lucky To Be Me
There's a Rainbow 'Round My Shoulder
Wonderful Guy
Give Me the Simple Life
Lost in his Arms
Nashville Nightingale
I'm Through with Love/Smile
Nobody Else But Me
One More Kiss/Goodbye For Now
Lover, Come Back To Me
I Wish I Could Forget You
No One Is Alone
My Dog Loves Your Dog
This Nearly Was Mine
Lost In The Stars
No More
Accentuate The Positive

The audience, accompanied by the Phil, sang a disjointed Happy Birthday to her.

Her encores were sans microphone. She sang Some Other Time and then We'll Be Together, because we just insisted on a second number.

Of course, we saw a few celebs there: Alice Playten, Jamie DeRoy, Joel Grey, Ron Rifkin, Blair Brown, Harvey Evans, and Arthur Laurents. Noah introduced me to Alice and Jamie. I was so thrilled to meet Alice - she powerhouse belted Nobody Steps on Kafritz on the original cast recording of Henry, Sweet, Henry, one of my most favorite flops. I also saw her in Caroline, Or Change.

Barbara Cook's Birthday Concert

As we were leaving our seats, Noah said, "I always feel like she's just singing to us in her living room." It's true. Barbara Cook is perhaps the most relaxed, most open, most in the moment concert performer alive. I have seen her in three huge houses - the Met, Carnegie and now Avery Fisher and twice at Sondheim benefit concerts - yet, I always feel like I'm sitting at her feet while she tells me stories. Her voice is so warm and sweet, still a bell, sometimes low and warm, with an occasional belt. Before we entered the hall, we saw our friend Marian Seldes who said "Aren't we lucky to be here? I'm so excited. Barbara's so wonderful and I think she's such a great actress." I didn't catch the titles of all the songs, but some were I Got Lost in His Arms, Lucky to Be Me, It Might as Well Be Spring, Lost in the Stars/No More, No One Is Alone, Nashville Nightingale, Lover, Come Back to Me, I'm in Love With a Wonderful Guy, Accentuate the Positive, This Nearly Was Mine, I Wish I Could Forget You, Nobody Else But Me, I'm Through With Love, Smile, and My Dog Loves Your Dog (an adorable song that Bernadette needs to sing!). She sang her two final pieces a capella, which just makes that feeling of being in her living room even more profound. The audience offered long applause every chance it got and was hesitant to leave at the end. Marian caught up with us after. I said, "Marian, well, what did you think? Wasn't it perfect?" She replied, "Oh yes, it was perfect. Now we know there is a Heaven and she is an angel."

For we need a little music, need a little laughter, need a little singing!

The Strike on Broadway continues and there's slushy rain falling in New York City. Our spirits are threatening to fall. But before we grow a little colder, sadder and older, thank goodness my Little Love and I are seeing Barbara Cook at Avery Fisher Hall for her 80th birthday concert with the New York Philharmonic! After all, we do live each living day and there are little angels sitting on our shoulders. How fitting to see a Broadway legend perform just when we need it most! And even though it's the week before Thanksgiving, I guarantee that her voice like a bell will be ringing through the rafter and make us feel like we're getting a little Christmas right now!


(Plus, before I head to Avery Fisher Hall, I'll be at the Met for the Guild's Production Interview: Envisioning Iphigénie en Tauride.)

Barbara Cook: No One Is Alone

I got it! Barbara Cook's 17th and latest album, No One Is Alone is out and I got it! It's the material, mostly new to her, that she has been touring lately. We saw her perform this set list at Carnegie Hall last November. Her voice is so warm and really, there is absolutely no better storyteller. It's a fun listen, but even better it's heartwarming and gorgeous. It's a bonus that Kelli O'Hara and Sebastian Arcelus joined her in the studio recreation of Make Our Garden Grow that they did at Carnegie.

Quote of the Day

"Garland was the other person who influenced my work. In that sense, the way she structured a song because I never really studied that kind of thing. I studied technique for a long time, but I never studied with a coach and I began to see how her songs were structured with the beginning, middle and end that you have to pay attention to the large arc, the big arc of a song...I was with her socially several times but certainly not friendly, no. She used to sing at a little club. When she was a the Palace? She'd still want to sing some nights at a club, a little private club called the Gold Key Club and I knew the pianist there so whenever she was there, he'd call me to 'come, Judy's in' and I lived nearby so I'd rush over and just sit and listen to her sing to herself. It was great...We didn't have [recording] equipment like that then. I would have been recording it otherwise. Believe me!"

Barbara Cook at Conversations with William M. Hoffman, 1/5/2005

The Diva Songstress

Barbara Cook is so much more than a glorious singer. Each song is a small bedtime story that lends to sweet dreams. I feel like she is giving me a rare gift so perfect that I just want to savor it always. She always lauds the composer and the lyricist and gives me a small master class. She caresses words and phrases with her sweet soprano voice that has just a smidgen of smokiness. Her top notes are still pure but when she visits her lower voice, it is luxurious raw silk. It's just unbelievable that this is the voice of a woman nearly 80 years old. Last night she introduced some songs that were new to her repertoire and treated us to a few of her signature songs. She opened with Something's Coming and I was thrilled to hear All the Things You Are and and This Was Nearly Mine. Thank God she did In Buddy's Eyes and I Wish I Could Forget You. She was joined on Make Our Garden Grow by Kelli O'Hara and Sebastian Arcelus along with various youth chorus and members of the NYC Gay Men's Chorus. Known for small lapses in memory which she usually turns into a delightful just between us joke, she didn't miss any lyrics last night until her encore of Anyone Can Whistle. She prefaced the evening with explaining that she is suffering from a windpipe infection and that four days ago she had no voice at all...but that she decided that rather than cancel, she would rather be there for us even at just 85%. We couldn't tell - which I told her at the stage door - we simply couldn't tell. It felt like 110%. At times, her voice broke on high notes, but it just added a dramatic touch. It is clear that her audiences adore her and she adores the audience right back. She manages to make me feel like she's singing right to me whether it was on the second row of the orchestra at the Met or the second row of the balcony at Carnegie Hall; I have a feeling that everybody there felt the same way.






The Song List (which she promises will be recorded)
1. Something’s Coming (By Bernstein/Sondheim from “West Side Story” 1957)
2. Never Never Land (By Stein/Comden & Green from “Peter Pan” 1954)
3. Surrey With A Fringe On Top (By Rodgers/Hammerstein from “Oklahoma” 1943)
4. Long Before I Knew You (By Stein/Comden & Green from "Bells Are Ringing" 1956)
5. I Fall In Love Too Easily (From the movie musical “Anchors Aweigh” 1945)
6. Nobody Else But Me (By Kern/Hammerstein from “Showboat” 1927)
7. Some Other Time (By Bernstein/Comden & Green from “On The Town” 1944)
8. No One Is Alone (By Sondheim from “Into The Woods” 1987)
9. You're What I Need (By Rodgers/Hart from "She's My Baby" 1928) [originally written for, and dropped from, "A Connecticut Yankee" 1927]
10. One More Kiss (By Sondheim from “Follies” 1971)
11. Goodbye For Now (By Sondheim from “Reds” 1981)
12. In Buddy’s Eyes (By Sondheim from “Follies” 1971)
13. I Wish I Could Forget You (By Sondheim from “Passion” 1994)
14. You Could Drive A Person Crazy (By Sondheim from “Company” 1970)
15. Don’t Ever Leave Me (By Kern/Hammerstein from "Sweet Adeline" 1929)
16. All The Things You Are (By Kern/Hammerstein from "Very Warm For May" 1939)
17. Lover,Come Back To Me (By Hammerstein/Romberg from "The New Moon" 1928)
18. This Nearly Was Mine (By Rodgers/Hammerstein from “South Pacific” 1949)
19. No More (By Sondheim from “Into The Woods” 1987)
20. Grow My Garden (Bernstein from “Candide” 1956) with surprise guest Kelli O’Hara, NYC Gay Men’s Chorus, youth chorus)
*ENCORE* Anyone Can Whistle (By Sondheim from “Anyone Can Whistle” 1964)

Tonight: A Concert

For the third weekend in a row, I'll be at Carnegie Hall again tonight: Barbara Cook. The third time really is a charm.

Know your legends...

As previously mentioned, I talked to Barbara Cook and Harvey Evans at the Met's Open House & Dress Rehearsal for Madama Butterfly. Well, of course, I'm already an A student in Diva History...but I didn't even make a C- on the Legend Test that day. Harvey Evans
was a farm boy in Gypsy. Yeah, that's right THE ORIGINAL GYPSY with The Merm! He made his Broadway debut as a dancer in New Girl in Town in 1957. He went on to be in West Side Story, Redhead, Gypsy, Hello, Dolly!, Anyone Can Whistle (a Cookie! with Angie!), George M! (with Bernadette!), Our Town, The Boy Friend, Follies (young Ben!), Sextet, Barnum, Sunset Boulevard, The Scarlet Pimpernel and Oklahoma!...can I take a make-up test? So, he was never nominated for any awards and didn't really play leads, but COME ON! Just look at that list of shows. He was there and he was a part of it all. I saw him perform at Wall to Wall Sondheim and Children and Art last year.

MADAMA BUTTERFLY = EYE CANDY

Puccini MADAMA BUTTERFLY, Met 22.9.2006; Levine; Gallardo-Domas, Giordani, Zifchak, Fedderly, Croft. THIS WAS A DRESS REHEARSAL. It was the first ever open house at the Met Opera and boy, did they open - and bring down - that house. 3000 tickets were given away on Wednesday morning for today's free event. Sally and arrived shortly after 9:00 a.m. this morning. The technical director talked first about the stage floor, the lighting, procedures, etc. - it was fascinating to see all of the work going on - testing lights against scenery. At about 11:00 a.m., new Metropolitan Opera General Manager Peter Gelb welcomed the full house to cheers. We were warned that, since this was a dress rehearsal, there was a possibility they would stop the performance to fix problems. It appeared to be flawless. The lighting and the costumes were simply stunning. Never have I felt such chills and thrills. Madama Butterfly was the second opera I ever saw and it was a traditional production and I was so mesmerised by it that I actually forgot to read the Met titles; conversely, this production is a modern, updated production. The set was very sparse and simple but oh so abundant in richness and beauty. Puccini's music is still Puccini after all and that cannot disappoint, but oh that set! Oh, those costumes! My pictures are blurry, but they capture at least a tenth of the rainbow of colors that we saw today - I just cannot put it all into words (click on the pictures and you'll get a larger picture on your screen). You could hear the gasps throughout the audience at the first appearance of the geishas. It was just completely stunning. After the curtain fell at the end of the first act, the audience was wild with applause. Mr. Gelb reappeared and introduced Mayor Bloomberg who basically put the city's stamp of approval on the "new" Met. We were then treated to finger sandwiches and cookies by a couple of patrons. The second and third acts were just as intense as the first. The company received a rousing standing ovation and then the creative and artistic team was joined by Margaret Jungwait for a question/answer period....then we lined up to walk across the stage! It was a marvelous experience.













By the way, my beloved Barbara Cook, fellow opera buff, was there with Harvey Evans. Sally and I were standing at the back of the orchestra watching people file out before we headed to the stage walk line. Barbara and Harvey were walking up the aisle and when got closer to me I made eye contact with her and she smiled at me. I took the opportunity to tell her how much I enjoyed her Met concert and told Harvey and Barbara, too, that I saw them perform at Wall to Wall Sondheim. Barbara was lovely and was just as excited about being there today as any of us. They were both just gushing about Madama Butterfly and Barbara asked me if I liked it. She thanked me for talking to her. I think I jumped up and down at one point.

The Great Ticket Scramble

Sally arrived on line first. We were a bit surprised at the length of the line, but you know New Yorkers love a good line. Carnegie even bussed in ticket buyers. After waiting only couple of hours, some souls weren't hardy enough to take the wait and gave up. Weaklings. I would have waited in the rain for these tickets. I mean, come on! We certainly couldn't resist Suzy Graham, Barbara Cook, Karita Mattila, Debbie Voigt, Diana Damrau and Natalie Dessae all in one season.

Lusting for Tickets

My own ticket vault inventory: Sweeney Todd (x 3), Grey Gardens (first preview), Madama Butterfly, Don Carlo, The First Emperor, I Puritani, Die Mesitersinger, Eugene Onegin, Wynton Marsalis with the NY Phil, Deborah Voigt with the NY Phil, Emanuel Ax with the NY Phil, Gil Shaham with the NY Phil, ? with the NY Phil (was supposed to be Company)...

Lusting for these tickets: Bernadette Peters in Naperville, IL; Susan Graham in Iphigenie en Tauride at Chicago Lyric Opera; Barbara Cook at Carnegie Hall; Susan Graham at Carnegie Hall; Fame Becomes Me on Broadway; A Chorus Line on Broadway; Mary Poppins on Broadway; Company on Broadway; Follies at Encores!.

No doubt, this list will grow.

What a Souvenir!

On January 20, 2006, I had the great fortune to attend Barbara Cook's concert at the Met Opera. I was on the second row and was stunned, simply stunned, by her artistry and beautiful voice. Yesterday, I picked up the CD
that was recorded live at the concert and WOW, this is the best souvenir. Here is a snippet of what Barbara wrote in the liner notes:

"I'm standing just behind the Great Gold Curtain. I see the patches where many, many hands have held back this curtain for Placido Domingo, Luciano Pavarotti, Marilyn Horne, Renee Flemign, Susan Graham, Karita Mattila, Rolando Villazon, Alagna, Gheorghiu, Rene Pape, Bartoli and on and on........

I don't believe this whole thing.

My entrance music begins, the curtain drapes open, I walk forward and three thousand seven hundred people rise to greet me. I hadn't expected that.
....
In preparing these notes, the phrase "a dream come true" came into my head, but I rejectd it immediately. This was not really a dream come true. I could never have invented this night: The Metropolitan Opera Association presenting Barbara Cook in an evenign of her own! For the first time in the Met's 123 years they were presenting a female non-classical singer. The last solo artist they repsented was in 1986 when Vladimir Horowitz played there. So, no, this is not something I ever dreamed of. But I can't tell you how grateful I am that it happened....

Now this part is for you Met folks......and for all you great singers. I want you to know how much I love what you do. I believe that when opera works it's the highest form of theatrical art. Everythign is there. There are so many great nights, so many moments at the Met that I will never forget."

Ahhh, classy.

(Barbara Cook - Hello! "Glitter & Be Gay" was WRITTEN for HER!)

An extraordinary evening...

An extraordinary evening, even by Metropolitan Opera standards....I arrived at Lincoln Center around 4:45 pm yesterday. The plaza was already filling up with excited people in their finery. First, I visited the Library of the Performing Arts to view the "60 Years of Tony Award Excellence" in which Broadway window cards of the winners for the best plays and musicals from the last 60 years were displayed. Then, I wandered around the plaza and took pictures. At 5:10 I headed in to the Met for the gala celebration performance in honor of Joeseph Volpe's retirement from the Met after 42 years (I love that he began as a carpenter and worked his way up to boss of the whole shebang).

Sally was already at our seats when I arrived. It was an overflowing balcony and family circle although there were a couple of empty seats here and there. The production began about ten minutes late. The scene for the opening number was the scenery for the prologue of Ariane auf Naxos. At the back of set, in front of the stair case, there was a sign that read "This way to General Manager's Office - No Backstage Personnel Allowed". It was obviously going to be a light-hearted evening. At roughly 5:40, Deborah Voigt kicked off the night with an original comedy song by Ben Moore called "We're Very Concerned". She looked smashing in a gorgeous gold satin gown. Gergviev then conducted Glinka's gorgeous Overture to Ruslan and Lyudmila. The conductors for the evening were participating in a relay race of conducting, so Peter Schneider next conducted the "Entrance of the Guest" from Wagner's Tannhauser performed by the Met Chorus. Marco Armiliato then conducted Juan Diego Florez and the Met Chorus in Rossini's Semiramide. Florez was the first opera hunk of the evening and the sopranos of the chorus were enjoying their proximity to him. We continued with Rossini's L'Italiana in Algeri with "Viva, viva...Oh che muso" performed wonderfully and quite comically by husband and wife Olga Borodina and Ildar Abdrazakov.

Then came the big moment I was anticipating. The Daddy of Opera Hunks took the stage....Placido Domingo sang "No puede ser" from Sorozabal's La Taberna del Puerto. Oh, his voice was beautiful. It was all and more that I anticipated. We were then treated to a couple of comedy bits. Accompanied only by piano, Frederica ("My Friend Flicka") Von Stade sang "Je cherche un millionnaire". She hammed it up and was rewarded by much laughter and applause. Next there was a scene change to the scenery for Act 1 of La Traviata with the curtains open and the Met stage hands on stage along with members of the Met Opera Ballet and comic Bill Irwin who had suited up as a stage hand for the evening. The stage hands wore tshirts that said "Volpe Gala". Seeing the mechanics of the scene change was thrilling, as the stage is as big of a star to me as anything or anybody else at the Met. Natalie Dessay continued the program with "Ah! Non credea, mirarti...Ah! Non giunge" from Bellini's La Sonnambula. She wore a beautiful powder blue gown. To me, her voice sounded darker than her Juliette that I heard earlier in the season, but she was still incredible. Next up was Dwayne Croft singing "Hai gia vinta la coausa...Vedro mentr'io sospiro" from Mozart's Le Nozze di Figaro. Then the gorgeous Denyce Graves, in a form fitting goldish green gown, showed off her "Can't Help Lovin' Dat Man" from Kern's Show Boat. WOW! She ended on a low note that would rival any baritone which quite pleased with herself and the audience. Renee Fleming followed with "Tacea la notte placida" from Verdi's Il Trovatore. She wore a new gown - a form fitting bodice with a full skirt, which accentuated her slim wasteline - the material of the gown seemed to be almost the color of her skin and there was a sheer black material with embroidered circle designs over that. She looked gorgeous, of course.

Peter Schnedier then conducted James Morris performing Wagner's "Die Frist ist um" from Der Fliegende Hollander. At this moment, the woman behind me decided it was time to remove her shoes and scratch her feet. Needless to say, I was distracted. Waltraud Meier (Ralph Fiennes' girlfriend!) then beautifully performed "Je vais mouris" from Berloiz' Les Troyens. She made the boldest fashion statement in a purple gown that had a sort of full length bright lime green jacket over it. Ben Heppner then nailed "Morgenlich leuchtend in rosigem Schein" from Wagner's Die Meistersinger von Nurnberg. WOW! I will take time to add here that most of the gentlemen solists wore tails and looked so handsome. It was then time for another huge moment anticipated by me - Kiri te Kanawa, looking incredibly glamorous and young in a black gown, sang "Gluck, das mir verblieb" (Marietta's Lied) from Korngold's Die Tote Stadt. ANOTHER WOW! I never thought I would get to hear Kiri perform live in person. We then enjoyed a very funny video tribute to Uncle Joe. Deborah Voigt then took the stage under the baton of Valery Gergiev for "Du bist der Lenz" from Wagner's Die Walkure. This was also the first time that I heard Debbie perform live and I am hooked. Placido Domingo finished Part I of the evening with a thrilling "Granada".

The intermission began at roughly 8:00 pm. and lasted about a half hour (which was much needed for the long, long restroom lines).

Part II began with a bare stage. Stage hands were creating special noise effects and there was a hugh old fashioned truck driving around the stage. "Volpe's Moving Truck" was written on the canvas covering the bed of the truck. It stopped downstage and a couple of stage hands jumped out of the bed of the truck and put up stairs...and then assisted a very glamorous Susan Graham, clad in an all white sleeveless gown, down the stairs. Her entrance was classic Suzi. She killed with Ben Moore's "The Audience Song". Ben Moore does have a great sense of humor and Suzi always kills the audience with her renditions of them. Maestra James Conlon then conducted the Met Orchestra in the Prelude to Act III of Wagner's Lohengrin. A very funny Stephanie Blythe, in a wine colored gown, then knocked our socks off with "Ah! que j'aime les militaires!" (I love soldiers) from Offenbach's La Grande-Duchesse de Gerolstein. Her fortissimo is shocking - even in the family circle! Hunky Thomas Hampson then perfomred "Mein Sehnen, mein Wahen" from Korngold's Die Tote Stadt. Where have you been all of my life, Thomas? Samuel Ramey then performed "Vous qui faites Pendormie" from Gounod's Faust. The scenery was then changed again in our view - this time to Act II of Don Carlo.

Placido Domingo took the baton for "Je jette avec grace mon feutre" from Alfano's Cyrano de Bergerac performed by Roberto Alagna (who must have left his wife at home). Domingo tossed the baton to Maestro Gergiev for two by Verdi. The dashing Dmitri Hvorostovsky performed "Per me giunto...OCarlo, ascolta" from Don Carlo. OH SWWWWWWOOOOOOOONNNNNNN. He wore a modern tuxedo sans tails and looked ever so delicious. Rene Pape, looking quite dashing, then took over with the heartbreaking "Ella Giammai m'amo". Conductor Marco Armiliato took the podium for Dolora Zajick's
"O mon Fernand" from Dohnizetti's La Favorite. OH MY GOD - HER RANGE AND POWER ARE THRILLING. Waltraud Meier and Wendy White, with the Met Chorus, then performed "Regina Coeli, laetare" from Mascagni's Cavalleria Rusticana.

The scenery then changed again to Act II of Die Fledermaus and it was time for more comedy. Patrick Summers took his turn with the baton on the podium from Mozart's Cosi fan tutte. Kiri te Kanawa and Frederica Von Stade did some slapstick in "Ah guarda sorella". Renee Fleming, Susan Graham and Thomas Hampson then performed the gorgeous trio "Soave sia il vento". Karita Mattila, gorgeous in a lavender gown, treated us to "Vilja" from Lehar's Die Lustige Witwe. ANOTHER WOW FROM ME! Thomas Hampson joined her for "Lippen schwiegen", in a wonderful rendition of one of my favorite duets.

Maestro Scnheider took the baton back for Strauss's "Eljen a Magyar Polka" and a festive performance by the Met Opera Ballet that highlighted the turntable of the Met stage. The stage turned to reveal a huge banquet - the stage was covered in confetti and confirmed that we were indeed at a marvelous party. At the banquet table were a number of the solo artist of the evening which I found at once thrilling and hysterical. Susan Graham then knocked our socks off with "Parto, parto" from Mozart's La Clemenza di Tito. She had changed into a sparkly and lacy silver top over sparkly slacks. When she finished she took a seat at the banquet table and helped herself to a glass of champagne. Baton then went back to Maestro Domingo for Ramon Vargas' thrilling performance of "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore. Mirella Freni then gave a touching tribute to Mr. Volpe. She is a true legend.

The finale to Act II of Beethoven's Fidelio was conducted by Peter Schneider. The stage was completely filled by soloists Karita Mattila, Ben Heppner, Rene Pape, James Morris, Matthew Polenzani and Rachelle Durkin along with the Met Chorus, while the "guests" at the banquet remained in their seats. I could see that Thomas Hampson took a seat next to Suzi and they seemed to be cutting up and enjoying themselves - I think they thought they were hidden. Debbie Voigt kept looking over at them laughing. It was fun to sneak peeks at them. After the finale, the stage completely filled with all of the performers and stage hands of the evening and of course Mr. Volpe - although we could find Renee! The curtains closed but the lights remained down. Finally, they opened again with a grand piano on stage and Renee surprised all and sang another number in English directly to Mr. Volpe who was placed on a stool downstage from her. It was a beautiful sight.

Sally, Khaleem and I met up with Kari and our friend Sue at the freakline by the stage door. Most of the performers must have existed from the front doors to join the party upstairs, but we did see Dolora, Stephanie and Barbara Cook leaving. As we made our way up from the basement, we saw Frederika von Stade and Sally dared me to call out to her so I yelled "Bye Flika!" She turned and we all waved to each other. We then hung out on the plaza for a bit while we longed to join the party and speculated about which dances they would do and which stars would stay to boogie. We finally made our way to the Westside Diner for much laughter and discussion over many glasses of wine and excellent diner food. I don't think they had nearly as much fun at the official party as we did!

Can you "Handel" it?

Tonight: Handel, RODELINDA, Met 10.5.2006; c. Summers; Fleming, Scholl (d), van Rensburg, Blythe, Relyea, Dumaux (d), Vail Elkind. This is NOT Handel's Messiah - this is four long hours of baroque harpsichord - this is NOT the thing I usually can handle. But two years ago when I purchased my first ticket subscription package at the Metropolitan Opera, I chose the package based upon the only chance to see Renee Fleming in an opera for the season. It was my first time to see Renee in an opera. The big night finally arrived months later on December 22, 2005. My subscription partner bailed after the first act, declaring it Boredelinda (he was theretofore FIRED). True, the first act was, um, slooowwww. I, however, am no quitter (contrary to rumor spread by high school spelling bee coach) and I soon tuned out the droning of the harpsichord. The second and third act were worth the wait - the love duet between the reunited Rodelinda and her presumed dead husband King Bertarido was enough to make me swoon - think back to Endless Love at your 8th grade prom! So now, almost 17 months later, I'm finally seeing Rodelinda again - this time from a slightly closer view and oh, I do plan to swooooooon again.

19 hours later. Well, it happened. I swooooooned. Couldn't help myself. First things first: Barbara Cook was there! Okay, overture, curtain call, on with the show. It struck me that this was the perfect opera at which to sit close: a minimalist orchestra lent itself to the sheer beauty of the sound and allowed the voices to transcend all the vastness of the Met . I quickly forgot the harpsichord and let the strings lift the voices. The cast was oh so cohesive and the acting was superb. Everybody seemed to be touchy-feely - it had the feeling of a long running closely knit cast and was as smooth as butter. Andreas Scholl was as hunky as they come and his high countertenor didn't shock me as David Daniels' did last year. He exuded sexy manliness. Stephanie Blythe was ever the scene stealer. Renee Fleming's acting was better than ever - I actually believed her husband had died when she was mourning him at his grave - and her voice was in fine shape (until her last aria in the final library scene - she said she caught some dust or something - but it did not take away from the gloriousness of it all). Rodelinda is grand yet quiet, sad but humorous, painful but joyous. The final scene almost has a Broadway happy ending - the bad guy has been killed and there is a Reunited, Feels So Good/We are Family chorus that ends the final act.

The backstage scene was business as usual. Michael was there as well as a number of patrons. Mark O'Connor (fiddler extraordinaire) was also there and I struck up conversation with him. He recorded another song with Renee for her upcoming Christmas album. He has another album of his own coming out soon as well. Renee told some fellows we met that she may do Ariadne in a few years because her voice will be lower. Renee had a haircut since I saw her last and looked marvelous. She was ready to go out on the town.