Dietrich Fisher-Dieskau (A big loss)

Dietrich Fisher-Dieskau, was born in 1925, and died today May 18, 2012 at the age of 86. Fischer-Dieskau was the most famous lieder singer of all time, and generally one of the most famous classical singers of all time. Although he did formally study voice, he was able to make his debut at age 22 for an indisposed singer in "The Brahms Requiem". Therefore, he had a very natural gift. All good singers do, but some have to work harder for their technique than others. I am writing this as a tribute more than to share facts about Fisher-Dieskau's life, which can be found virtually anywhere. The voice was one that I did not take to right away. I was 17, and lacked the knowledge to understand his art when I first heard him. My dad actually mentioned Dieskau to me, because he had Dieskau's performance as Il Conte Almaviva in "Le Nozze di Figaro" conducted by Karl Bohm on vinyl. However, my first listening to the voice was Dieskau's 1972 recording of "Die Schone Mullerin" by Franz Schubert. I knew nothing about art song, and I thought that Dieskau sounded too much like a tenor versus a baritone on first listening. What I failed to realize at the time was that Fisher-Dieskau's baritone was a lyric baritone. Now I love that Schubert recording, and many other recordings by Fischer- Dieskau. No matter what he performed he made music out of it. He had a wide vocal range from a low E to a high A which he kept until the end of his long career. Literally everything I listen to with Dieskau performing meant something to him. His lieder singing, especially Schumann and Schubert songs set the standard for lieder singing. I never was fortunate enough to see Dieskau live, but I heard he was mesmerizing. No matter what he sang whether the voice was appropriate for it or not, he made it interesting. For example he recorded the role of Germont in "La Traviata" under Lorin Maazel. The role of Germont is Italian, and often taken on by a Verdi baritone. Personally, I am not thunder struck by his voice in the aria "Di Provenza", but his singing of it is so lyrical and musical, that I cannot help but acknowledge that. He even took roles such as Gunther in the Ring Cycle and made them interesting because he was a musician above all else. He was a very smart singer too, and knew when his time was up. He kept singing well until his late sixties, then devoted his time to teaching and conducting. Losing this great artist is a big loss without a doubt, even though he lived to an old age. I can think of few artists who were more important than Fisher-Dieskau for the arts. He recorded and performed so many lieds by composers such as Schubert, Strauss, Brahms, Mahler, and many others. He also premiered many works such as King Lear in Albert Reinmann's opera "King Lear", which is a very difficult piece. He also premiered the baritone solo in "The War Requiem" by Benjamin Britten, "The Six Monologue's of Everyman" by Frank Martin, the role of Prospero in Martin's opera "The Tempest", and many others. He performed in countless operas by Strauss, Mozart, and Wagner especially. His repertoire knew no bounds. It is awe inspiring that he was able to perform the variety of works that he did. He will be greatly missed.

Recital May 13th

Stay tuned for information on the pieces, composers and poets. Dear friends and colleagues, please join us for a recital on May 13th at Christ Episcopal Church in New Brunswick, NJ.  The recital features works by Purcell, Nicolai, Schubert, Poulenc and Ives.  The artists are Nicholas Hay, bass and Susan Hoffman, piano. May 13, 2012 Christ Episcopal Church 5 Paterson St. New Brunswick, NJ 08901 Suggested donation is 15 dollars Please see www.nicholashay.com for more information.

Great Historical Singers (Apollo Granforte)

Apollo Granforte is a sort of forgotten baritone these days.  But he clearly had one of the strongest and most beautiful baritone voices in history.  I was immediately struck by Granforte's voice when I first heard him in college.  The quality is similar to the more famous Titta Ruffo.  Granforte's voice has a very bright and metallic sound with powerful high notes and tremendous cut.  A Verdi baritone at its finest.  I would love to go back in time and hear him in person.       Granforte was born in the town of Legangno in 1886.  He discovered his powerful voice without formal training, and made his debut as a tenor in 1905 as Arturo in "Lucia di Lammermor." This debut was a failure in that Granforte was accused of not having finesse.  After his failed debut as a tenor, he migrated to Argentina where he worked as a cobbler.  A wealthy music lover funded Granforte's education at the Buenos Aires Conservatory, where Granforte studied for nine years.  Following that he debuted as a baritone, and had a very successful career encompassing over 1500 performances.       Granforte came from a long line of famous powerhouse Italian baritones such as Titta Ruffo, Ricardo Stracciari, Cesare Formichi. Giuseppe Danise, Mattia Battistini, and Giuseppe De Luca to name a few.  Such a high level of Italian baritones does not exist today.  Granforte left great recordings of "Tosca", "Il Trovatore", and "Otello" in which he is a force to be reckoned with in all his respective roles.  He was famous in the Verdi repertoire.  He also left a great recording of Wolfram's song of the evening star in Italian which is absolutely beautiful.     Granforte opened his own music school and taught several pupils who became famous.  One of which was Rafaelle Arie, who is on the famous Lucia recording with Maria Callas.  He remained active in music long after his retirement in 1948.   often judging competitions. He died in a suburb of Milan in 1975.      

Review of Tales of Hoffman from the Metropolitan Opera

   Jacques Offenbach began work on "Les Contes des Hoffman" in hoping of writing an effective serious opera.  As a composer well known for operettas, Offenbach was trying to change his reputation.  He did, but died before it happened.  There are many different editions of the opera since the score was left unfinished when Offenbach died.  This version includes sung versus spoken dialogue.          This live performance of Les Contes Hoffman dates back to 1955.  One would never tell because of the first rate remastering job.  I picked this up when I saw that Richard Tucker was the Hoffman, and my ex teacher Wayne Conner's teacher Martial Singher sang the 4 villains in the broadcast.  The then 80 year old conductor Pierre Monteux is on the podium.  Hoffman's three love interests are Rise Stevens, Lucine Amara and Roberta Peters.            Richard Tucker was well cut out for the taxing role of Hoffman.  Recordings in the studio do not do his voice justice.  This live recording preserves the true beauty of Tucker's voice.  Martial Singher's French was phenomenal.  Obviously he was French, but his diction is still quite notable regardless.  He was a lyric baritone, but had a strong lower end of the range.  In the Antonia act where he sings Dr. Miracle, his voice is not as big as I would like, but the orchestration is considerably larger in that act.  The 4 villains are an extreme challenge for a singer, especially the aria "Scintille Diamant", which is very high.  It is often transposed, which is the case with Singher.  He sings it brilliantly on this recording.  Roberta Peters is perfect as Olympia.  I enjoyed Lucine Amara and Rise Stevens in their respective parts as well.            

Living a Healthy Lifestyle

   After a week straight of exercise and eating healthy, and cutting down caffeine, I felt inspired to write this blog.  I am just simply feeling better mentally and physically so far.  Discipline is often a struggle for me, so I am proud of my zeal to keep this up so far.  There is a long way to go of course, but a start is a start.  I can only keep up with overindulging in caffeine and high carbs and fat for so long without feeling like shit.  We become what we put into our bodies.  Life is too short to not live healthy.  Not living healthy effects my self-esteem, career, relationships with people and overall well being.  One way of living works for me, and the other one doesn't.  The man who went on a diet of big macs for money suffered health wise.  I'm beaconing a sane health nut.  Obsessing about it takes the esteemable part of the equation out.  That defeats the point, of course.  We all deserve to live good lives, that is why I am writing this.  I'm learning about this kind of stuff from other people.  Also, if there are people who read this and can indulge in whatever they want and feel good, all the more power to them.  I am extremely sensitive to what I eat, drink, etc...     I was recently introduced to the idea of putting a timeline on weight loss, career and what not.  My gut reaction was, what if I fail?  What if I don't lose 35 pds by August 15th?  What if my audition package isn't ready by September 1st?Those are examples of what if I fail syndrome.  Well, if I lose 20 pds by August 15th, that's still awesome because the direction of the goal is correct.  Of course having said all this about timelines, I can only do the best I can each day.  

Recitals save the dates!

Please join me, Nicholas Hay, bass, and Susan Hoffman, piano for two engaging recital programs. They are May 5th at Trinity Episcopal Church in Princeton, NJ, and May 13th at Christ Church in New Brunswick, NJ. Arise Ye Subterranean Winds by Henry Purcell (1659-1695) Piff! Paff from "Les Huguenots" by Giacomo Meyerbeer (1791-1864) ALs Bublein klein from "Die lustigen Weiber von Windsor" by Otto Nicolai (1810-1849) Grenzen der Menscheit by Franz Schubert (1797-1828) Wanderers Nachtlied I  Wanderers Nachtlied II Der Wanderer Le Bestiare by Francis Poulenc (1899-1963) Like a Sick Eagle by Charles Ives (1874-1954) Songs My Mother Taught Me Slow March Charlie Rutlage Romanzo di Central Park http://www.facebook.com/photo.php?fbid=10150678977913622&set=a.429276423621.205219.504243621&type=1

The Solution

Living in the solution is a common phrase in 12 step programs. We talk about living in the solution as a substitute for living in the problem. Problems do occur of course, but the solution is working to solve the problem instead of fretting about the problem. Living in the solution is a matter of what positive action I can take right now. It is not about regretting the past or projecting the future. This is a tough concept for me to understand. An example is if I want to lose weight, which I do, I need to figure out how I can accomplish that goal, versus think to myself oh shit I'm out of shape. The solution can be exercising and eating well. Living in the solution is also taking positive actions to raise my self esteem. I am either doing things to raise my self esteem, or things to lower it. In other words I am either going towards a drink or away from a drink. Raising self esteem is a big part of living in the solution. So is doing things and not making it about me. Doing things to get me out of me. I could go on for a while about this. But, what for? Either I use the tool of having a higher power, or I am screwed, because I need one to help me live in the solution.