Cher Public

  • Camille: Jungfer, are you listening? How does the orchestral sound mit Mo. Janowski stack up to your past experiences in vivo? 2:36 PM
  • LT: L’aria della piovra httpv://www.youtub rqPDGmA 1:31 PM
  • sogalitno: dont know if there is a way. i think sky is via cable so would probably need account info . 1:03 PM
  • Camille: I’m so glad they changed the Wotan from Rheingold and Sarah Connolly sounds REALLY good as the Walküre Fricka! Heidi... 12:28 PM
  • Camille: Merci, Hippolyte! I had forgotten all about the August 5th concert. A chance to hear not only Loreley but the weird Nerone! Once... 12:22 PM
  • Hippolyte: Russell Thomas is appearing next month in two very interesting concerts as part of the Puccini festival at Bard. August 5... 12:09 PM
  • Camille: And as a lieder recitalist, just exemplary httpv:// m/watch?v=lETGe_4B U2E httpv:// m/watch?v=PGJhNfVg UVk... 12:06 PM
  • brackweaver: I agree with both of you about the singing of the ladies. It made me give up at intermission. 12:01 PM

Alles Gute zum Geburtstag, Richard Wagner!

That most profound and controversial of all operatic composers was born 200 years ago today.

In celebration of the natal day, WKCR is broadcasting a Wagner marathon, all the operas from Rienzi to Parsifal, over the next two days.

La Cieca expects the cher public will assist in the festivities by sharing favorite YouTube clips of Wagnerian brilliance.


  • 61
    Quanto Painy Fakor says:

    Something strange here -- new Intendantin of Miami Opera insults the new opera house claiming that it is not big enough for Tristan, which she postpones and replaces with Thais !

    “Florida Grand Opera has postponed Wagner’s Tristan and Isolde for a season and will be performing Massanet’s Thaïs in its place for the 2013-2014 season.
    The decision to wait was made when the company could not find large enough stages in Miami and Fort Lauderdale, General Director Susan T. Danis said.

    “Since I accepted the position of General Director of Florida Grand Opera I have stated repeatedly and unequivocally that my goal is to present great opera, including exciting productions with world-class singers and thought-provoking repertoire. This community deserves nothing less,” Danis said.

    Read more here:

    • 61.1
      m. croche says:

      It is true that the scenic requirements for Tristan are notoriously demanding.

    • 61.2
      Trappedinoperahell says:

      At what point did she insult the new opera house in Miami and where in the story does it say anything about the Arsht Center stage not being big enough. The sentence reads, “The decision to wait was made when the company could not find a production to fit stages in Miami and Fort Lauderdale, General Director Susan T. Danis said.”

      • 61.2.1
        Quanto Painy Fakor says:

        Thanks to the generosity of the Ziff family (who also gave us the MET Machine), the Ziff Opera House at the equally beautiful Adrienne Arsht Center is a huge modern theater. Many producers could present the complete works of Wagner there. If that ain’t and insult….

          antikitschychick says:

          It IS a very large and visually opulent Opera House…last time I attended I was in the second-to last row(!!) and the view is pretty spectacular…am never sitting up thee again though since I’m scared of heights and those nose-bleed seats are pretty effing high up!! I couldn’t really enjoy the opera from fear of falling into the boca di lupo lolol

          Trappedinoperahell says:

          She didn’t say it wouldn’t fit the Arsht Center stage. She said she couldn’t find a production that would fit both stages. Maybe it’s a configuration issue or the problem is with the Broward Center. I think you’re looking for an insult where there is none.

          By the way, the opera house at the Arsht Center is a poorly conceived, dark, claustrophic building and not nearly as nice as the concert hall or the far-more-beautiful theaters in Houston and Seattle, to name two.

          • Quanto Painy Fakor says:

            But they perform in the Opera House. That was the whole point of building an opera house. I don’t give a damn what they do.

          • Camille says:

            If it be any consolation to you QPF, as it happens and solely at my urging, Monsieur Camille did see that representation of Thaïs given by the FGO about five or six years ago, and actually enjoyed it. He is a Wagner man and basically went because of my curiosity and enthusiastic endorsements. I’m not sure but it may have been Leah Partridge who sang. She did sing in the Scotto directed/Bonynge conductedSonnambula there, too, so I may be wrong about that.

            Too bad about the Tristan, though. Maybe something will float on down the river….

          • Camille says:

            And come to think of it, he took along with his aged parents who go ONLY to Italian opera, and, they too, liked the Thaïs.

            Of course, ianw2 won’t be in attendance nor do we even need bothering him.

    • 61.3
      manou says:

      At least they are giving this new composer Massanet a chance.

      • 61.3.1
        oedipe says:

        Whatever. One of those French thingies that everybody hates but which will make your opera season look sophisticated…
        When you can’t pull a decent Wagner, why not substitute something French. It’s easy stuff, anybody can sing it perfectly adequately, or at least not too many people will tell the difference. And anyway, you can always blame the composer.

      • 61.3.2
        marshiemarkII says:

        manoucita and oedipe, last Sunday I went to this outing in Cold Spring, Putnam County, NY. Very sophisticated homosexuals and elegant fag-hags crowd. So Marshie is introduced to “the famous painter” in attendance also, as a scientist and big opera fan, and Wagner in particular, whereupon said famous painter says “oh I just saw Wagner’s Manon at the Met”. I am NOT making this up! I swear…….
        Yep, in New York 2013!

          m. croche says:

          I love the part where she sings: “Euch, theure Les Halles!”

          Camille says:

          Well, Wagner did have that French girlfriend near the end of his life, Mlle Judith Gautier — would she qualify as “Wagner’s Manon”?? She did send him swaths of silk!!!!!!!!

          oedipe says:

          Hmmm, had it been a Bob Wilson production I’d say he confused it with Lohengrin

          • oedipe says:

            Adieu meine kleine Schwan?

          • manou says:

            A propos de Lohengrin, we went to Cardiff yesterday and saw a rather splendid WNO production. Advice to Londoners: “Vaut le Détour”.

            Prince Charles was there too. This man stalks me -- every time I have been to the Millennium Centre he has been there. Once we even had the benefit of his outriders and fleet of cars as he sped through the traffic and we managed to follow in his wake.

            Anyway -- we had a great evening.

          • Camille says:

            Watch out for Camilla the Rottweiler, Mme. manou!!!!!!!!

          • manou says:

            Camilla does not seem to be a big opera buff -- she is not often with him (and wasn’t last night). But she seems to be a down to earth and even normal person.

            And I am always happy when a husband swaps his wife for an older uglier woman.

          • Camille says:

            Oh poor Camilla wasn’t so bad to start out with—-sitting around waiting for a phone call from Charles must have been hard and changed her.

            I am just glad if Charles is happy at last, after so much turmoil and so much bad press. Not a bad chap at all, at least an opera lover! and it is certainly not his fault he was born in the line of succession — that is if the poor man ever DOES get on the throne, as it appears Elizabeth R. has really set her determination on becoming the longest reigning monarch in British history, and God willing, may probably succeed. It will come as a real shock when she finally does pass on, for most of the population does not know life without her. And I wonder about Charles, with that traditionally unlucky name for a king!!! How old and or exhausted will he be by the time he ever comes into ruling??? Therefore, how much influence Camilla actually may have upon her husband….There is always a lot of talk about him being passed over in favour of bonnie prince Will, at least on these shores where Diana was sooooooo popular, and which I think profoundly rude and disrespectful to him.

            Oh well, I am just a damned Yank, observing from afar, but it is always fascinating to contemplate the lives of the Royals. Such a life.

          • manou says:

            I have been to an opera related do at Kensington Palace and have seen close up how much deference is accorded to Charles (who always sits on a special cushion -- officially because he had a bad back). He sat between Kiri Te Kanawa and Marie MacLauglin at dinner, and whatever he said was greeted with peals of laughter (“oh Sir, that is so funny!”) and admiring ecstasy. The poor man obviously thinks he is the wittiest person alive. A very distinguished older lady at our table honoured him with a deep curtsy, which was somewhat cringe-making.

            It must be hard to be normal if people defer to you constantly. I rather think Camilla does not go for obsequious sycophancy and is not afraid to speak plainly to him when necessary.

            End of Royal news.

          • Camille says:

            That is an interesting account, Mme. Manou, particularly as it is a first-hand eye witness one, and thank you for the time in relating it to us all. I shall look forward to others, hereafter giving scant heed to those scurrilous Yank tabloids in the supermarket, always trumpeting some imminent breakdown of the royal marriage. I ccertainly wish them well. They have survived a great thrashing and have a right to some happiness.

            As far as the redoubtable Dame Kiri is concerned, she still owes him a big debt from wedding number one days. That’s how a good many of us over here came to know her—she, and That HAT!

          • armerjacquino says:

            I had better not share my opinion of the Royal family- it got me into a lot of trouble in my first week at University when I refused to stand up for the toast to the Queen at the Fresher’s dinner, and besides, ‘republican’ means something not very nice in the US…

            But I will say, after your Kiri reference, that I was shocked even as a teenager when the vile Daily Mail tried to stir up a scandal because Prince Andrew had engaged the ‘unknown’ Arleen Auger to sing at his wedding.

  • 62
    La Valkyrietta says:

    Goody, goody. Youtube has the complete Walküre with Lehman, Melchior, Schorr Lawrence. It is from the Met, March 30, 1940. (The Walküre in the Met box with Flagstad, Melchior, Huehn, Lawrence is from February 17, 1940.) Both have Leinsdorf conducting.

    • 62.1
      kashania says:

      Wow! That’s some cast. Youtube is endlessly rewarding but the recent trend of complete recordings on a single video is particularly wonderful.

    • 62.2
      Buster says:

      It is irreplacable, Lotte Lehmann’s only complete Sieglinde.

      • 62.2.1
        kashania says:

        At first I was disappointed that it wasn’t Flagstad. I was looking forward to hearing both her and Melchior in prime voice as the Wälsungs. But I’m glad to be hearing Lehmann’s Sieglinde, even if it is late-career.

          la vociaccia says:

          If you have spotify, Kashania, there is a complete (well, sort of) recording of Flagstad’s Met debut as sieglinde with Melchior and Gertrude Kappel. Sound is a bit rough, but naturally Flagstad can be heard over any sort of din. Check it out

          • kashania says:

            I don’t have spotify but I will look for it.

            I just noticed that Varnay’s historic debut as Sieglinde, opposite Melchior, Traubel, Schorr, Thorborg and Kipnis is also available complete on youtube. Can it be possible that all those people appeared onstage in the same performance? And people dispute the existence of golden ages!!

          • la vociaccia says:

            oh crap I need to listen to that varnay now! And spotify is dead easy; you download the app for free and sign in through Facebook. I don’t really need to buy albums; most of them eventually wind up on spotify and all you have to put up with is a periodic advertisement.

          Camille says:

          O fiddle faddle. Marg won’t let you down, kashania PDP!

          “The applause wasn’t for the horse, you know!”!!!!!!!!!!

          DEE-lighted to see that The Fans of Glenn Ford has mounted this gem Interrupted Melody, the highly colourful and colourised version of that great singer,Marjorie Lawrence’s life. Brünnhilde was one of her very top roles and a favourite of hers, so you are in good hands, o Principe di lunghe caravane di Persia!

          • kashania says:

            Thanks for the clip, cherie. Interrupted Melody is on my list of films to catch on TCM.

          • La Valkyrietta says:

            By the way, the Wagner at the Met box has a photo of the real Lawrence on her real Grane at the Met. :)

    • 62.3
      kashania says:

      Boy, I though Robert Dean Smith had a long “Wäääääääälse”. Melchior’s is even longer.

      • 62.3.1
        Camille says:

        Jon’s is longest!
        Check it out!

          kashania says:

          Oh really? I thought Jon had more taste than that. I’ve heard one studio recording (Leinsdorf) and one live one (Ozawa/Tanglewood) and it’s not particularly long in either. Maybe he wasn’t particularly happy to see his Sieglinde on those occasions (Brouwestijn and Norman).

          • Camille says:

            Jon’s was longest, LIVE!

            Ask MMIItm, she will know for certain.

          • marshiemarkII says:

            CammiB I never saw the greatestest of Jon as Siegmund! only Tristan complete with Knie and Act II with Nilsson, Florestan with you know who! and Samson, oh and of course 15 Otellos and the Peter Grimes! The longest Waelse I ever heard was Coca Cola in 1997, but as you know from the Chinese Menu Lohengrin (Lo-Main Li Bei Chuan Noodles), it wasn’t the most idiomatic :-) :-) :-)

            Actually James King, with our gurl Leonie, in 1976, might have been the longest really, what a performance that was CammiB!!!!, now THAT was Leonie IN EXCELSIS.
            And I had absolutely NO IDEA who was that Leonie Raeehsanek woman, was down in New York to see L. Price, imagine the shock, as a young, teen queen really, seeing THAT for a first Leonie!

          • Nerva Nelli says:

            MM II is — as often, when not describing the middle register of his beloved *utilité*-- quite right. James King in live performances surely held the longest Waelse I ever heard at the Met (or San Fran). Actually at the third WALKUERE this season, Simon O’Neill sat on it a good long time.

          • marshiemarkII says:

            Oh and Parsifal of course, four with C. Ludwig and four with La Leonie!!!!!! and an act II with La Mignon Dunn the same afternoon as the Tristan Act II. So I did have my share of the GLORIOUS JON, but alas no Siegmund :-(

          • Nerva Nelli says:

            Did you ever see Vickers as Vasek in BARTERED BRIDE with Stratas, Gedda and the way-miscast Talvela? He sounded splendid and dominant( not, surely Smetana’s intention) and turned it into something quite personal, which the Met casting department in its infinite unwisdom later tried to replicate by casting Vladimir Bogachov.

            That NP also featured Derek Hammond-Stroud as Krusina-- a role The Ingpen Woman clearly felt uncastable in North America, just as the unique Jonathan Summers is being flown in by her successors for the WERTHER Bailli this season. Thank Christ it’s no one francophone!!!

          • kashania says:

            IIRC, in the Böhm Bayreuth recording, King doesn’t over do it on “Wälse”. Perhaps the good doctor kept him in check.

            I’m listening to the Traubel/Schorr/Varnay/Melchior Walküre right now and Melchior doesn’t over do it. But on the performance with Lehmann, he holds it for an obscene amount of time.

          • marshiemarkII says:

            No Nervina, I was in Boston, I think, at the time, and would come to Suck City only for the big German stuff, what did I know then. When I saw it with Layla Claire I fell madly in love with that gorgeous score, but well…. youth wasted on the young!

            Kashie, that is another Leonie that is DEMENTED totally!, off pitch like hell, but who cared!!!
            That phrase!!!
            Deines Auges Stern
            lass noch einmal mir strahlen:
            wehre dem Kuss
            des verworfnen Weibes nicht!

            How she lingers on strahlen….. and then the Weibes nicht! is what heaven is made of. I loooooove that recording.
            For everything Dr Karl denies to Nilsson, keeps her very tightly in check, he allows every extravagance to Leonie! Divoon!

          • kashania says:

            Marshie: That Böhm Bayreuth Walküre also features the best of Leonie’s screams.

      • 62.3.2
        Bianca Castafiore says:

        Can you tell me where in this clip is Melchior’s “Wälse!”? Thanks.

  • 63
    Quanto Painy Fakor says:

    I can imagine this happening at the met with some choristers and stage hands

    • 63.1
      Camille says:

      How very sweet! The closest I’ve ever seen to anything human at the curtain at Met was on the occasion of Malfitano’s 50th birthday (broadcast and the last performance in the run) whereupon they gathered the force together to sing her “Happy Birthday”.
      That was nice.

      Now I am awaiting Nerva to say something and spoil it.

    • 63.2
      manou says:

      As I have said elsewhere -- it is a fine production as well and I enjoyed it enormously. A young woman who was at her first Wagner opera said she was completely bowled over by it all and quite captivated. Result!

  • 64
    Quanto Painy Fakor says:

    Wagner birthday present from Dresden: download an important facsimile of the Manuscript of Tannhäuser

  • 65
    Quanto Painy Fakor says:

  • 66
    La Valkyrietta says:

    Sorelle! Über’m Sternenzelt muss Tebaldi und Wagner wohnen.

  • 67
    Batty Masetto says:

    To celebrate Wagner’s birthday we finally got around to watching the Glyndebourne Meistersinger, which Bill Naddle reviewed here last November, and which I guess has been seen in Chicago since then with a different cast. So, old news, but I thought it might be worth adding a few more comments.

    Nowadays it’s the dire Nazi take on Meistersinger’s Germanness that tends to absorb our attention. It’s not irrelevant, of course. But if we fixate on that alone, something we can miss is that all the “Germanness” is ultimately a byproduct of what seem to me to be two of the work’s deeper themes: community and intimacy.

    Rich, cultured and relatively autonomous it may have been, but by today’s standards historical Nuremberg was still a small town. From Hans Sachs’s time to early in Wagner’s, the population generally hovered on the underside of 40,000, making Nuremberg about the size of modern Burlington, VT or Canterbury, England. You could walk clear across town in less than an hour. The Dresden of Wagner’s youth, which we know contributed a fair amount to the imaginative framing of the opera, was not much larger. This is a world where, if everyone doesn’t know everyone else, at least they know someone who knows someone who knows someone. McVicar’s is the first production I’ve ever seen that really brings that social dimension out.

    The importance of community here is what gives rise to the importance of art. By balancing erudite skill and a knowledge of history with popular appeal, art reinforces group identity and acts as a kind of glue that can help a community (or a nation) hold together even when political systems have failed. And failure is a real prospect. After all, Sachs situates his “holy German art” not in a future of German triumphalism but in the collapse of the Holy Roman Empire and even foreign occupation.

    McVicar’s approach means there can be no generalized strokes with a broad brush: the characters mustn’t go blurry if you look closely. There’s no room for the directorial equivalent of “rhubarb, rhubarb.” He’s helped enormously by Vicki Mortimer’s designs, which forgo pseudo-16th-century kitsch for something much less run-of-the-mill, but still very recognizably German. She must have been looking hard at the delightful genre paintings of Carl Spitzweg, though the dresses are from maybe 25 years earlier than his era:

    One happy result of the whole approach is that moments that often tend toward the rhetorical are brought down to earth as purposeful and frequently charming interactions between individuals. If the Meisters are going to assemble for a boring old meeting, they make sure they have plenty of snacks on hand and a nice tablecloth or two to eat off. (But at the same time, they’re not about to waste money on the Marker’s booth, which seems put together from second-hand curtains.) Walther’s Act I song isn’t grandstanding but a real attempt, under pressure, to invent something that will win him the girl he’s set his heart on. “Wach’ auf!” is not empty ceremony, but a surprise that everybody has rehearsed for their beloved Sachs. Even “Verachtet mir die Meister nicht” starts out as Sachs’s man-to-man effort to convince a sulky Walther. And when Sachs speaks of his “liebes Nüremberg,” the moment is an emotional high point, because for once Nuremberg has become a real character itself.

    I was sorry there was no semblance of the procession of the guilds. No doubt the limited stage space was one factor, and maybe a certain fastidiousness about the past. On the other hand, I thought the choreography for the dance was a big enhancement.

    The cast adds up to more than the sum of its parts. It helps that some of those parts are excellent. Plenty has already been said about Finley’s Sachs, so I won’t say much. Lyrically sung, refreshingly free from bluster, and detailed down to the shoe polish around his fingernails. It’s one of the best.

    He’s matched by Johannes Martin Kranzle as a very ably-sung Beckmesser. Thank goodness we’ve generally moved away from Beckmesser as snarly, pedantic buffoon. Kranzle’s Beckmesser is vain and deluded, yes – the solicitously tended, carefully waved comb-over is especially droll – but also vulnerable and like all the Meisters, genuinely devoted to his art (even if he’s not very good at it). One gets the sense that he’s lonely in his egotism. Of course he’d be a terrible husband for Eva, but it seems an open question whether he’d lord it over her or disintegrate into an uxorious hacky-sack at home. He’s very funny in physical comedy, and provokes a twinge of real sympathy in Act III as his train wreck of a song advances, because it’s so obvious he realizes how gruesomely he’s falling apart. And when he weeps as Walther sings the song right, it seems clear that he’s grieving not just because he lost the girl, but because he’s realized he’s not the artist he thought he was, that he’ll never be able to produce something that good. It’s understandable that he snubs Sachs’s attempt at reconciliation: Sachs has forced him to look at himself in a mirror, and he’s not at all happy with what he’s found there.

    Topi Lehtipuu’s David is great fun throughout, but nowhere more than in the long catalogue aria that is usually something of a trial. Here it’s packed with amusing variety: one-upmanship, hazing the newbie, rue at his own shortcomings as a scholar, and much more. (I especially laughed at him banging his head on the desk in frustration at “O Magdalena!”)

    Anna Gabler is a vivacious, sensitive, pretty, funny Eva, but disappoints vocally. The sound is by no means offensive, but she hasn’t the spin or float to ravish the ear at key moments.

    Something similar holds true for Marco Jentzsch as Walther. The voice is not wobbly or wiry or otherwise unpleasant; it’s just not especially lovely. But it’s truly youthful-sounding (for a change!), he’s not straining, he doesn’t seem to tire, he’s a game actor, and he has a nice chemistry with Gabler. There’s also a very engaging naiveté about him. When he sits listening to Sachs’s lesson on how to structure his Prize Song, you can really see the up-and-coming whiz kid hanging on every word of an elder whose knowledge he respects and desires.

    With the exception of Mats Almgren’s hollow-toned Watchman, the supporting roles are well filled, though Michaela Selinger is so young and attractive that there’s no May/December aspect to her romance with David. Like lots of Magdalenas, she skirts the high C in the second act riot. No blame.

    I found Jurowski’s readings of the preludes to Act I and III polished but short on revelations. His shaping of the action and musical climaxes, though, is practically perfect, and both orchestra and chorus sound superb.

    A special word for Ian Julier’s excellent English titles, which track the original remarkably closely while still seeming very natural.

    • 67.1
      m. croche says:

      Thanks for the re-view, BM. Is this out on DVD now?

      • 67.1.1
        Batty Masetto says:

        It is indeed, Croche. And just to make sure I’m not off-topic, here’s a clip, though it doesn’t really give the full flavor:

  • 68
    La Valkyrietta says:


    I just listened to the Walküre of the eve of Pearl Harbor, the Varnay debut. Bad things first, I hated the cuts. Good things. Leinsdorf is heaven. Varnay great, certainly, but I must say that there are parts of that first act that where no one has surpassed Lehmann. Melchior divine. Ah, but Traubel, magnificent. In 1.40.00 comes the hojotohos and the Met audience does a nono, it applauds, but she is incredible. Then the announcement of death in 1.40.00. We had nothing like that with none of the Brünhildes in the last five years. Not at all. Then the exchange with Varnay in 2.15.00. How lucky those Wagner queens were in the forties to experience that! And then she has to face Vater in 2.29.00. Traubel was something. There indeed was a golden age, or so it seems.

    • 68.1
      kashania says:

      Glad you liked it, Valkyrietta. I just went back to the “hoyotohos” again (I was listening at work yesterday and couldn’t really turn up to the volume). I then skipped to the end to hear her final bit (at 2:48), a section by which I judge all Walküre Brünnhildes. My goodness, is she ever in thrilling voice. To think that her career overlapped with Leider, Flagstad and Varnay. Those ladies should’ve all been born 15-20 years apart.

      • 68.1.1
        La Valkyrietta says:

        Let us not speak about the rest of the cast, which was fabulous, or the conductor, but Helen is absolute heaven. Those Wagner fans in the forties really were lucky. I’m glad you are listening to it again.

    • 68.2
      kashania says:

      Now I’m listening to the Todesverkundigung. Divine! For those who missed the link, it’s well worth the three hours (damn those cuts!).

      • 68.2.1
        La Valkyrietta says:


        Yes, that Walküre is wonderfu, but so is the one from the Met in Boston,

        I just listened to the first act again. Lehmann starting at 41.00 is to die for.

          La Valkyrietta says:

          Sorry, “wonderful”. I want to correct myself before manou does :).

          kashania says:

          I went back and listened again. Lehmann is wonderful. And Melchior is terrific too when he’s not rushing or skipping ahead by half a measure. I’d hate to be a conductor trying to follow him!

          • kashania says:

            Actually, “wonderful” isn’t enough to describe Lehmann’s Sieglinde. Such passion, such a refulgent voice (never mind that she’s 52 years old with a 30-year career already behind her). Thank you for encouraging me to go back and listen again.

          • La Valkyrietta says:

            Yes, words fail me too when dealing with music matters. Lehmann is superb, a dream as Sieglinde. Here is Elsa’s dream, two versions 20 years apart.

          • La Valkyrietta says:


            You have surely heard this, but its is worth listening over and over. As Melchior said, Traubel was a rich ruby.

  • 69
    La Valkyrietta says:

    A light interlude with one of the most fabulous Brünhildes that ever graced an opera stage. Helen Traubel doing the ‘Leg of Mutton Rag’ in the MGM musical ‘Deep in My Heart’.

  • 70
    La Valkyrietta says:

    youtube is being difficult

  • 71
    La Valkyrietta says:

    Helen starts at 1.40.

    • 71.1
      Camille says:

      La Vally dear—do you have the DVD of this movie? There are a couple outakes in the extras, two more songs with Mme. Traubel. She is so wonderful in this, as is that brilliant man, José Ferrer.

      Also included is William Olvis, my long ago shirttail relation, singing the gayest possible “Overhead the moon is beaming”, complete with an army of chorus boys.

      I met Mr. Olvis as a two year old, while visiting relatives in California, and upon meeting him, he slung me up over his shoulders and walked around singing his head off in my great aunt and uncle’s home. It was not to be the last I was terrorized by a tenor, but certainly, it was the FIRST!

      • 71.1.1
        Camille says:

        Another song, “Auf Wiedersehen”, as sung by Helen Traubel in the Sigmund Romberg biopic Deep in my Heart.

          Camille says:

          Here it is. Sorry.

          • La Valkyrietta says:


            I don’t have the DVD of this movie. They show the movie now and then on TV. In a closet somewhere must be the vinyl long play record I got sometime in the 50s.

            Funny story about being terrorized by your distant relation Mr. Olvis. It could have been worse, he could have started an impersonation of Ann Miller in “It” and started tap dancing. :)

  • 72
    pobrediablo says:

    Die Walkure flashmob (professional)

    • 72.1
      La Valkyrietta says:


      I wish my visits to the supermarket were as musical :).

  • 73
    La Valkyrietta says:

    Divine, divine, divine.

  • 74
    La Valkyrietta says:

    In the 200th Wagner birthday, there has been lots of talk of Nazis, the Holocaust and all that. Even some Wagner opera productions with those themes. Wagner died in 1883, as everyone knows. I don’t think Wagner would have been pleased with any of those events at all, rather horrified. He would have been pleased, though, with the actions of two Wagnerian singers. They were selling war bonds in 1945, and I must stress, on the side of the allies.