Coup de Grace
A tribute to Kennedy Center honoree Grace Bumbry from fellow laureate Aretha Franklin.
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And the musical segment honoring La Bumbry: Angela Gheorghiu sings “Vissi d’arte.”
Although apparently she has not made any appearances in operas lately it was in the Vienna press earlier this year that Bumbry will return to the Wiener Staatsoper in February 2012 as the Old Countess in Pique Dame for a series of performances. I first heard Bumbry in 1965 at a lieder recital at the Salzburger Festpiele where she sang an all Brahms program and very effectively I might add. Brahms suited her voice at that time. She was also doing Lady MacBeth there with Dietrich Fischer-Dieskau that summer.
what is up with Gheorghiu’s weird diction in this aria?
yeah, “Wissi d’arte and Wissi d’amore” making Michelle Obama confused.
i wish some of this gheorghiu-bashing would stop. i don’t hear “wissi” although i wish she and the conductor would get it together.
Are you now noticing? This is how Gheorghiu has been singing for a while. her diction has been set to the back burner in favor of a more “rounded” tone.
there certainly was a “cosuuuuuuuuuuuuuuuuuuu”, a-la Schwarzkopf.
But she has amazing hair.
Well, what the hell! Why not? She took a big breath before going for the Bb, she made it brilliantly, she got off it easily and she sang the final phrase with poise — yes she held it too long. But the support (breath) was solidly there under the tone. Yet, vowels are terrible — they are shortened and shoved forward most ‘o’s become ‘a’s — we’ve all heard it before; conversely, the middle to upper mid voice is way back and made to sound too lush, but mixed right in with all that are the bright forward sounds — it’s a total mess, but IT WORKS. The last time I heard such vowel corruption in this aria was Ljuba Welitsch – and that worked too.
I’ll bet in the hall it sounded wonderful, and she had the audience with her, and she was “into” the song. I have heard many worse Vissi d’Artes, including recent seasons at the Met. Gheorghiu has one helluva a natural voice, a real gift; if she’s into her later stage now and is somewhat not playing by the rules, I guess we have to let her do it She has style, looks and a gorgeous gown. Why isn’t she just a little bit better singer, Renee, why? Do you have any idea?
Why did she sing at all when they could have had Denise sing something from Carmen. He singing sounded miked and very broadwayish. There are other sopranos to sing this aria it was horrible I might add.
I caught up with this rather belatedly. Where does Ms Geeorgeeoo (to quote Mr Estes, whose pronunciation was never his forte) get those vowels from?
BRAVA GRACE! If only there was a tape of you doing Otrud–I could die a very happy “opera queen”!!
As to Aretha – Sari? Wrong number!
Angela sounded wonderful to me, and I thought she looked stunning. Curious about what was performed but didn’t make it to air time… Trebs was in the house.
And they played Nessun Norma as Aretha walked in. Appropriate?
To play a piece that she sang once as opposed to something she was known for?
If the Pav had walked in, Nessun Dorma would have been more than appropriate, since he made the piece famous. What would have we thought if it had been the Pav who walked in and the orchestra started playing Respect?
My guess is that they were highlighying the operatic connection.
Aretha recorded “Nessun dorma” and in fact programmed it in her concerts several times in the late 1990s and into the 2000s.
http://www.youtube.com/watch?v=y0fAwy0upEw
Well Aretha is known for singing Nessun Dorma….at least at the 1998 Grammy Awards. Pavarotti was supposed to do it but he called in sick. Who knew that Aretha was his cover!
hmmmm…if Pavarotti had walked in, I’m sure the last thing we’d be thinking about would be his entrance music.
As Franklin walked in would have been more appropriate if they played the tune to “Respect”, right before she read the honors to an opera singer?
Not!
Given the fact that they both have Gospel connections I am sure they could have played something in that area. If we want to dig deeper, are y’all telling me that there is not one opera singer who is famous enough to actually do that tribute?
Bash me all you want, I am still holding my point: Aretha was lovely, witty, fantastic; but since it was SHE the one walking and not Grace, it would have been more appropriate to play something that Aretha was known for; an opera aria, or for that matter, an opera singer she was not, even with programing a soul version of Nessun Dorma in her concerts for 5-7 years.
Well, I don’t want to bash you because I don’t care about it. To be honest I didn’t even recognize the tune. I hate tenor arias.
That’s fine Javi, I am not fond of Bass arias, so I know the feeling. Watch the clip that cieca posted right under my comment. it is from many years ago. At the time there was a lot of talk in the opera circles and Aretha certainly milked it.
In its way, that’s an example of diva dementia.
do you all remember the british reality show that was like an opera idol competition, and the bartender woman who sang “nessun dorma”? wasn’t she a hoot?
Nessun Norma! I love it.
Aretha’s a superb presenter, because she could belt it out a la Bumbry, cut up with Mel (imagine her singing Springtime for Hitler), groove with Brubeck, ham it up with de Niro, and sing a set with Bruce.
I loved how Grace sat down while people were still cheering her, even as Bobby De Niro tried to urge her to get up and continue receiving the ovation. What a dame.
dear kashania darling! that is called a lesson in grandezza. they don’t make old school grand divas like grace and i anymore. i guess the school closed down years ago!
i love it that they bestowed this honor on that old girl, she’s had an amazing story, and she basically went to live in exile in europe for so long, it’s nice to see her old country give her an award after so many years.
I thought Aretha’s sari was a tribute to the Salahi’s. Notice how she said “when you sang Dance of the Seven Veils at Covent Garden”? Did the person who wrote her speach not know enough to know you don’t sing that, you dance it?
didn’t mrs. claggart write the speech? i think aretha probably ad-libbed/misread or just goofed there. didn’t you just love the way she pronounced “tasca” and “pahfume?”
i think aretha introducing bumbry is weirder than gheorghiu singing for her. why do you people think renee is a more appropriate choice? bumbry and gheorghiu sang together (probably only this time) in one of bumbry’s few turandots, at covent garden in 1993. at the time, gheorghiu was a newcomer and bumbry asked people, “who is she?” once she heard her sing.
does anyone know who was bumbry’s escort? is that her brother, the jazz musician, ben bumbry?
Angela sounded good but looked sensational. And you gotta love how much of the applause she took for herself.
kashania, I usually agree with you, but I must differ on Angela’s rendition. For once, I longed for Renee’s Vissi d’arte. Fleming may add some of her signature gasps, but she’s alway spot-on with the conductor. Gheorghiu is all over the place – ahead of the beat, behind the beat. That the conductor is behind her is no excuse. In fact, all the more reason to keep a steady, consistent tempo.
As an American, I’m very disappointed that the producers failed to an American – let alone, African-American – opera singer to honor La Bumbry. The honor rings hollow. I’m assuming that Denyse Graves simply has to voice left. But not even Renee? They trotted her out for Warren Beatty – why not a bona fine opera legend? Hell, even Kathy Battle would have made more sense. I understand the need for ratings but, with Springsteen on the progam, they had a built-in audience.
Yeah, I saw Graves in the audience and asked myself: why the hell isn’t she singing in Bumbry’s honor? She’s black so maybe they thought that might be too predictable, but they could have at least had Fleming do it (although I think she was on a recital tour as this was recorded) as you suggested.
The announcer did introduce Angela as Grace’s “friend,” which might be the reason La G was chosen to sing. Unless the show’s producers were just being generous.
Anna Netrebko must be Joan Sutherland’s friend too, because she sang “O mio babbino caro” to when Joan was honored last year.
In other words: I don’t believe Bumbry and “La G” (thanks for the nic because I forgot how to spell her name) are friends.
Bad bad me. Simon Estes introduced Angela!
Netrebko sang “O mio babbino caro” to Martin Scorcese. Not sure who sang for Sutherland.
As for a black singer singing for La Bumbry. Does everyone involved in her tribute have to be black? Bumbry broke colour barriers, yes, and that was highlighted in her tribute but her accomplishments went beyond that. She was a great opera diva, period. Gherghiou was probalby available and either in-town or nearby.
javier, Joan Sutherland was honored in 2006. There were Horne, Hampson and Groves. Netrebko sang one year later for Martin Scorsese. Now that is an interesting combination.
Thank you, guest. That goes further to prove my point. There’s no way Neterbko and Sutherland are friends.
javier: When did anyone suggest that Netrebko was Sutherland’s friend? She didn’t even sing for her! Even if she had sung at Sutherland’s tribute, there’s no rule saying that only friends of the honorees can sing for them. None of this disproves that Angela and Grace may be friends. Besides, La Cieca has given us a pretty good guess as to why Angela was singing at the event.
Well, kashania, I was mistaken when I said that Trebs sang for Joan, and guest showed that, so I was trying to play it off. Geez!
Sorry, javier. It’s always difficult to tell when someone is being funny without some kind of smilie or something.
And Anna, ever the consummate stylist, sings
“O Mio Babbino (breath) Caro”
I am sure that someone has mentioned this already, but Angela was free to perform. Remember she was supposed to be doing the Carmens right now. As for bringing in a black singer – Aretha (who is the Queen of Soul) represents the pinnacle her art form and she was paying “respect” to another Diva who reached the pinnacle in her art form. They did link Angela via Simon Estes (ummmm, famous black opera star). It was totally appropriate since Tosca is in Angela’s rep. Despite what our opinions are of these ladies but Renee, Anna and Angela are the three reigning sopranos in the opera world today. I am talking p.r. wise – not vocally because Lord knows we don’t want to go down that rabbit hole. Neither Anna or Renee has performed the role on stage.
I think you are all missing the point. Grace (and the black singers of her generation) proved that art has no color. So why should we do some reverse racism thing and trot out a black opera singer. Though I would have preferred that La Norman was in place of Aretha. Come to think about it there aren’t that many black girls kicking out there these days. Ummm there is Angela Brown and nobody, but us opera queens knows who she is. Remember people its all about the ratings. Tosca was a signature role for Grace and it was only fitting that she be honored by the reigning Tosca of today. Remember I am talking p.r. points not whether Angela is or should be considered the reigning Tosca.
I long ago gave up wishing for opera singers to stay with the beat. LOL. Angela’s rendition wasn’t one for the ages but still less phony than Renee in this aria. I was surprised by the standing ovation she received.
Yeah…she’s really phony.
Whenever I listen / see Fleming I think at first “this ain’t so bad… she’s more relaxed here… she’s actually singing a MUSICAL line”… and then there’s one cute scoop, just a tiny one, and then comes the helium chest voice, very “meaningful and tragic”, then the lifts to notes, and by the time she reaches the final note of the aria I’m hysterical with laughter (or with frustration) and dismiss the whole thing off. I can’t believe that she takes this for serious, even for a moment. Nobody can treat music seriously and sing like THAT.
javier: I’m glad you agree.
I’m afraid that as soon as Renee makes one of her stage-managed transitions from one note to another, with a careful application of vibrato or ‘expressive’ colour, I start getting exasperated.
Speaking of worthy Toscas, I am sure Mariana Svetkova would sing Angie, Urmana and Mattila out of the stage faster than they can clear the room for her.
Eek.
Flat again.
Give me Katherine Jenkins any day.
Oops, that was intended for Nebs, haven’t listened to Scoops yet.
The way I look at it, Gheorghiu NOT with the conductor is WAY better than Renee WITH the conductor. Also, shame on Mr. Estes for not even pronouncing Angela’s last name correctly. After hearing Voigt’s and Mattila’s versions recently. ….. we should be down on our knees….greatful for what Angela did. Also, Grace’s tribute was awfully short. ‘Wonder if anything or anyone was cut.
I agree that Voigt’s LOC “Vissi d’arte” was scarier and would have been less appropriate. Well, same for Mattila’s at the Met, I guess.
You won’t have any worthwhile Tosca until the Met invites either Eva-Maria Westbroek or Martina Serafin (sensational as Sieglinde in Tokyo, so I’ve been told recently) to do the job.
I hate it when i do shit like this… Now for the right threat:
Speaking of worthy Toscas, I am sure Mariana Svetkova would sing Angie, Urmana and Mattila out of the stage faster than they can clear the room for her.
In my neighborhood (inner city) Aretha is highly thought of and is “worshipped”. Granted, it would have been nice if another “operatic diva” had paid homage to dear Grace; however, I do feel that Aretha did a very credible job!
The thing I’ve always loved about Grace Bumbry is her penchant for fast cars. That, and Blackgama, are what becomes a diva most.
Just exactly how does Ms. Gheorghiu relate to Miss Grace Melzia Bumbry? I don’t get that one, so someone please explain? If I were running the show, I’d have had Gheorghiu in the audience in her splendid dress borrowed from Renee Fleming from a Met gala a few years ago, and Aretha singing, obviously, “AMAZING GRACE”.
I think that I saw both Kathy Battle and Denyce Graves in the audience. Wouldn’t it — and god forgive me if I sound like the Vicar — but REALLY, wouldn’t it have been a little more appropriate to have had Graves sing, oh I don’t know, the Habanera, for example, than Angela float on and try to sing Vissi d’Artay in Romanian or whatever language that was? I mean, come on. Miss Grace was known for Carmen much more than Tosca, whenever that may have been, later on.
On to a little story, related to me by a friend of mine, many years ago now (early 1970′s).
Miss Grace Bumbry returned to a high school in St. Louis, Missouri, presumably the same as my friend’s, sometime after her initial wonderful triumphs in Europe, and was invited to make a speech. She had on some elaborate turban affair, and by that time had been long enough in Germany or other parts of Europe to have developed serious problems with the handling of grammar and syntax in her mother tongue. Well, at some point, one of the exasperated teenagers had had, ENUF, stood up and shouted something to the effect of “Shut up, Byotch”, and the entire assembly went into a melee, was immediately dismissed, but not before a picture of a shocked Miss Grace, with turban, was taken with her mouth gaping in horror at the horror of it all.
She had true grit and guts and can wear all the turbans, drive all the fast cars, and can probably still wear as LITTLE as she LIKES.
Mrs. Obama looked just wonderful in that colour and that gown. Kudos to her!
Grace sang “Vissi d’arte” for Marian Anderson at the first Kennedy Center Honors so I think that, no matter who was singing for Grace, the aria waws already chosen.
Okay, so THAT’s the real reason.
Thank you for that pertinent factoid, Kashania, especially after all the conjecture, it seems this would be the simple truth answer.
It seems to me, Camille, that the original idea here was that Angela Gheorghiu, star of a new production of Carmen opening at the Met on New Year’s Eve, would make a timely and relevant guest artist on a program paying tribute to Mme. Bumbry. If I recall correctly, Gheorghiu also programmed the “Habanera” at the gala though that number apparently was omitted from the telecast. (Of course eventually Gheorghiu dropped out of that Carmen, but you can see how well everything would have tied in had all gone according to plan.)
The program did present two African-American personalities to salute Bumbry, i.e., Aretha Franklin and Simon Estes. It may have been judged a more politically aware move to program a caucasian, European opera star to complete the program, if only to emphasize Ms. Bumbry’s accomplishments as an international artist.
I hope the rest of Grace’s segment is made available online. It seemed to me that her tribute was shorter than Springsteen’s and Brooks’. The musical number for Mel Brooks was longer than for Grace Bumbry. That’s just wrong!
I hope so to. I was pretty ticked off that everyone got a bloody montage of performers & La Grace gets one aria. I think everyone should get the same alloted time & get several performances.
The opera singers always get the shorter tribute at the Kennedy Center Honors. The movie actors and popular singers always get the extra air-time. Sad but true.
Sorry, La Cieca, I see your point and suspected as much, but it didn’t ‘work’ for me, no matter what agenda or p.c. connection was going down. I’m sure the Habanera was omitted because it sucked and L’Evasia preferred to reflect glory upon herself with her Vissi d’Artay, never missing an opportunity to do so.
Why not, Miss Garanca? Could not the Queen of Cancellations have cancelled in a huff so we may have had someone younger and far prettier, and currently in the production, to contemplate as Carmen?? Oh yes, I know, she had a signed contract — well that hasn’t stopped her in the past from walking out, has it? Too bad it didn’t this time because she came from way out in left field to make a a very oblique reference to Miss Bumbry.
Thanks a lot for posting that segment too, as it was wonderful to see such an opera singer and American treasure held up to be gloried for the general public.
We have no evidence that the Habanera sucked. I’m sure that considerations of time played a major factor in the aria being cut for broadcast.
Camille, if I may offer this: Bumby was and is revered in St Louis by those who remember her, and was always honored at her high school and church. I have heard her give song and aria recitals in both – warm welcome. I think the persona you or your friend may have in mind is that of Frankie Weathers, laterly known as Felicia Weathers, another afro-american soprano from St Louis who for a few seasons had an international career as Salome, of all things. I heard her sing the final scene in concert and she could barely be heard; she married rather early and disappeared, merci bon dieu! But in her “diva” visits back home to River City she would lapse into “and how do you say in English…” she demanded a white limo driven by a white chauffeur meet her at Lambert Field, etc. — it was both amusing and rather pathetic. She is still well regarded in Germany if not USA. Grace Bumbry was totally different — she remained a St Louis girl; yes there was some grandezza and the accent became very ‘international,’ but she still had her feet on the ground. She was and in a great artist and a grand human being. And with a sense of humor!
Well that is very interesting, indeed, Mr. Mrmyster!
I had not known Felicia Weathers also hailed from St. Louis, as well. However, my friend was quite emphatic about it being “The Grace”, as he did worship her. It’s always possible he confused the two, I only know the story as he told me, with great love and glee. Gee, something about that river must breed great voices. Christine Brewer hails from Illinois, I believe, but has done a great deal there, and Helen Traubel, of course, the greatest of all of them, was a “St. Louis Woman” par excellence!
You are quite right, Christine is from Illinois, but the small town of Lebanon, about 15-mi. E. of downtown StL. It’s a St Louis suburb and is counted in that Metro area. Christine is very much a product of the St Louis artistic community and had her first big opportunities and most of her vocal education there. She’s a credit to the community.
Helen Traubel was from the German community of South St. Louis and was a genuine “St Louis Woman” in the sense of the song, which she sang to great acclaim during her later, nightclub career. St Louis had other famous opera singers from its fold; one of the finest was diva of the Chicago opera (and only little and late at the Met), Edith Mason. Also, Jean Madiera and several others — mainly female. I don’t know of a single male singer from St Louis that made the big time except for Richard Stilwell and he was splendid! Remember Mariquita Moll? She was a St Looie gal, her folks ran a very upscale food market on Delmar Blvd. in the city; a fine place to shop. I could go on, but that’s enough.
it must be felicia. la bumbarina wearing a turban? impossible!!!!!!!!!!!!!!!!!
So the Illinois section Miss Brewer comes from is near to the big city. Now it makes sense to me that she went there, rather than Chicago to study/perform, etc.
Well, indeed, she most certainly a great credit to her community and to country. I am proud to have started the bravos for her debut at the MET myself, singlehandedly, and with a big nasty SHUSHBird in front of me, who only made me redouble my bravos. It was such an excellently sung Ariadne, and she looked so overawed and grateful to be on the stage. I will never forget her debut, and I wished so much for her Brunnehilde which alas, will not be. The firmness and even quality of her voice reminded me so much of Traubel, that wondrous Isolde.
May the lady keep on singing as she is the REAL DEAL!
I think that Denyce Graves did herself and all of us a favor by NOT singing (if she was even asked). The woman’s voice is a wreck…she blew it out when all she did was sing Carmens for 10 years straight from the time she was 25. I remember her debut at WNO as Maddelena in Rigoletto waaaay back when I was an opera princess. She brought the house down. Yes, brought the house down in that role. She was truly a star amongst provincial singers. She got the biggest ovation at the curtain calls. She and I actually went to the same highschool in DC (she was a senior when I was a freshman). It was sad to see someone with soooo much potential ruin her voice singing the same role over and over and over and over waaay too much everywhere. As the hometown girl she got almost a 3 page article in the arts section of the Washington post when she debuted her Carmen at WNO. I remember her mentioning that she was hoping to do bel canto roles, Mozart, etc to balance out the Carmens, but I guess she followed the money and not the advice of her vocal teacher.
Again I say people there are no black opera singers today who have the stature and clout (or voice) to have sung a tribute to La Bumbry. Norman, Battle, Graves are all waaay past it. Angela Brown (nobody but us know her) and Lawrence Brownlee (ummmm hello he’s a guy and his rep has nothing to do with what she sang). The Kennedy Center did good by giving us a world famous black Escamilio in her tribute. That’s about it. Name me any other black opera singers they could have trotted out. Oh for the 70′s and 80′s when they had black folk singing all over the place.
On another note – yes, Michelle Obama has great arms for a middle-aged woman, but I am sooooo sick of seeing her rock the sleeveless look.
Harolyn Blackwell at least hasd the decency to wear a silk shawl around her bare arms. Note to Michelle Obama: Its the middle of fucking winter! Throw something over those arms!
Angela did once sing Liu to Grace’s Liu at, I think, Wembley Arena in London. Not one of la grandissima Grace’s greatest moments, sadly, though she does manage to do a pretty good job of convincing us she really was a high soprano in this extract .. And she looks the part!
I meant “to Grace’s Turandot”, of course. A case of tiu many Lius there …
monty, i believe it was at covent garden. were there any perf. of turandot at wembley stadium around that time?
Covent Garden did some performances at Wembley Arena at that time, I believe. If it had been at the Opera House itself, I would have gone, that’s for sure, but I can’t bear to hear real voices through amplification.
Newspaper report from 30 May 1991
THE Royal Opera unveiled a plan yesterday to take music to the masses — and disclosed that it could not lose.
Costs of a £2.5m production of Puccini’s Turandot, at Wembley Arena, have been underwritten by promoter Raymond Gubbay and profits are to be shared with the cash-starved Royal Opera House.
It is the first time an opera has been staged at Wembley and it will be given pop-concert treatment, with video screens and a possible TV link-up.
Turandot will star Grace Bumbry for 10 performances from December 29, and a provincial tour is being considered.
Royal Opera House chief Jeremy Isaacs said: ”Our deficit is now below £2m. We have three years to pay off our debts and this will certainly help.”
Mr Gubbay said: ”The Royal Opera House is not at any financial risk because the costs have been underwritten — it is a no-lose situation.”
Admission prices have been slashed to between £15 and £55.
monty, did those 10 perf. happen??? from what i read, bumbry first sang turandot in sydney in 1991, then only 3 perf. at covent garden in 1993 (i think the “first” cast had marton). i don’t think she sang 10 perf. of this role there. there are pirate or b’cast versions of both perf. unfort. for bumbry, the 1993 version has her not taking the high-C in the duet with the tenor.
I have been researching a bit, and it seems she and Gheorghiu DID sing together in Turandot at the ROH in 1993. But I think at least some of the Wembley performances happened. I sort of remember it happening — but I think they didn’t sell too well.
http://www.rohcollections.org.uk/performance.aspx?performance=14294&row=10
this looks like the only CG Liu for Gheorghiu – with Gwyneth Jones.
Nothing in the Royal Opera House Collections about Wembley.
manou, there was a turandot with gracie and angie at CG. there’s a copy of it doing the rounds among traders in opera-sell.
Bianca
This could have been from Wembley. As far as I recall, Grace only sang Turandot in the Wembley performances, not in the house. But I may be wrong. I saw so many of those Turandots with every soprano under the sun. My only recollection of Grace in the role is at Wembley. Armerjacquino probably has a better memory of these things….
Your faith is pleasing but misplaced- I was away from London at university during the period concerned so didn’t get to Covent Garden, Wembley or anywhere else.
Love it.
She should not have sung it, though, as the tongue is vibrating wildly. Yes, I know how that sounds, it’s meant sheerly as a technical observation.
She had the right hauteur for it, pity it was placed just a little too high for La Grace.