tour de force
La Cieca has just learned that veteran soprano and beloved camp diva Katia Ricciarelli is treading the boards again, this time not in opera houses but rather on whatever it is they call the Italian version of the Straw Hat Circuit. The bionda bombshell is currently touring in a play with music by by Peter Quilter entitled Gloriosa!, playing the legendary Florence Foster Jenkins:
Una cantante ricca di fascino che Quilter rende ancora più seducente suggerendo l’idea di una donna coraggiosa e determinata ad ottenere il massimo dalla sua vita, una donna che insegue i suoi sogni e ne affronta le conseguenze. Un’occasione per Katia Ricciarelli di mettere in luce quella parte del carattere che sicuramente divide con Florence Foster e che certo non le difetta: la determinazione e il coraggio.
La Cieca naturally expects any of her cher public who may be in or around Italy in the coming months to make every effort to witness this latest effort of La Ricciarelli, “artista multiforme e dalle infinite curiosità ,” as the press release puts it.
At this stage of her career, I think her as Flo-Fo-Je is type casting. Sad as it sounds.
Early on she had a lovely, full, warm lyric voice,
but was rushed into a major career after winning,
I think, the Verdi competition in Italy…I remember
a recital at Carnegie with Carreras not long after rumors of their affair, where the end of act 1 of
“Boheme” was so fresh and real there was a collective sigh from the audience…
Even relatively late in her game, as Desdemona in
the Kleiber “Otello”s at the met, when the voice was
obviously damaged, there were lovely moments and
Kleiber was unfailingly supportive of her musically
in creating a vulnerable and sympathetic characterization
Does anybody know what exactly the relationship is–if any–of “Gloriosa” to “Souvenir”, the FFJ play with music with which Judy Kaye had such success here in NYC and again at the Berkshire Theater Festival?
Thanks for that Luisa Miller clip, LC.
I don’t think it sad that she’s playing FFJ on stage. Her singing career is over so why not? If she were still in the middle of an operatic career, there might be nasty art-imitates-life comparisons but that’s not the case.
I remember when Carreras was in his prime at NYCO. Riccarelli was always in the wings (and quite chubby then) taking notes and giving Carreras hints. She looked like a ’30′s diva from Italy at the time.
reply to #23:
There is no relationship between the two plays.
“Souvenir: A Fantasia on the life of FFJ”
The title says it all. This two-person play chooses to tell the story of Jenkins from the viewpoint of Cosme McMoon (her accompanist) and their relationship. While there is no actual proof of this friendship as portrayed by its playwright, Stephen Temperlay, he successfully weaves a delightful evening’s entertainment. It is an assumption and does not claim to tell the true story. And the final scene of the play is worth the price of admission.
Judy Kaye is phenomenal in the role, imitating the Jenkins voice to perfection. During the play, Jenkins plays one of her recordings. The producers could have easily used the original Melotone shellac but Kaye went to a recording studio and recorded the Queen of the Night aria and uses this in her portrayal. Most audience members think it is the real Jenkins they’re hearing but it’s the amazing imitation by Kaye.
“Glorious!” “based on the true story of FFJ” by Peter Quilter
This couldn’t be farther from the truth. It claims to tell the “true” story but is rife with errors. For example, the play, which takes place only in the year of Jenkins’ death (1944), begins with McMoon meeting her for the first time (he actually met her in 1920). She asks him if he’s heard her recordings (McMoon is her accompanist on the recordings), etc. etc.
There is a new documentary about Jenkins called “FFJ: A World Of Her Own” available from VAI. I highly recommend it. It is void of assumptions or opinions and puts forth medical and psychological facts that explain just WHY Jenkins did what she did.
Hugo – it’s interesting that you’ve observed that funny legato thing too … and it reminds me that I saw her as Leonora Trovatore in the 80s with Carreras as Manrico … but it again left no lasting impression.
Cieca, thanks very much, I was not aware of some of those things. Was she a nutjob over Carreras or someone else? or just a nut for no apparent reason?
Either way, its interesting to know that she is trying out some acting. At least she isn’t giving embarassing recitals in Japan, or anything like that. (laughing)
This may get into a touchy angle of the life of Katia, but from watching a bunch of her videos she seems to have some kind of trouble with her eyes; she always looked Woozy. Maybe it was the bright lights or she needed glasses or she was On something. She reminded me of some videos I found of Helen Morgan in her drunked up period; neither of them seemed to be seeing anything while performing. Trying to not sound snarky, but I have wondered what Katia’s trouble was with her eyes.
From the top picture KR is beginning to look a little like Peggy Lee. Is there enough Voice left that she could lower it and sing popular music from whatever the Great Italian Songbook may have in it?