Cher Public

The magic sniff

On this day in 1947 American actor Kevin Kline was born.

Born on this day in 1864 composer Franco Leoni

Born on this day in 1882 composer Emmerich Kálmán

Born on this day in 1913 baritone Tito Gobbi

Born on this day in 1921 soprano Sena Jurinac

Born on this day in 1925 composer Luciano Berio

Happy 59th birthday soprano Cheryl Studer

  • semira mide

    Born on this day in 1812 in Venice!
    Rossini’s “L’Occasione fa il ladro”
    fa il ladro”

    • semira mide

      Sorry about the spurious “fa il ladro”.

  • alejandro

    hot pic. *swoon*

  • MontyNostry

    Is that Kevin Kline on the left in the Csárdásfürstin image too?

  • EarlyRomantic

    Warmest birthday greetings to the unequaled Cheryl Studer.

  • Quanto Painy Fakor

    I remember being one of the youngest people in the audience here.

    • Jungfer Marianne Leitmetzerin

      Fascinating stuff! I dearly regret that I just missed the opportunity to attend a performance at the old house. But I am a bit confused about the attribution on the YouTube details. It gives the year as 1938 and identifies the singer as Martinelli, and we can deduce the opera is “Aida.” Can we presume from the dress of the patrons and the fact that it was filmed that this was an opening night? This certainly wasn’t the norm for dress at regular performances in those days, or was it? In 1938, the Met opened with “Otello” (with Martinelli), but he sang only four performances at the house as Radamès that season (two in February, two in November – more on tour). Could this instead be the 1934 opening night (22 December), which was “Aida” with Rethberg, Martinelli, Tibbett, and Pinza?

      • Quanto Painy Fakor

        But it was the norm to dress like that for the opera and it’s definitely the opening scene of AIDA. You may be correct about the date.

        • Quanto Painy Fakor

          Perhaps someone who is familiar with the vintage of the vehicles can confirm the date.

          • Bill

            Quanto -- None of the cars shown in this video seem to be of 1938 vintage but older by at least 5 years.

      • Flora del Rio Grande

        Well, the old Met house was a Real Opera House in spite of certain
        shortcomings. The new Met (now needing re-building), is “by
        committee,” and while it plays opera it is not in the same league
        as 39th & Bdw. Sorry. Poor New York; so deprived for the richest
        city of the world — they just don’t have a decent opera house.
        Paris has five; Munich four, Vienna three, Berlin two or three. . .
        Chicago and San Francisco are stuck with “municipal auditorium”
        style opera houses . . . so how come lesser places like St Paul,
        St Louis, Seattle, Oslo, Copenhagen have all the good ones?
        Ironic, eh?

      • Bill

        Monday Nights at the old Met were always dress nights as the regular box holders kept their
        traditions and even after the New Met opened,
        patrons tended to dress better on Monday\
        Nights than other evenings. But one must remember
        as I started to go the Met in 1951, women were not allowed to enter the Met in pants or trousers
        (same in Vienna still in the mid 1960s) and most men wore jackets and ties even in the standing room. Never saw anyone in blue jeans or leather or anything like that. It was tradition just as people used to dress well for Church.

    • Guestoria Unpopularenka

      LOL @ the bows after Celeste Aida. Who’s this tenor?

      • Jungfer Marianne Leitmetzerin

        I think we petty much established that the Radamès is Giovanni Martinelli most likely at the opening night of the 1934/1935 season. I love the bows, too! In all the years I attended Met performances I can only recall one really radical character break: Hildegard Behrens stepping out of character after the “Abscheulicher!” to take a bow in the late 1970s where you could hear the stage manager screaming “What is she doing?” from the wings. I’m sure other singers did, too -- Pavarotti most likely -- but this was just so unexpected!

        • Krunoslav

          Gwyneth Jones returned to the stage for a bow after “Abscheulicher!” at the Met in 1976.

          And Alfredo Kraus bowed after *both* arias in FILLE in 1983. I was a big fan, and he sang wonderfully but I was shocked and-- after “Pour me rapprocher de Marie” ‘s display-- growled from standing room, “Scusi, Signor, non e a Cagliari!”

          Die junger Leut’…

          • Jungfer Marianne Leitmetzerin

            From a review of “Don Carlo” at the Met in 1922 at which Chaliapin encored the second half of “Ella giammai m’amò:”

            “In recent seasons, Metropolitan audiences have frowned consistently on the familiar European custom of a singer stepping out of his part during the progress of an act to take cognizance of applause. The offense has been expected of Italian tenors new to this country until they have been taught otherwise, but it has been, none-the-less, a transgression of the Metropolitan’s artistic code.”

            They’ll never learn…

            • Bill

              In general at the Met singers do not
              take solo bows after an aria (unless it ends the act) and in 1953-54 Bing banned
              solo bows even during the curtain calls but
              Christl Goltz after her Salome debut did take a solo bow (logical) and Bing did not
              invite her back. That is not to say that
              after Vissi d’Arte a Tosca singing the aria
              on the floor might not lift her head just
              a little to acknowledge the applause if
              prolonged. In Vienna singers still sometimes take solo bows after Mozart arias
              etc. And with Gruberova in Grossmaechtige
              Prinzessen always with minutes of applause
              thereafter, she always turned to acknowledge the applause (with Dr. Karl Boehm, if conducting, anxious to get the performance going again without too much delay).

    • Angelo Saccosta

      Me too, Quanto. It all started for me on March 31, 1956, Manon Lescaut with Licia and Jussi.

  • Flora del Rio Grande

    . . . Oh, and I over looked Kansas City. It has not only a winning ball club,
    but a new 1800-seat opera house that is very stylish and works well.
    New York should be so lucky.