January 31, 2011
Since I was a kid, I have been fascinated by instances in which multiple members of a family have worked in the same or similar fields. For example, the other day I heard an interview on WNYC radio with Louis Rozzo, a fish dealer who was making an argument for taking the trouble to buy fresh anchovies and sardines and other fish that are typically packed in oil and canned. The conversation was interesting enough, but a detail that resonated with me was that Rozzo is the fourth generation owner of F. Rozzo and Sons. I would have liked to hear more about that.
In a similar way, I like reading about people like the Delahanty brothers – five of them played major league baseball – or the Harrisons, who included a signer of the Declaration of Independence, a Virginia legislator and attorney general, two presidents of the United States, and two members of Congress. The five Marx Brothers have always interested me less for their comedy than for their family history, which started with their maternal uncle, Al (Schoenberg) Shean, who was a famous vaudevillian.
This topic has been on my mind because I had an opportunity recently to talk with actress Stephanie Zimbalist, who is soon to appear in a production of Frank Gilroy’s play “The Subject Was Roses” at the George Street Playhouse in New Brunswick. On her own, Stephanie Zimbalist has built a substantial resume of performances on television and on the stage. However, her family’s background in the performing arts goes back at least as far as her great-grandfather Aron Zimbalist, who was an orchestral conductor in Russia in the 19th century. Her grandparents were both outstanding classical performers whom I have admired since I was very young. Her grandfather was Efrem Zimbalist, a concert violinist whose name can be mentioned in the same sentence with Jascha Heifitz and Fritz Kreisler. Efrem Zimbalist was married to Alma Gluck (nee Reba Feinsohn), who was one of the most popular female vocalists of the early 20th century. My family had 78 rpm recordings by both of these artists — along with others — and, long before I understood their significance, I listened to them over and over again on our wind-up Victrola.
Alma Gluck, who was born in Romania, was a soprano who was on the roster at the Metropolitan Opera Company. She also had a substantial concert career and was one of the first serious artists to make phonograph records, and that greatly contributed to her fame. She made more than 170 recordings for Victor between 1911 and 1924, choosing songs from a wide variety of genres. She and her husband made at least 32 recordings together, and he had a long list of recordings of his own. Zimbalist was also a composer and the director of the Curtis Institute of Music in Philadelphia.
Efrem Zimbalist and Alma Gluck were the parents of Efrem Zimbalist Jr. – Stephanie’s father – who is a popular film and television actor whose starring roles included the TV series 77 Sunset Strip and The FBI.
Stephanie Zimbalist justifably has a great deal of pride in this heritage. I found that she enjoys talking about Alma Gluck – who died before Stephanie was born – and is well schooled in her grandmother’s career. Stephanie told me — only half joking, I suppose — that she didn’t pursue a singing career because she didn’t want to weather comparisons with her grandmother. Still, Stephanie Zimbalist has a trained voice and has given some performances. Speaking about her grandmother, she told me, “Daddy said she would have loved me, but I don’t know. She was tough task master on him. She wanted him to be a doctor or an engineer, and he wanted to be a dancer or a gymnast.” But the musical gene apparently didn’t skip a generation with the actor, Stephanie said. “He says he knows very little about music, but he knows an awful lot. He studied orchestration at Curtis, and he’s written a lot of things; he’s written many many pieces of music.”
Stephanie Zimbalist’s mother, the former Stephanie Spaulding, died in 2007. Stephanie cares for her mom’s pet, an elegant long-hair dachshund named Scampi, who participated in our interview. I asked Stephanie what would be next in her career after her run at George Street, and she said, “Nothing. I don’t have a career. I just have bumps in the road. That’s probably why I’m doing good work these days, if I am doing good work. Nothing’s an agenda. I don’t do anything to see where it will take me. I just do it for the work. On my plate in my life right now is this sweet little thing” — a reference to Scampi, who was on Stephanie’s lap. “And then, my Dad is 92, God bless him, and doing very well, but I spend quite a bit of time with him, just to be there.”
July 23, 2010
National Public Radio is running a series on “50 Great Voices,” and I was pleased to hear the other day that one of my favorite voices has been included — that of the Irish tenor John McCormack. You can follow the unfolding of “the list” by clicking HERE. I would have expected Enrico Caruso to be on the list – and he is – but Caruso has endured as an icon ala Babe Ruth. The name Caruso is known far outside of the circle of opera buffs; his name is a synonym for “singer.” McCormack, on the other hand, is known these days mostly by the musty crowd that lives with one foot in the distant musical past. People like me, for instance.
I developed an interest in McCormack when I was in my early teens. This came as a blow to my mother, because she was already getting auditory indigestion from the olio that poured out of my hi-fi: one minute Bill Haley & His Comets, the next minute Bach’s Mass in B minor, the next minute Florian Zabach’s violin, and the next minute Hank Williams. Mom preferred Zabach.
I stumbled across McCormack after I bought four LPs by the Italian tenor Mario Del Monaco. Listening to those discs launched me into a lifelong fascination with tenors, and I accumulated recordings by dozens of them, ancient and modern. It was inevitable that McCormack would be included, because he was a prolific performer, including many recordings. Connecting with McCormack also opened my ears to Irish music, because, besides his operatic career, he was a mainstay on the concert stage and his repertoire included the songs of his native Ireland. I found these irresistible because the melodies and lyrics are laced with both humor and melancholy. I acquired recordings by other Irish tenors, too, but no one seemed to approach McCormack.
When I became better informed about music, I learned that my instincts hadn’t failed me for a change. McCormack is highly regarded as a singer — unparalleled, in the opinions of some authorities — because of the extraordinary control he had over his breath and his voice. That is well displayed in his recording of his signature song, “I Hear You Calling Me.”
Very early in his career, McCormack sang under the name Giovanni Foli, deriving it from the name of his lifelong sweetheart and longtime spouse, Lily Foley. He was wildly popular at the height of his career and he earned, and spent, enormous amounts of money. He was also the soul of charity and was particularly generous with his time and his own funds in supporting the American effort in both world wars. He became an American citizen in 1917, a decision that wasn’t well received back home, and he took his citizenship seriously. He also supported many other causes, including the Catholic Church, and the Church bestowed many honors on him, including the hereditary title of count.
According to an often-repeated story, at a chance meeting between Caruso and McCormack, McCormack asked, “And how is the greatest tenor in the world?” To which Caruso replied, “And when did you become a baritone?”
Some of McCormack’s songs are available at the NPR site and at the web site of the John McCormack Society, which is at THIS LINK.
December 2, 2009
So Pau Gasol likes opera, and he doesn’t care who knows it. The Lakers star was invited the first time by his boss — and what can you say? But Gasol was hooked, as a lot of people are, and his acquaintance with fellow Spaniard Placido Domingo has added a personal dimension. The LA Times story about Gasol and Domingo is at THIS link.
I was telling someone the other night about Eleanor Gehrig’s account of how her husband — Lou Gehrig — became an opera buff. She wrote in one of her biographies of Gehrig that she convinced him to go with her on condition that it be kept a secret. In the 1930s, Gehrig had good reason to fear that he would be heckled mercilessly if the other players found out that he had been to the Met.
Eleanor picked the tragic Tristan und Isolde and gave Lou a thorough prepping beforehand. During the performance, she glanced over at him and found him totally absorbed, then with tears in his eyes, and finally “an emotional wreck.”
What Eleanor hadn’t anticipated was that her husband, who had spoken German before he spoke English, was listening to the opera in the original language — not filtered by a half-baked translation such as we are usually subjected to.
Gehrig didn’t only became a frequent visitor at the Met, Eleanor wrote, but she would often come home and find him lying on the floor of their apartment listening to an opera on the radio while he followed along in the libretto.
“I discovered that this was no automaton, no unfeeling giant,” Eleanor wrote. “A sensitive and even soft man who wept while I read him Anna Karenina ….”
I’m guessing the Babe never knew.
We have attended several of the Metropolitan Opera’s live theater broadcasts — most recently “Aida” last Saturday. If you haven’t tried it, you should. Not an opera fan? That could be just the point. Seeing these operas on the big screen with cinematic camera shots is a different experience from the crow’s nest at the Met. For anyone who has been thinking of taking a first look at opera through this program, I strongly recommend “Carmen” on January 16. Buy early and show up at the theater an hour before the broadcast. These broadcasts all sell out.
The next opera we’re going to see is “Turandot” on November 7, and we’re very interested in Verdi’s “Simon Boccanegra” on February 6, both because we’ve never seen it and because Placido Domingo will appear in a baritone role. He sang it for the first time last week in Europe.
This business of a singer switching ranges is rare but not unheard of. Enrico Caruso, is should be no surprise to learn, could sing well in all three male voices and made a recording, which is still available, of “Vecchia Zimarra,” a basso aria from Giacomo Puccini’s “La Boheme.” That aria is often overlooked — after all, the tenor doesn’t sing it — but it is touching, especially in the context of the story. Colline is about to sell his old coat to buy medicine for the dying Mimi.
What’s even more interesting than that recording is that Caruso once sang that aria during a performance in Philadelphia. The basso, Andres de Segurola, had complained earlier of a sore throat, and Caruso — who was singing Rodolfo — anticipated trouble. Sure enough, de Segurola signalled that he couldn’t sing “Vecchia Zimmara,” so Caruso sang it while the basso mouthed the words. The audience, for the most part, was unaware of what was occurring. That’s de Segurola at the left in a caricature drawn by Caruso.
There’s more about Enrico Caruso at this link:
The Times of London reports on Domingo’s debut as a baritone: