Category: Daily Dispatch

  • Bergman’s Enchanting “The Magic Flute”

    Bergman’s Enchanting “The Magic Flute”


    From time to time, I guess even Ingmar Bergman needed a break from existential dread. How else to explain his delightful adaptation of “The Magic Flute?” Originally intended for television, Bergman’s playful and inventive 1975 film of Mozart’s 1791 singspiel had a lot to do with setting me on the path to become an opera lover.

    The conceit, to set the action as a live performance in the historic Drottningholm Palace Theater (a reproduction, since there were concerns about the actual theater safely accommodating a film crew), is disarming and inspired. All the stagecraft is laid bare. The scenery is evidently painted plywood, the animals are all people in suits, and the characters pause from time to time to hold up little signs with moralistic aphorisms on them as they sing their arias.

    Bergman’s film begins outside the actual theater and then enters the hall during the overture to register the facial expressions of a audience members as they anticipate the curtain rising. Most especially the camera lingers on the eager face of an impressionable young girl. It’s evident that the director would like us to experience it all from her perspective, through a lens of innocence.

    By contrast, we’re also taken backstage, to glimpse Papageno, fallen asleep and nearly missing a cue, Sarastro between acts studying the score to “Parsifal,” and one of Monostatos’ minions reading a Donald Duck comic book.

    Sure, there are moments of despair even here, as a couple of the characters contemplate suicide (we also get a memorable vision of hellfire), but it’s all dispelled in a decisive victory of good over evil, an endorsement of universal brotherhood, and a resolution of unalloyed joy.

    It was Mozart’s librettist, Emanuel Schikaneder, who suggested during rehearsals that Papageno stammer in excitement at the recognition of his desired Papagena, in their famous duet. Here’s what Bergman does with it.

    On Mozart’s birthday anniversary, I think it’s time to revisit this film.

    Behold! Here it is on YouTube.


  • Farewell, Uncle Floyd

    Farewell, Uncle Floyd

    When somebody like Uncle Floyd goes, it really stirs up memories of a certain era of my life.

    If you don’t know, Uncle Floyd – born Floyd Vivino – was a homegrown, under-the-radar Jersey icon. If that seems paradoxical, you have to understand, for decades he hosted a comedy-variety show that drifted around UHF and local cable outlets in Philadelphia and New Jersey. The budget for each episode must have been about $1.98 – it had all the visual allure of public-access – so I was surprised to learn the show was eventually picked up for “national” syndication, gaining further exposure in Chicago, Boston, and Hartford. I’d always assumed Floyd was as inextricably part of regional lore as the Philadelphia Mummers. Tastykake, and Taylor Ham.

    When you turned on “The Uncle Floyd Show,” you knew you were in for a half hour of burlesque, under-rehearsed (if at all) sketch comedy, in-jokes at the expense of cast and crew (he got a lot of mileage out of Scott Gordon’s weight and Netto having gone to jail), their colleagues invariably busting up off-camera (often funnier than the show). It was also a showcase for Floyd’s nimble fingers, which played across the keyboard of a jangly upright with all the dexterity of Chico Marx.

    Presented in the style of a kids show, it had a touch of Soupy Sales (Floyd was always interacting with puppets and slipping in jokes only adults would get). It was also a living museum of a bygone era, of vaudeville, the burlesque house, and the golden age of novelty songs. There were plenty of groaners among the jokes. A lot of the gags had whiskers. But I always say there are two kinds of comedy: the kind that delights because the pay-off is totally unexpected, and the kind where you see the punchline coming from miles away, but the delivery sticks its landing so well you can’t help but laugh. “The Uncle Floyd Show” was a showcase for the latter.

    Floyd was a cult figure who somehow attracted fans like John Lennon and David Bowie, who both tuned in from New York. Also, like David Letterman in his early days on “Late Night,” he would introduce acts on the show that you would swear were put-ons, only to discover after not too long that their careers would explode. I remember seeing Cyndi Lauper on there for the first time, and I thought there’s no way she’s real. Is she?

    Occasionally, he would have on a top act, and you’d wonder how the hell did Floyd get Blue Öyster Cult? Then he would gently razz them by cutting to a photo of one of their early gigs, playing a bar mitzvah in Long Island.

    Everyone was a pretty good sport, except Joe Franklin, another low-rent cult media icon. If you lived beyond the New York broadcast area, back in the day, you probably have no idea who I’m talking about. Franklin interviewed faded movie stars and other people in the entertainment industry, notably up-and-coming actors who hadn’t quite hit. It was another entertaining show, but also very cheap and very, very quirky. Franklin was offended when Floyd appeared on-camera as Joe Frankfurter, with a garbage can over his head and talking over his guests. Franklin, notoriously thin-skinned, sued him for libel to the tune of $35 million dollars. Naturally, the suit went nowhere.

    There was also a recurring sketch featuring “The Dull Family” of Easton, PA (my hometown, but I didn’t sue).

    On weeknights, after dinner, my stepfather, my best friend, and I would often retire to the living room to enjoy the half-hour show. You never knew what kind of double-entendre was going to sail out of the tube. Often the material and/or execution was so lame, it was hilarious, and everyone involved was in on the joke. Floyd himself, however, was a consummate performer, with innate timing, and a virtuoso of his kind.

    A staple of every show was a send-up of a ventriloquism act, in which Floyd would engage in some repartee with a puppet sidekick – only the camera would never show Floyd’s lips when the puppet spoke. The best known of these was Oogie, a diminutive clown with Larry Fine hair protruding from beneath a paddy cap, and a London Fog coat. Also Bones Boy, a skeleton who randomly exclaimed, “Snap it!” And Hugo, who was, well, a Hugo doll. (Look it up.)

    What Floyd didn’t have was fashion sense – a blind spot he cultivated – and he proudly showed up at his gigs in trademark hat, bow tie, and jacket, all with clashing patterns.

    I was surprised to see him break into bit parts in the movies, credited under his birth name. He’s quite visible throughout “Good Morning, Vietnam.” He also had other parts on mainstream television, appearing on “Law & Order,” “Cosby,” and others.

    In the early spring of 2020, I learned that Floyd was scheduled to appear at an Italian-American event being held at a restaurant a half-mile from my parents’ house – the very house at which we had viewed so many episodes of the show. How could I not go? So I made the trip home to catch Floyd’s act, again in the company of my stepfather and my best friend. It’s hard to believe, the better part of 40 years had passed.

    Floyd came out and entertained the crowd with well-timed jokes that all stuck their landings. He also had a keyboard with him so that he could share the kind of music he had championed his entire career. Yes, he had the hat and the jacket and a bow tie (black, because of the solemn occasion?).

    We went back and talked to him after the set. He seemed fairly low-key, but he warmed considerably as it became obvious that we really remembered so much about the show and knew so many of the songs. My friend had his ukulele with him to illustrate. We got a couple of pictures taken, and he gave us an autograph. Floyd seemed genuine, but I could tell he was tired at the end of a gig. His eyes wandered around the room as he waited for his paycheck. When the bearer appeared, he excused himself, saying he had to get back to Jersey.

    My friend and I were already in the car when we saw Floyd exit the building. I rolled down the windows, and my friend began singing and playing “Deep in the Heart of Jersey” as we pulled away like a couple of crazy kids, now in their 50s. I could see Floyd was genuinely amused.

    Afterward, on my way back to Princeton, I was heading down Route 31, when I stopped at a light in Flemington. As I waited, I noticed an electronic bulletin board outside the Elks Lodge, advertising who should be scheduled to appear the next week, but Uncle Floyd! I thought how amusing it would be if my friend and I arranged to be there, so soon after the Easton appearance.

    We probably wouldn’t have followed through on it (my friend, who doesn’t drive, would have had to come up from Philadelphia), but in the event, the show was cancelled anyway, as Floyd’s visit to Easton would be the last live entertainment any of us would experience for well over a year. The next week, the Elks Lodge and everything else was shut down as COVID-19 swept New Jersey.

    “The Uncle Floyd Show” ran from 1974 to 2001. After the show went off the air, Floyd continued to appear solo and in comedy revues around the area. He also took his schtick to radio.

    Floyd was 74 years-old at the time of his death on January 22. He made countless people smile and forget their troubles. It was a life better spent than perhaps he ever knew.

    R.I.P.

    ——-

    Uncle Floyd as Julia Step-Child

    https://www.youtube.com/watch?v=af-QDOPNNkE

    An entire Oogie bit built around in-jokes about staffers Mugsy and Scott Gordon

    https://www.youtube.com/watch?v=Qjx_n2VB0kY

    Floyd tickling the ivories

    https://www.youtube.com/watch?v=4nnnnzfJ0P8

    “Josephina Please No Leana on the Bell”

    https://www.youtube.com/watch?v=Ki6q6bTaZR4

    Floyd, before an appreciative crowd at the Capitol Theatre of Passaic, performing “Deep in the Heart of Jersey”

    https://www.youtube.com/watch?v=mm8ZOQkzyFc&t

    Floyd entered the Guinness Book of World Records in 1999 after playing the piano for 24 hours and 15 minutes, to raise money for a local family to cover medical bills for their son with cystic fibrosis.

  • Diane Wittry to Wrap It Up in Allentown, PA

    Diane Wittry to Wrap It Up in Allentown, PA

    Diane Wittry will be stepping down as music director of the Allentown Symphony Orchestra in 2028. Wittry will have served in that capacity for 33 years – surpassing the tenure of the ensemble’s founding music director, Donald Vorhees, who led the orchestra from 1951 to 1983. In between, the position was held by William Smith, associate conductor of the Philadelphia Orchestra, whose engagements were curtailed by his final illness in 1993.

    Wittry will conduct her last concert as music director in the fall of 2027. For further details and a broader sense of her accomplishments, see the organization’s press release, shared below.

    For as often as I do it, I don’t really relish writing concert reviews, as they always become more involved than I anticipate. My thoughts begin to stampede, and it’s all I can do to get them into the corral. Later, I’ll go back and look at them, and I’m seldom satisfied – all I can see is the sweat – and then nobody reads them. If I post one, I’ll get maybe 5 or 6 likes. Facebook is not the forum for a “slog through the bog.”

    Of course, you can always check out whatever I write at my website (ever under construction, but all my posts are there) at rossamico.com. That said, in my experience, lengthy reviews are so much more pleasurable to read in actual print.

    I worked pretty hard at a review of Wittry conducting Vaughan Williams’ “Dona nobis pacem” last season, but never smoothed it out. Perhaps in tribute to her, I’ll search for it, brush it down, and feed it some sweet grass, with the intention of exhibiting this prize cow in the near future. Or maybe I’ll take one look at it and my soul will leave my body.

    Either way, big thanks to Diane Wittry. It’s a solid orchestra she’s built, and I’ve enjoyed the programs I’ve been able to attend.

    —–

    DIANE WITTRY ANNOUNCES PLANS TO CONCLUDE TENURE AS MUSIC DIRECTOR AND CONDUCTOR IN 2028

    ALLENTOWN, PA — (January 22, 2026) — The Allentown Symphony Association (ASA) announced today that Diane Wittry has decided to step down as Music Director and Conductor in 2028, which will conclude an extraordinary 33-year tenure leading the Allentown Symphony Orchestra. Wittry will conduct her final concert in the fall of 2027 but will continue to serve as Music Director through May 2028, working closely with the Board of Directors and staff to ensure a smooth and successful artistic leadership transition.

    The ASA Board of Directors has begun forming a search committee to lead a national search for the orchestra’s next Music Director and Conductor.

    Wittry’s tenure will be the longest in the orchestra’s history, surpassing that of Donald Voorhees, who served as Music Director and Conductor for 32 years from its founding in 1951 to 1983.

    Wittry leaves a deep and enduring legacy of artistic excellence, innovation, and growth. Since the start of her tenure in 1995, she has championed adventurous programming that paired underperformed masterworks with new and contemporary compositions. From the outset, she raised artistic standards by challenging the orchestra musically and increasing rehearsal and preparation expectations, attracting highly accomplished musicians to audition from across the region, including New York, New Jersey, Maryland, and Delaware.

    An early adopter of immersive concert experiences, Wittry expanded the orchestra’s creative reach by integrating lighting, visual design, video, actors, dancers, and vocalists into performances—broadening audience engagement while reimagining the orchestral concert experience.

    In the 1996–97 season, following a major bequest from brothers Leigh and Edwin Schadt, Wittry helped establish the National Schadt String Competition, now widely recognized as one of the premier string competitions in the United States. Under her leadership, the orchestra experienced sustained expansion, including expanding the Classical concerts to double performances, the addition of Pops Concerts, Family Concerts, and a landmark partnership with the Repertory Dance Theatre to present The Nutcracker annually each December. Many of these performances were led by the Symphony’s Associate/Pops Conductor Emeritus Ronald Demkee who himself retired from the Orchestra in 2024.

    Additional milestones during Wittry’s tenure include the formal re-establishment of the Allentown Symphony Chorus in 2014 and the launch of the Holiday Pops concert in 2021, which has virtually sold out every year since its inception.

    A passionate advocate for new music, Wittry led the Orchestra in commissioning and performing more than 36 world premieres, including four of her own compositions. In 2020, she helped launch both the Composer-in-Residence program and the Composer Collaborative, further reinforcing the orchestra’s commitment to living composers and contemporary voices.

    Education and community engagement have remained central to Wittry’s vision. She introduced the “Meet the Artist” luncheon series, launched the Conducting Fellows program in 2010, and spearheaded El Sistema Lehigh Valley in 2011—an intensive music education initiative that now serves approximately 150 students from more than 20 schools throughout the region. In 2024, the ASA formed its Latin Leadership Committee to deepen engagement with Allentown’s growing Latin community and hired its first Musician-in-Residence, who is required to be a bilingual in Spanish and English, in 2025.

    Among the most ambitious and far-reaching projects of her tenure was a landmark Beethoven’s Ninth Symphony initiative that extended orchestral performance well beyond the concert hall. Beethoven’s Ninth was presented in two distinct performances at Miller Symphony Hall—one recorded for a regional broadcast in partnership with PBS39, and a second recorded to create Become a Musician: Beethoven’s Ninth Finale, an immersive interactive exhibit launched in January 2026 at the Da Vinci Science Center. Together, these performances transformed a single artistic vision into lasting public resources, introducing thousands of people to orchestral music through broadcast, education, and hands-on participation in a manner believed to be the first permanent orchestral exhibit of its kind in the United States.

    Reflecting on her decision, Wittry said, “After many years of heartfelt music making, I have decided to retire from my position as Music Director and Conductor of the Allentown Symphony in the spring of 2028. Together, we have built an orchestra of exceptional professional quality, expanded our concert offerings, championed new music, and deepened our partnerships throughout the Lehigh Valley. I am profoundly proud of what we have accomplished and grateful for the unwavering support of the musicians, board, staff, and community. I remain fully committed to working closely with the Board during this transition, and I look forward to the inspiring music we will continue to make together in the seasons ahead.”

    “Diane Wittry’s impact on the Allentown Symphony Orchestra is both profound and lasting,” said Jack Bury, President of the Allentown Symphony Association Board of Directors. “For more than three decades, she has led with extraordinary artistic vision, integrity, and commitment—raising the orchestra to the highest professional standards while expanding its reach through education, new music, and deep community engagement. With the formation of a search committee now underway, we are grateful for Diane’s partnership in ensuring a thoughtful transition and are confident the orchestra is well positioned for continued artistic excellence and growth.”

    Al Jacobsen, Executive Director of the Allentown Symphony Association, added, “Working alongside Diane Wittry has been one of the great privileges of my professional life. Her artistic leadership has elevated the Allentown Symphony Orchestra in every dimension—from performance quality and innovative programming to education, community partnerships, and national recognition. Diane has built not only an exceptional orchestra, but a culture of excellence, collaboration, and service. We are deeply grateful for her leadership and for her continued partnership as we thoughtfully prepare for the orchestra’s next chapter.”

    Today, Wittry is internationally respected as both a conductor and educator. She has conducted performances in more than eleven countries, including Russia, China, Japan, Bosnia, Slovakia, Italy, and Canada. She is the author of two award-winning books published by Oxford University Press—Beyond the Baton: What Every Conductor Needs to Know and Baton Basics: Communicating Music through Gesture—both considered foundational texts in the conducting profession. In 2015, she was named one of Musical America’s Top 30 Professionals in Music.

    Under Diane Wittry’s leadership, the Allentown Symphony Orchestra has become one of the Lehigh Valley’s leading cultural institutions, recognized for artistic excellence, educational impact, and deep community connection. Her extended transition timeline allows the organization to honor her legacy while positioning the orchestra for continued success in its next chapter.

  • Liking the Viking on “The Lost Chord”

    Liking the Viking on “The Lost Chord”

    This week on “The Lost Chord,” brace yourself for Icelandic composer Jon Leif’s “Saga Symphony.” Scored for tuned anvils, stones, whip, shields of iron, leather, and wood, great wooden casks played by large hammers, and six ancient long horns, or lurs, the work is an intriguing blend of extravagance and austerity.

    Leifs studied in Leipzig and wound up stranded in Nazi Germany for much of World War II. You’d think the National Socialists would have gone ape for this musical advocate of Norse heroism, but two things worked against him: the modernist language of much of his output, and the fact that his wife and children were Jewish. Also, he found Wagner repellent, asserting that Wagner completely misunderstood the essence and artistic tradition of the North. Public performances of Leif’s works were discouraged (and would have been impractical anyway). Under the circumstances, he preferred to attract as little attention to himself as possible. He found escape in rereading the Icelandic sagas, even as he was used for propaganda purposes to strengthen Germany’s relations with Scandinavia.

    Leifs finally managed to obtain permission to leave Germany in 1944. Unfortunately, suspicion of Nazi associations further hindered acceptance of his music abroad. It was only with a series of compact disc recordings released on the Swedish label BIS, beginning in the 1990s, that Leifs – who died in 1968 – was revealed to be Iceland’s most important composer, with a voice as distinctive as any of his time.

    Iceland of a hundred years ago was a very different place than it is now. Leifs didn’t hear his first orchestra until he traveled to Leipzig. The “Saga Symphony” is a direct response to Franz Liszt’s “A Faust Symphony,” a performance of which sent the young composer into ecstasies. He went home and immediately began work on the piece we’ll hear tonight. However, his own approach is quite different from Liszt’s. In terms of symphonic development, there is none to speak of. In its place are evocative fields of static harmonies.

    Each of the work’s five movements is a character portrait of a hero from the Norse sagas: the vitriolic warrior Skarphéðinn Njálsson (Njál’s Saga), who hacks and hews with his battle axe; the strong-willed Guðrún Ósvífsdóttir (Saga of the Laxardals), who avenges herself against her husband’s killer; the latently heroic comic braggart and coward Björn of Mörk, who takes shelter behind the swashbuckler Kári Sölmundarson, as Kári avenges the deaths of Njál and his sons; Grettir Ásmundarson, who vanquishes the ghost of Glámr in a wrestling match, only to be haunted ever after; and the warrior-poet Tormod Kolbrunarskald (The Foster Brother’s Saga), who pulls an arrow from his heart and even in the throes of death formulates an intricate poem.

    Greet your fate with courage and stoicism. Join me for “Liking the Viking,” on “The Lost Chord,” now in syndication on KWAX Classical Oregon!

    ——–

    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST

    SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EST/8:00 AM PST

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu

  • Let It Snow on “Sweetness and Light”

    Let It Snow on “Sweetness and Light”


    It’s funny, when you’re a kid, there’s nothing more exciting than snow. You stay up half the night, waiting for the first flake, and then in the morning you’re out the door making snowballs and building forts until your mom calls you back for lunch (grilled cheese sandwiches and tomato soup), and your gloves are wet and your fingers are frozen and you’re half-blind as you knock the snow out of the wales of your corduroys, and Mom tells you to take off your boots and not get snow on the carpet.

    When you’re an adult, you put away childish things, and freak out.

    This week on “Sweetness and Light,” we’ll keep calm and carry on, with a program designed to boost your serotonin and minimize your chionophobia (snow anxiety). We’ll welcome what comes with a playlist of snow-inspired works by Ronald Binge, Frederick Delius, Georgy Sviridov, Sergei Prokofiev, Angela Morley, Edward Elgar, Nikolai Rimsky-Korsakov, and Adam Saunders.

    Tune in and drop out – in front of the fireplace with a hot beverage of your choice. There’s no music like snow music, on “Sweetness and Light,” this Saturday morning at 11:00 EST/8:00 PST, exclusively on KWAX Classical Oregon!

    Stream it, wherever you are, at the link:

    https://kwax.uoregon.edu/

    ———

    IMAGE: Princeton’s own Patrick McDonnell tells it like it is

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