Happy Birthday Renata Tebaldi
The “Voice of an Angel” was born February 1, 1922.
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I’ve posted this clip before but go to 2:05 for an aboslutely huge high note from Tebaldi (live recording).
There are at least two live recordings of Tebaldi singing Depuis le Jour in Italian and both are ravishing. High tessitura piano singing of extreme beauty. There’s also a Stabat Mater with a great high C at the end. High notes were not a problem for her until at least the mid-50′s.
Hey, somehow my comment (no. 21) from only 10-12 minutes ago got placed earlier in the thread with a bunch of other posts (written last night) appearing as replies to mine. E strano.
It happened again!
It is funny how memory plays tricks. I saw many times Tebaldi in Fanciulla and I swear I saw Milnes as Rance, but searching the Met archives, I only see Anselmo Colzani in that role in 1970. The archive must be right and I wrong, I’m sure. Oh dear, I’m not that old or that senior.
I also saw her Giocondas many times, both at the Met and at the Met on tour. I don’t think my memory is playing tricks when I remember in them Bergonzi and Elias. Of course I saw many times her Adriana with Corelli, Cossoto, and the debut at the Met of Domingo.
She was tall, beautiful dark hair. Real stage presence. Does “legally” still wear a Tebaldi pin?
There is a video I read about once, I think in an article in the NYT, that shows Tebadi walking into La Scala to rehearse Boheme. She sits down in street clothes and starts singing from the last act of Boheme, “Sono andati…” The reviewer raved about it, but I have never been able to find that video.
Valyrietta, we were both at the same performance at least once: Domingo’s Met debut. Without checking the archives my recollection is that Cossotto did not sing with Tebaldi in Adriana but in Gioconda (the broadcast with Bergonzi). If you ever locate that video, pleeeeeeeeeeeeeease let me know about it.
This seems a room where Big and Loud is
preferred. Trouble is, pitch so often suffers.
I’ll take a more slender tone (Kirsten?),
better colored and in-tune any ol’ day!
Not all of us, mrmyster! Don’t generalize!
Although, I’m always happy with a voice where good color, and heft are both possible – with good pitch…..how I wish Farrell had recorded more! There was a voice that could do anything it wanted!
and yet today there are those who prefer WHITE tone as in Dessay and the absolutely out of pitch singing of Radvanofsky. Kirsten was a lovely adequete singer, with no real vocal glamour, at all. she would be star in today’s group to be sure. but preferring Kirsten to Tebaldi. Oh my, too much sand in thsoe ears it may be out there in opera challenged santa fe
Olive Pratt you don’t lack for vinegar
in your juice, do you?
As ever, you are an inaccurate reader – I said
I preferred color and pitch to those who do
not offer it, and favor volume. Are we to
conclude that you believe Tebaldi did not
offer color and pitch. Dear me! Tut tut!
I remember both Tebaldi and Callas
from the old house . Was at debut of both . What is interesting about all
the “experts” writing here on voice
quality etc. etc . is the bias ,not the
knowledge ,how Tebaldi couldn’t do
this couldn’t do that ,how hard edged
etc. but the divine Maria was almost without fault , . I was at score desk in old house , and was taken back
how the flawless Callas cut line after
line to suit her faulty technique,how
she bent the role to suit this limited
technique and watched the sheer
force of will making the opera be about her will and not Lucia -and her
astonishing ability to play the great “diva” to a cheering house .Talking
with house staff during all this and
expressing my amazment at the reception he tellingly replied “She’s
a star for those without imagination”
and walked away .Tebaldi did not
have the ability to match the Callas
histrionics nor did she have the Callas paranoia -and was held to a different singing standard. As they aged so did the voice Tebaldi over
stayed ,but, at least left before it got
too sad, Callas unfortunately decided on concert farewells screaming and shrieking with like
minded tenor ,until word spread they were awful and concerts were cancelled.Callas ended up pathetic,
in Paris apartment -and Tebaldi
quietly in Italy .The only singer I
know of who left while still in top
form was Flagstad.
I was at Callas’s debut as Norma at the Met. It was not truly an overwhelming success. First there were many Zinka Milanov fans in the standing room with their “Viva Zinka” buttons ready to dislike Callas no matter what she did. Not having heard Callas before I was surprised at how tight and constricted her voice seemed on that evening – Barbieri and del Monaco, both returning after a year or two;s absence, rather outsang Callas – When Callas sang a high note (I suppose a C) together with Barbieri one could not hear Callas at all, just watch her open mouth. So I was disappointed. Later that season Callas sang Lucia and all was forgiven as she was magnificent (we were used to Pons, pretty of voice and appearance, but singing all her high notes flat at least at that stage of her career).
Well, o broken record, Callas was not granted a new production of LUCIA at the Met, nor her choice of conductor, but put into the dismal old ruin that Pons, Munsel, Peters and others had been doing for years.
The cuts made were doubtless the way the house did LUCIA then; did you go back for your score desk to hear Dolores Wilson and Mattiwilda Dobbs? I bet they had the same cuts imposed on them as Callas.
One might as well blame Tebaldi for the way Bing’s Met presented a truncated FORZA. Very silly.
Callas admitted in writing that she had not been in particularly good voice during her first season at the Met.
N elli — Naw ! it won’t do -the “aria” cuts that were made were based on technical ability -Peters cuts were quite different -when Mde. Callas started ardon gl’ incensi she already was in trouble and cutting left and right and pulling the tempo to save whatever she could muster . Her voice at this debut was already in trouble .but not her fantastic ability to present herself as a great suffering put upon diva.No
one could match this colossal
self centered force. As a wag put it -she was the Judy Garland of opera ,voice gone to hell but
her audience much the same as Garlands’ in their total devotion . Peters of course was a more healthy secure person and she presented Lucia more objectively
Wilson and Dobbs I can’t address
as by then I had grown more
in a musical sense and had not the time nor inclination to waste
the short time we have here on such nonsense as Lucia.
Well, you’re wasting your and everyone here’s time by your preposterous, senescent attacks on Callas.
Niel:
I have the greatest respect for your opinions, but I think have to agree with Cerquetti/Farrell. Tebaldi’s use of aspirates really tells against her. For me, a singer of 19th century opera needs a real, aspirate-free legato. Without it, the singer must be classified as technically unfinished. That’s why, despite the incredible beauty of the basic timbre, Tebaldi takes a distant backseat for me to Price, Milanov, Rethberg. Very distant.
Interestingly, Bergonzi, who is often held up as a model technician among Italian tenors, is frequently guilty of the same sin. I tend to agree with C/F that this was a cultural/time period thing.
A great lyric/spinto must be able to master Donna Anna, the soprano role in the Missa Solemnis (you can sing most anything of those parts are within your compass!). By that standard, Tebaldi does not measure up.
Still, I would not want to live without her recordings. Many of them have moments of overwhelming vocal beauty.
And how many so called ideal singers have buggered up the role of Donna Elvira….tons! But Tebaldi was NOT ‘into Mozart’ and good on her for that.
Imagine now Nilsson cast as Mimi or better still say Suor Angelica. Imagine Schwartzkopf in Electra…
Ah! the silly impossibilities.
Well Harry, she should’ve. Her recordings of Rosina’s arias from Nozze are just wonderful and it is a shame that she didn’t sing this role for a lot longer, as she would have given many so-called perfect Countesses a run for their money.
On the same vein, it is a shame she never sang Fiordiliggi, Elvira, Anna and Ilia, as they would have showcased the beauty of the voice quite well.
I believe Tebaldi did sing Donna Elvira early in her career. As a matter of fact, that was the role that Bing initially offered her for her debut back in 1950 or 51. She had made her debut in SF with Aida and Bing suggested that she sing one performance at the Met before sailing back to Italy. Sort of a tryout. Tebaldi turned it down.
who says a great lyric/spinto should have to master mozart? are you kidding? the true lyrico spintos of the arangi-lombardi Caniglia and tebaldi period, covering at least a thirty year span did not find that absolutely necessary. Backseat to Milanov, who whooped and scooped in her later years, sharp mostly but still silvery, and rethberg being a very rare exception in that she oculd do both wonderfully. this, THIS puts the formidable Tebaldi in the backseat? Best laugh I had all day.
And you know? YOU just gave me the best laugh of the week. Mozart was certainly good enough for these singers:
* Nilsson
* Price (Both of them)
* Caballe
* Ponselle
* Tomowa-Sintow
* Varady
They certainly were not peep-squeak sopranos who sang Verdi with distinction.
Or as the great Nilsson would say herself:Maybe Mozart might not be good enough for you but her certainly is good enough for me .
I for once will not argue with that statement.
Ponselle ? That’s an odd name to turn up on a list of prominent Verdi/Mozart crossover artists. I’m not convinced that the inclusion of Caballe does much to strengthen your argument either.
Ponselle, after being declared the Verdi voice of her generation sang Donna Anna at the Met and on tour…
Caballe claims to have over 200 performances of Donna Elvira under her belt. As a matter of fact, the earliest known complete opera with Caballe in the cast is a Don Giovanni from Lisbon with her as Elvira (and at 26).
Caballe also also claims to have performed a sizable amount of Fiordiliggis as well. Not content with that, she also claims to have sung Pamina to Wunderlich’s Tamino and that there is a recording of it somewhere in Swiss Radio. She was also thought enough of a Countess to have been casted as Rosina in Dallas, and judging by the in-house recording, she was spectacular.
Plus, she included Mozart concert arias in her recitals all through the 60′s.
In addition to that, after she became heiress apparent to the throne of bel canto, she came back to Mozart and sang Donna Anna in Madrid.
If I am correct ,Nilsson made a statement at one time that she used Mozart as a means of keeping her voice flexible. No qualms about that.
It reminds me… When are were ever going to get re-released the (what is also completely un-cut) the Don Giovanni with Nilsson,L.Price Siepi, Valletti and Ratti under Leinsdorf from RCA ? Sony, since they took over RCA may have the answer. Kick myself for not buying it when it was available.
I LOVE that Don Giovanni except for Nilsson, totally ruins everything she appears in. Price is a marvel, until Mi tradi, which is a) too fast b) breathless c) very uncareful. Her A chi mi dice mai is spectacular, though.
I think the point of Nilsson’s comment was entirely different. She was remarking how singing Mozart was good for keeping the voice light and flexible. Her words were to the effect of “I might not have been so good for Mozart, but Mozart was very good for me“—a great instance of her sly good humor.
And yet the sentiment is the same: After her successes in Wagner she thought enough of Mozart to continue singing it; whether it was for her voice’s health or whatever the reason, she still thought Mozart as a composer worth singing and mastering (or at least trying)
The Parterre-Box Tea Party Association is now in sessions. We’re meeting to hear the report from the Platform Committee as to who can be a “Great Lyric/Spinto.” Now bear in mind that the goal is to seem to be as inclusionary as possible, but above all to keep “RT” OUT !
So far our wording is “A great lyric/spinto must be able to master Donna Anna and the soprano role in the Missa Solemnis.” ELGAR’S-COWPATTY introduced the amendment ” … and be British,” but that amendment was defeated because it would have left us with Jane Eaglen.
DISMAL-IN-DISTRESS then asked “Who says” that those are the criteria? DISMAL-IN-DISTRESS was taken out and shot.
It is extremely important that we decide this question now because support for “RT” is quite daunting. Our Great Lyric/Spinto team will face a real challenge in November when we play the winner of the St Matthew Passion/Nemorino vs. Winterreise/Baron Scarpia playoffs.
Olive:
You sort of make my point. Caniglia did not sing Donna Anna – at least not outside Italy – because Mozart would have risen from his grave and eaten her brains in revenge for the calamity that would have been Caniglia in that role. As it were.
The failure of Italian spintos to master Donna Anna (truly the archtype of romantic operatic heroines both dramatically and vocally – not surprising since DG was one of the first operas to enter the standard repetoire) speaks volume about musical tastes in Italy during that period. And (excluding Arangi-Lombardi who was an old-school throwback) just how many Italian sopranos have been paragons of vocal technique since that time. I would argue that Devia has been the only really technically sound soprano from Italy since the first WW!!! (Freni had her issues, but the basic vocal mechanism was so perfect it didn’t matter. Not so for Scotto.)
Ever stop and think that despite all the crap we here on this forum about “italianate style” just how many great sopranos have come from OUTSIDE italy. And just how many great italian roles were actually written for non-Italian singers.
Poor Nelli-Mistakes observations
as “attacks ” on obviously favourite singer “.Senescent attacks”
makes one smile if not laugh out
loud .Such a literary bent ! Do
you actually speak for” everyone
here’s time “.? Do you mean to say
all opinions are boringly alike and in line only with your views? You might
recall the story of the emperor and
his new clothes and the voice that
says it ain’t necessarily so -it seems
a contrary opinion unerves you .
Callas is far from my favorite singer but that does not make your banal nay-saying on the grounds of her subpar Met debut and misbegotten late career concerts any more convincing.
Obviously your last few decades have been warmed by your sense that you, Wladek the Magnificent, and only you knew and knows the Truth about Callas.
I am not buying it. Very sad obsession, though.
Nelli – obviously you can’t
tolerate a difference of opinion,and obviously how ever
you may deny it you are a “Callas groupie and obviously
a very sad obsession to contradict any adverse opinion
concerning Mde. Callas . For your enlightenment there were
thousands who wouldn’t go to a Callas performance as there
were also thousands who would .Bing knew it and we all did see it as fun ,The Tebaldi
gang (as in democrats ) crossed
over to see what Callas was doing the other side you know who -never did cross over in
case they might hear some GOOD singing,and every one
had a good laugh not believing
the other side was” serious”.
Mde. Callas had a short stay
mainly because she began to believe she was “MARIA CALLAS” the Opera Star.Tebaldi
on the other hand while being
aware of her talent was always
taken aback by the adulation of
her fans .She had a better sense that it was all temporal .
Mde. Callas went on to a sad end in Paris and Mde. Tebaldi
to a rather serene end in Italy.
And millions upon millions of
people throughout the world don’t even know who either was and don’t give a rats ass
that they were opera singers .
Get a life .
Its mind wandering, the creature emitted a few incomprehensible noises and lay down to expire.
Oh, Nerva, I saw Callas three times in her prime. Norma (Philly on Met visit, they came seven or so Tuesdays during the season, we subscribed though my mother sometimes vetoed my visits because I often couldn’t sleep afterwards but we got extra seats and even she came to the Norma), Lucia at Met and Tosca both in 58, though I heard a tape of the Lucia in 56.
Everyone I knew hated her. The man sitting next to me at the Norma got up and yelled “and I thought Milanov was bad!” before stomping out. My mother who loathed her recordings (I loved them) sneered, “I told you so!!”. My grandfather and great uncle whose first Norma was Giannina Russ and who had seen Pacetti (hated her), Cigna (hated her though loved her Aida and saw her do Gioconda, La Wally and Tosca, loved her in both) and Maria Pedrini (who they loved) thought Maria was ghastly.
I agitated to see Miss Callas in Traviata but didn’t get my way. My grandfather went to the Tosca with me. But he wouldn’t go near Lucia (hated the opera until Joanie). Even in the Academy of Music (half the size of the Old Met) she sounded small and had trouble tuning the Norma (despite singing with the huge voiced but often out of tune Barbieri and the penetrating but ghastly and rarely in tune Baum). I seem to recall her doing the last act pretty well, though I was young (I had seen Milanov and yes Helluva Nerva (“quella fica disgraziat’” as my grandfather opined), and been one of Norma’s sons several times, usually the one the audience was rooting for her to kill in various productions around Philly). But she was booed and I was disillusioned.
The Lucia (with my aunt from Brooklyn beside me upstairs standing) was just awful, TONS worse than the first recording — tiny, thin voice, no security at the top and I think Spargi ‘d’amaro’ was down, though I recall a major crack anyway, she also left out some tricky phrases. Some people in standing booed over small general applause (my aunt booed). Some cheered but one had to wonder what for.
However, I thought the Tosca (58) was pretty exciting and suddenly her voice seemed large. However having seen the great Toni Starr, the greatest Big Renata, Zinka, Delia Rigal!!!!! (my first and second and according to grandpop ‘una porca infamia), the much loved Albanese (loads of fun and zinger high notes), Helluva Nerva (‘la grassa ingolatta’ according to my grandfather), Kirsten (never bad) and having sung the shepherd boy five times (with inhuman volume according to those forced to listen) I didn’t think Maria was that special in relation to the others, though certainly on a higher tier than some. I thought the return as Tosca was very high camp.
I saw three of the later concerts, there were some arresting moments but she couldn’t really sustain anything. I also was at the Julliard master classes and she did some exciting or impressive demonstrating but never sang for long.
I saw Cerquetti do Norma a little later — she had everything a Norma needs but a waist. Utterly thrilling and an audience riot in response. Joanie’s Lucia, debut season was so astounding people literally stood during the Mad Scene unable to believe what they were seeing and hearing, and the riots for her were spontaneous; people were just overwhelmed.
There are some wonderful Callas records and pirates (though whether her barking and shrieking through Armida is edifying beyond titillating queens is a question), which show her in much better and more secure voice than I heard her. So perhaps that was a really bad patch — but I just question the pseudo-definitive assertions of so many idiots on this thread about singers they didn’t experience live. If we are opining about who was able to record well, and got the most flattering engineering and producers (and whose records were then over-hyped, and then bought by infants who were imprinted by them)that’s one thing. All of us who love records adore recordings by people we couldn’t have heard and we must make assumptions about whether they were as good, almost as good, sometimes as good or even better live.
If however the discussion is what people could actually do and opinions bear some relation to what experiencing amazing voices and appealing or charismatic personalities live in a real acoustic in a big opera house then so many of the windy opinions above are otiose, uninformed, uninformative, peculiar and unfair.
Tamerlano says:
“I bought the highlights on CD years ago (remember CD’s???).”
Ignorance is sheer bliss.
Who remembers those silly crappy mp3′s and downloads…..Hell, what were they about? Futurist ‘glitches and accidents’ conning gullible unwary people traveling along the Internet highway.
All these insane vocal comparisons in minute degree, one hears and reads about ………Imagine going to work,( as opera singers are regularly expected to) then one day someone says……..”Ah! I remember you…. on such and such a particular night, being cast in some role… and then you were complete worthless, absolute shit!. On the strength of that alone, I then preferred other people that I could name and transferred all my total allegiance to them, – doing the same sort of work, you do ”
Would these types of detractors like to face or put up with that demoralization , in their own work situation ….and, on a regular basis? I definitely , think not.
She was a bit shy, I think, otherwise she would not have backed out and let Sophia Loren impersonate her in Aida. She did not need to, she had great stage presence. The voice was the finest pure velvet, and it is wonderful she could be loud when she wanted. I saw Gioconda with Voigt not too long ago, and how I missed those Tebaldi Giocondas of the sixties! Yes, audiences adored her, including me. I don’t think I have screamed “brava” more often to any other soprano. Well, perhaps Nilsson and Rysanek, but perhaps not because I did see Tebaldi more often than them. I wish the Met had done the Boito opera when she was singing there, I love her recording, love her “L’altra note”. Nobody is perfect, and many here have pointed out some things less than perfect about her, but sometimes, in some notes, the mere sound was incredibly gorgeous.
I haven’t listened or watched many Tebaldi recordings, but from what I heard I can scarcely remember. I’ve just never been interested in her. Compared to someone like Callas she had one of those forgettable voices. At least to me. Usually when I hear a singer and they don’t grab my attention I just forget about them. So most of my knowledge of Tebaldi comes from her name in association with Callas, but not really any of her work.
But at least Tebaldi appeared regularly in the my operas she tended to record. Ok! Like or lump Callas…but remember many of her ‘greatest roles’ attributed to her,via recordings – are in every -day accepted practice form – a complete myth!!! Check and examine side by side each one of Callas’ recordings and then see how: in many cases she did less than a mere tiny handful of single digit performances.
She performed well and often enough as a opera singer : busy at the business….. ‘OF giving the impression of…. INTENDING TO perform’.
Just where does anyone think the present A.G got her training, at the same cancellation ‘racket’?. Perhaps she is thinking by doing that, she is morphing ‘being the diva’ and Callas, in particular.
Go back to those times: The newspapers and media attention with Onassis , her French fashions, her dieting / and then wanting to look like Audrey Hepburn, or being photographed millng and swanning around with Society’s then glitterati ….helped to fill in and covered the ‘cracks’ . She was just so so busy, occupied at ‘other things’. She wanted to be ‘Royalty’ by association with its ilk. Forgetting how cruel they can be, when it boils down to real ‘tin tacks’……They will slap upstarts down! No one is going to queer their ‘patch’. Opera or no opera ‘singer’!
With the sheer lack of actual number of actual performances from her : The EVENT BECOME: ‘WILL MARIA SHOW ?/ THROW A TANTRUM? /BE ILL?/ BE INDISPOSED ?/ RE-NEGOTIATE?/ WHO WILL MAKE THE EXCUSES FOR HER? ETC ETC..
Time goes on , people like to, or want toforget ….they read too many adoring biographies and now it is poor poor Maria . ‘OH! OH! ..how she suffered for her ART!!!!’ Bullshit! She DID IT to herself!
<>
If anybody here can decipher this language, could she tell me what it means?
oops–try this:
But at least Tebaldi appeared regularly in the my operas she tended to record. Ok! Like or lump Callas…but remember many of her ‘greatest roles’ attributed to her,via recordings – are in every -day accepted practice form – a complete myth!!! Check and examine side by side each one of Callas’ recordings and then see how: in many cases she did less than a mere tiny handful of single digit performances.
She performed well and often enough as a opera singer : busy at the business….. ‘OF giving the impression of…. INTENDING TO perform’.
quoth the maven :It appears you not know sarcasm if it hit you over the head.
Callas’ greatest performances were on the media’s world stage, producing idealised newspaper copy ‘as a diva enjoying the trappings of being a Diva’.Instead of knunckling down and steadfastly working at preserving her voice and ACTUALLY appearing regularly like other singers of the Time : INSIDE AN OPERA HOUSE! Some of Callas’ ‘famous roles she recorded’ she only appeared in, on stage – perhaps giving a couple of live performances, ever.
Her most notable endevours were : unrelibility, her associations with rich tykes, in- bred Europeon royalty and othe hangers-on, , fashions, or just ariving and departing countries etc etc. The only thing the media did not do not report on, was when she went to the Ladies and how she wiped her arse. In the long run, she fucked up her life, her career , pure and simple. Finally and spectcularly coming a ‘gutser’ over Onassis’.
Anyone remember the most classic example of the Callas super powered ‘hype’? Come the release of her EMI Carmen’……full page ads exblazoned with the words ‘Callas IS Carmen’. The opera set came in one of two editions – including a much more dearer priced red velvet covered box. Critics in the Gramophone later had the termerity to even remark “that Callas makes Leontyne Price’s Carmen sound ‘baby faced’………….Shit! That is just a hint of the ‘Callas -mania’ at that time, in every gossip and womens’ magazines. It is probably hard for newer opera lovers to appreciate this fact. Callas & Onnasis were the ‘Brangelina couple’ of their time….till Jackie K. queered Callas’ wicket.
Those English Gramophone critics, they were up EMIs’ and Callas’ arse too, it appears. Heard today in comparision, Callas’ version is not remarkable…… more just ‘run of the mill’.
Is it clearer now, what I was saying?
Harry, you are only going to upset Nerva Nelli -Mde. Callas had a dam good
run -the adulation of thousands -to this day.She couldn’t get into
the “phony ” money class because she was worse ,and they can’t be
upstaged .Onassis was to be her
ticket, but she didn’t realize not
every one would invite him to
dinner -and there she lost big time. Churchill used Onassis
Onassis used Churchill , Callas
used everyone with money and
they all used her -then the worms got them all .Wouldn’t
this make for a great opera ?
The Greek woman was not a patch on Joan Cross or dear Betty Fretwell.
It was all a matter of publicity and fidgetng with dials. She had no talent at all.
wladek In saying what I said, I am not a ‘rampant hater’ per sec, of Callas as people might think. I do believe though in a sense of total proportion including the ‘warts & all’. I have all her studio work and many of her other live rcordings in my collection., Even duplicating in many cases(from buying that mammoth 71 CD box of EMI’s). The same goes for many another singer, not just her. It is funny though, how time passes, and points get blurred.
Some deceased singers though, are made ‘determined hard working Saints of the Operatic Craft’ : for when they were around and ‘active’. Yet in fact, they were anyting but. Destroying opportunities and possibilities they may have had, with silly diversions; frittering away the talents and gifts they had. To think that Callas: rumoured to be in her Paris apartment, lonely and sitting up watching old Gary Cooper westerns on the TV , is a mind boggling thought.
Having personally been, a performer’s agent I am mindful of having experienced watching many artists ‘being emotionally ripped off’ by all sorts of clowns, that wanted nothing but ‘the ego -glitz of close association’ with those said artists. Callas is a classic and fascinating case of this.
No longer in the artist representative ‘game’ I sit back and watch the same patterns form -around some many others in all forms of the entertainment business. With this above-mentioned type of behaviour : being briefed on the people exactly involved / the particular situation…. Sadly most predictions one makes, most comes true.
Talk about ‘fiddling with dials’; Vicar, I think I got my true calling at an infant. Remember those old floor standing radio consoles -the entermainment Unit that families sat around to listen to as a group……
One of my earliest recollections is been inquisitive, getting behind the Unit and ‘playing and touching around the valves. Sure enough I got a shock and the family found me yelling, wih a ‘big puddle on the floor’. I had wet my pants as well.