Breaking: Millo @ Carnegie canceled
La Cieca just heard this on opera-l just now, and checked the Ron Delsener Presents web site, which states, yes, “this show has been canceled.” No idea why, but La Cieca will ask around.
Update: a source close to the Delsener organization has told La Cieca that the promoter and the artist had “artistic differences,” which could mean just about anything, but LC’s educated guess is that the sticking point was repertoire. What La Cieca does know is that this all happened very suddenly; as of Sunday Millo was discussing the upcoming recital with great anticipation without so much as a hint of a cloud on the horizon. Well, whatever the reason, it’s a pity to miss La Millo in a rare New York area recital performance, but we do still have Zaza to look forward to.
The Interpolator’s sense of guilt from posting so rarely of late hangs around his neck like the largest of albatrosses — but this shall soon be remedied.
But one and all, may the Interpolator beg ALL pardons and express a concern before coming to address the matter at hand of Ms. Millo’s non-appearence? So hang tight.
Many of you know that the Interpolator has been in the Southern hemisphere these past days tackling some wonderful orchestral appearances. Il Tenore di Coloratura Superba will be DELIGHTED to know that, as a last-minute change of plan, the Interpolator was asked to sing “Languir per una bella” from l”Italiana. (This was because our scheduled “Una furtiva” could not go forward without the harpist, who had gone into premature labor the night of the one rehearsal I had with the orchestra!)
Thus, although most scored contained SOMETHING for the harpist to do, this MAJOR orchestra could only secure the services of a second-string harpist from a neighboring city, citing “union rules” as if we were in France! So, though the second-stringer appeared and plucked away, the Interpolator was asked to change repertoire in some respects to avoid long, exposed, or difficult harp-playing. “Una furtiva” got the axe, and “Languir per una bella” came on to the program. Yes, this is harping there in the edition we used, but the second-stringer could handle it.
Yet Il Tenore di Coloratura Superba will either thrill to the dementia, or recoil from the filth, of the fact that the Interpolator did, in fact, toss off a fun and satisfying version of this great aria. At least, to the Interpolator’s senses, things went swimmingly, and the audience’s reaction was extremely positive. And here’s likely why:
Although the Interpolator did NOT crown the aria with an interpolated high E-flat, the Interpolator was HAPPY to supply a full-voiced E-flat in one of the variants in the second strophe of the “Contenta quest’alma” section of the cabaletta. The Interpolator finds himself wishing that he could write the variant straight into this little blog-piece so that ITDCS and others interested could actually read the scoring of the variations. Any ideas on how we could accomplish that? You all might quite enjoy them: Richard Bonynge wrote (devised) all but one — and that one exception is the extended cadenza that closes the cavatina. The Interpolator just did not LIKE what Maestro Bonynge wanted there, though he was happy to supply (and, actually, TOLD to do so!) in the second production of this show I ever sang, which was conducted by Big Ric. If you don’t know why I call him that, the Interpolator will be glad to tell you in more appropriate circumstances.
So…ITDCS: your influence has reached 6000 to the South, infiltrated another continent, and been sent soaring out over the heads of 3000 Portuguese-speaking music lovers in deep South America. The Interpolator wonders whether dear ITDCS feels honored or ripped off, but the Interpolator assures him that the former is what was intended. Soon, it appears from ITDCS’s posts, he may himself be appearing with such an orchestra in such repertoire on such a continent, and perhaps in that very aria! How WONDERFUL to know!!
And, dearest ITDCS, I BELIEVE it was you who said you adored (and have met) Violeta Urmana. Now let there be a shock: The Interpolator actually sang a performance of Nabucco in Paris, years ago, unnanounced due to GHJ’s illness one evening, with Violeta Urmana singing sweet Fenena, and Guleghina singing Abigaille, and Sergei Leiferkus singing Nebucadnezzar himself!
Now, if you think you’ve heard everything, imagine having Urmana singing Fenena (of ALL things!!) while MG sings Abigaille — then have fun riding those ensembles!! Yes, the Interpolator has had some strange — but wonderful — experiences in his career.
(And here’s a hint for another blog-line, if anyone is interested: How about the story of the night when the Interpolater was singing a small role in Parsifal in a MAJOR venue with British mezzo Kathryn Harries (spelling incorrect?) singing Kundry!! The first two evenings, she was FANTASTIC!! Dynamite!! Out of this world!!! Indescribably demented!! And then: The Third Performance Happened. O mon dieu, mein Gott. Any takers on that one? Not exactly your rep, ITDCS, but a good story…)
And so, the Interpolator comes to (1) his concern and then (2) the Millo matter at hand.
(1) Concern: The Interpolator is, at this very moment, in the “Premium Class Departure Lounge” of an extremely large airport in an extremely large city in deep South America, staring out an an extremely large airplane which is meant to carry 350+ people some 5000+ miles back up the USA. We are to depart in the next hour or two, then fly for the next 10 or 11.
And yet.
Our scheduled flight path must, apparently, take us through (our near) parts of the Gulf of Mexico, where that horrible swirling bitch Hurricane Rita threatens to breathe her ugly breath down upon the wonderful people of Houston, and perhaps even Southern Louisiana again. They, of course, are the biggest concern. yet the Interpolator’s petty, small, selfish concern is that this very large plane please make this extremely long flight with as little turbulence and wind-buffeting as possible.
You see, although the Interpolator must fly some 200,000 miles per year, much of it on airplanes as large as gymnasiums, there is always a sense of “OH GOD, WHAT PRECISELY IS KEEPING US ALOFT — PRECISELY?” And flying over the Amazon, in the thick of the night, only to emerge at the mouth of a raging hurricane does not quiet the Interpolator’s spirit. Rarely showing my thin, white (quite tan, actually) belly of being scared to death of massive air turbulence, the Interpolator must admit that he is dreading this longhaul more than most.
The airline (a major one, of course), has just announced that our flight will take quite a bit longer than usual, because we will have to fly quite more to the West than we otherwise would go — this to avoid the gaping maw of Rita, you know. My flying far to the West of the bitch (or, “to the left,” as the Interpolator would say), we apparently can avoid MOST turbulence — but there will still be some “understandable turbulence,” they say. Not enough to endanger the flight — and certianly not enough to CANCEL it you know, as that couldn’t be good for BUSINESS — but the Interpolator would still like for his high E-flat to arrive intact to be used again.
Meanwhile, let us all pray for the people of Houston, Galveston, and even new Orleans and ALL coastal inhabitants along the Gulf Coast. What a WONDERFUL, inviting, warm, charming, and WELCOMING bunch those Houstonians are! Certainly, New Orleanians must be wonderful, too — but the Interpolator has not spent as much time in the Crescent City of Nouvelle Orleans as he HAS done in the Space City of “Houston,” first word from the moon.
Pardon the Interpolator for pointing this out, but:
“Houston, we have a problem” seems correct, indeed. Yet let it be known by these readers that our prayers are with them, and should the worst happen, the Iinterpolator would be the first to volunteer to donate peformance fees to the inevitable fundraiser concert in that gorgeous Wortham Center, home to Renee Fleming’s first Traviata. God speed, my friends.
(2) And now, the matter at hand, which will be all the more brief:
The Interpolator, though thousands of miles away, heard a rumor — and indeed will say that the rumor confirms Madame La Cieca’s feeling of a potential “difference of opinion” in repertoire. To avoid being coy, the Interpolator shall lay it on the table:
Apparently, Ms. Millo was requested to sing some repertoire that would showcase the soprano’s topmost notes — the high B’s, high C’s and perhaps a nice D-flat or so. The Interpolator has not, of course, read Ms. Millo’s contract for the event, but the Interpolator WILL say to Madame La Cieca’s audience this much: Occasionally, such things ARE written into a contract (which the singer is free to reject, of course).
Case in point:
In one of the Interpolator’s earliest orchestral “aria concert” engagements with a major European Symphony (having performed “I Puritani” in that city’s opera house to some good notices just before such an offer/contract was proffered to the Interpolator), the presented actually drafted INTO THE CONTRACT some VERY surprsing provisions. Although the Interpolator is not exactly quoting the contract, the Interpolator can remember basically what the language of that surprising section said. It was something like this: “Herr Xxxx Xxxx agrees, understands, and covenants that his appearance with Xxxxxxxx orchestra has been offered, in part, because of Herr Xxxx Xxxx’s ability to perform repertoire of a particularly virtuosic nature, much of it also termed “bel canto” repertoire. The presenter has set ticket prices accordingly, and the ticket-buyer will purchase tickets with certain expecations that music of a viruosic, or bel-canto period, will be offered by Herr Xxxx Xxxx.”
Yes, the Interpolator delivered a standard set of bel-canto arias with plenty or rousing high notes, but would the Interpolator actually have been in legal BREACH of the contract if he had slummed through it with arrangements of Broadway standards, “Phantom of the Opera” excerpts, and perhaps some Christmas tunes? (It was in December, after all). The Interpolator does not know the answer. yet he has also run across contract in his career that specified other very specific vocal demands — though this has never happened in a contract for staged opera performances. The Interpolator’s colleagues, however, have had such stories to tell: such a “Traviata” Violetta who was contractually obligated to sing the E-flat in Sempre Libera unless physically ill; her offer letter actually detailed that she had been selected over another potential Violetta because the other Violetta has announced her refusal (or her non-promise, one imagines) to sing the E-flat! Yes, these things happen, and the Interpolator supposes that these very boards are the place to discuss such bizarre happenings.
Yet back to Ms. Millo: The rumor reaching the Interpolator, finding him despite these many miles, was that Ms. Millo had declined (or is NOW declining) to require of herself a high C in every aria, or something along those lines, though the actual specifics may differ. Having heard a recent Tosca featuring Ms. Millo, the Interpolator can attest to the fact that YES, she did sing those Act II high C’s, but they DID seem uncomfortable. But read well: The Interpolator certainly has nights in performance when, one would imagine, his high C’s and D-flats strike some ears as being uncomfortable. And perhaps they are that evening!! Yet Ms. Millo’s voice, while always a welcome presence, with a style that is uniquely its own, CAN be an erratic instrument. This is quite different from her younger years — but this is often the case, as we all know.
Rumor holds that Ms. Millo’s idea of appropriate repertoire for this event is DIFFERENT from the presenter’s idea of appropriate repertoire. And frankly, the Interpolator did not know that the event had been CANCELED, but mere that Ms. Millo and the presenter were at odds over musical selections. The bottom line, if it is to be believed, is that the presenter wanted “high, higher, highest” and Ms. Millo wanted Kunst, Kunst, Kunst. This is very difficult to negotiate. Perhaps negotiation was just no longer possible. The best (and only) thing to say is: what a loss, as it is ALWAYS welcome to have La Voce d’Aprile ringing in the house, no? She could filth her way through “Send in the Clowns” and the Interpolator would still incline his ear.
O ciel. The Interpolator’s flight is being called. This must end the entry, so let us pray for more. But pray first for (1) Housto, Galveston, and all their neighbors, that God be with them; for (2) la Millo, that problems be worked out smoothly; and for (3) the recent auditions of ITDCS, that he be offered the precise gigs that he desires and deserves.
Boa noite, meus amigos. Eu escreverei outra vez logo. Mas agora, eu devo partir.
The Interpolator
perhaps the talented? interpolator better clean that rumor mill…I heard the same Tosca, and better yet the Ballo, and she had not only fabulous high c’s held at great leangth but FEARLESS. The only thing reuqested by the presenter that be high was the presenter….he knew nothing of opera.
He wanted show tunes and popular fare to appeal to a broader audience…Millo wanted to stay singing opera, no crossover…fianlly someone who wants to be an opera singer…not a jazz stylist trapped in opera, or,
a broadway baby trapped in opera.
Evacado,
You will be happy to know that the Interpolator NEVER thought Ms. Millo couldn’t sing high notes. Rather the Interpolator passed on news of this rumor that reached him in far away climes.
Further, let us all note for the recrod two or three EXTREMELY important things. First, the Millo Tosca heard by the Interpolator DID, in fact, contain some unfomfortable high C’s, including a wince and clenched fists. The effect, however, was still wonderful — and the Interpolator heard that other nights may have been just glorious. The Interpolator is the last person to judge a singer by (a) mere acuti, and (b) one performance alone. Never!
Second, and perhaps more importantly, the Interpolator wishes for all the world that Millo will ALWAYS sound like the godess she is. After all, who else singing today (in her repertoire) truly has her command of the grand style, the grand manner, the opulent and refulgent vocal platform? She HAS it, and she ought to FLAUNT it. Long live La Millo!!
And third, the Interpolator caught a whiff (somehow) that he, too, was accused of being gleeful at the cancellation. Nothing could be further from the truth! The Interpolator wishes that La Millo would make herself available to the NY audience — and indeed, any audience — as often as her schedule wil allow.
Now that this is cleared up for the record…
Tenore di Coloratura Superba: Did you catch the post giving hommage to you regarding “Languir per una bella?”
Here’s my piece:
I LOVE La Millo
Congrats on your performances, Interpolator. Thank you for your kind words, so far the auditions have proved to be fruitful.
Languir is one of my signatures, you could say, and I have performed it with orchestra several times already. I myself do crown it with a High Eb at the end, I also insert two in the final cadenza (a sort of warm up for the end, you could say).
I am extremely interested to know the variations that you used, both in this and that you use in ‘Il mio tesoro.’ I think it would be possible to post such things – perhaps the easiest way would be to do the following:
a) Scan the actual sheet music into a computer and send the file to La Cieca.
b) Use a music writing program – like Finale or Sibelius…notate the various variations and cadenze, email to La Cieca.
I have a feeling that La Cieca has the ability (I know I indeed do not) to find a way to post images of the music you would scan/notate onto the website somehow. I mean, hell, she made this website – it’s obvious that her knowledge of html or whatever it is you call it is rather extensive seeing as she puts it to such good use!
I have heard a recording of William Matteuzzi where he adds two High F’s into the Languir. One during the second strope and the other during the cadenza prior. It was interesting to say the least. I’ve thought about employing the former, but have yet to do so.
I have to be honest, Interpolator…I find it very odd that you would be singing the tenor role in Nabucco – and even the one in Parsifal. It’s a dramatic tenor role, a smaller one, but still requiring a very large voice with alot of heft in it. I’m not speaking with regards to projection – I don’t have a ‘large’ voice, but I can be heard over a 200 voice choir and full orchestra (I did a concert version of Les Pecheurs des Perles with such a group)….but I have only ever heard tenors that were very dramatic and heavy in vocal weight sing that role, and generally, tenors who would be completely incapable of singing the florid elements of the belcanto rep. I am not insinuating anything by mentioning this, I am merely curious to know what led to you perform those heavier roles when it’s obvious that you devote most of your time to singing the bel canto/Mozart/lyric rep.
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