• Tim Curry: From Frank N. Furter to Mozart (With a Digression on Frank Langella’s Dracula)

    Tim Curry:  From Frank N. Furter to Mozart (With a Digression on Frank Langella’s Dracula)

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    And now Tim Curry is gone. He’ll always be remembered for his audacious turn as Frank-N-Furter, but here he is as Mozart, with Ian McKellen as Salieri, in “Amadeus.” This production of Peter Shaffer’s play opened on Broadway in December 1980, its U.S. debut, also featuring Jane Seymour as Constanze. “Amadeus” was first presented in London in 1979, with Paul Scofield as Salieri and Simon Callow as Mozart. Curry’s death was announced yesterday. He was 80 years old.

    There are a few Broadway shows I missed that I would have loved to have seen. In 1980, I was still basically a kid, and if my parents didn’t take me to see something, I didn’t see it. Thankfully, we did go to a few shows a year, mostly musicals, though my parents went to more (which I don’t begrudge them!). Given my burgeoning interest in classical music (I made them listen to a cassette of the “Eroica” Symphony on a drive in to the city), I don’t know why we didn’t see “Amadeus.”

    Another show I would have gone crazy for was the Edward Gorey production of “Dracula,” with Frank Langella (who also played Salieri on Broadway, opposite Dennis Boutsikaris as Mozart). Before I was bitten by the classical music bug, I was crazy for the Universal horror pictures. My parents did see this one. I don’t know why I wasn’t invited. I can’t complain, though. I saw a lot. I just should have seen these two!

    From what I understand, there is an audio-visual recording of the McKellen-Curry “Amadeus” archived at the New York Public Library of the Performing Arts, but it is accessible only for research purposes. I don’t know if “Dracula” was documented.

    I was beyond excited when I saw the trailer for Langella’s film version (with music by John Williams!), but by all accounts, the Broadway show was the one to see. The film was viewed as a disappointment (and, Langella aside, it is), but on Broadway it was a sensation, with Tony Awards for Gorey’s costume designs and for “Most Innovative Production of a Revival.”

    Bela Lugosi appeared in the original Broadway production in 1927, 50 years earlier. Of course, Lugosi went on to star in the classic 1931 film and was typecast as a horror actor for the rest of his life.

    You’ll find images of the “Amadeus” Playbill at the link:

    https://playbill.com/production/amadeus-broadhurst-theatre-vault-0000002018

    Langella and Boutsikaris in “Amadeus”


  • Goodbye, Dolly

    Goodbye, Dolly

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    I know I’m the last person on the internet to post about Dolly Parton. By the time the news of her death broke yesterday, I had to hurry up and get ready and be out the door. But my reaction was one of surprising sadness for the passing of one I never met and whose career I never followed particularly closely. It’s just that Parton’s been in the public eye and in our popular entertainment for basically my entire life. So I found myself thinking, “Oh no! Not Dolly!”

    I know she was having some health challenges, but she had just posted an upbeat, folksy update on social media, I thought only a week or two ago, but I guess she recorded it some time back, and it had only just popped up in my feed. What a lovely person she was, with real concern for others. She never forgot her hardscrabble origins, and undoubtedly her own struggles – and faith – informed her inexhaustible empathy. But I also suspect she was just made that way.

    She set up a foundation to promote literacy and education for kids. She helped finance hospitals and medical research. When forest fires swept through the Great Smoky Mountains in her native Siever County, she organized a telethon and rallied corporate support to raise more than $9 million in aid. Why can’t we have someone like her as president?

    I’m very sorry to learn of her passing. The woman defined exuberance and positivity. Also, she was a hell of a songwriter, who touched millions around the world with her 100-watt beautiful soul. May she rest in peace.


  • The Sound and the Furry: Leonard Bernstein

    The Sound and the Furry:  Leonard Bernstein

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    One of a kind. Happy birthday, Lenny!

    The sound and the furry: Bernstein conducts Haydn’s “The Bear.”


  • Kile Smith, Renaissance Man

    Kile Smith, Renaissance Man

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    I believe I first met Kile Smith when I invited him onto my radio show, “The Lost Chord,” in 2009. The idea was to bring Kile, at the time host of WRTI’s “Discoveries from the Fleisher Collection,” and Marvin Rosen, host of WPRB’s “Classical Discoveries,” together, so that we could jawbone about forgotten, new, and neglected composers, and also share some unusual music.

    While each of our shows had their own distinctive character, there was an undeniable kinship in their questing spirits, and anyway I always admired both men for their programming and their passion. All-encompassing enthusiasm for what one does is invariably compelling. Also, Kile always expresses himself so well, and he’s got a winning presence. Anytime he filled in for another announcer on WRTI, as a listener I felt I’d hit the jackpot.

    For this particular program, I handed hosting duties over to composer Robert Moran – the only guest host “The Lost Chord” has ever had – so that I could take my seat at the round table. Well, we had a blast, I think, and afterward we retired to Triumph Brewery. Interestingly, I later wound up working with both Kile and Marvin, thanks in no small part to their advocacy, at WRTI and WPRB.

    My friendship with Kile has endured, and although we don’t see one another very often, there is social media and email to offer the illusion of connection, and every time we do meet, at a concert or for a coffee, I think we both walk away feeling enriched. I know Kile elevates me. He is generous, insightful, clever, funny, and real. And I don’t mind saying, I love listening to his voice.

    I can’t believe it was on that visit in 2009 – which now seems so long ago – that Kile handed me a recording of his brand-new “Vespers,” featuring the acclaimed choral group The Crossing and the equally esteemed early music ensemble Piffaro, The Renaissance Band. The work is a modern masterpiece and deserves to be performed everywhere. I am honored to have been able to use my position as a radio host to broadcast it a number of times. More often, I’ve played this movement, a real standout, which Kile introduced on my show: his setting of Psalm 113. It’s just so… timeless.


    As a composer, a writer, a broadcaster, a photographer, and probably a whole lot of other things I don’t even know about, Kile radiates talent. But he’s also a hell of a nice guy.

    Today is his birthday, so send him some love!

    You’ll find lots of good things on his website, kilesmith.com.


  • First the Music, Then the Words: A Belated Farewell to Jill Gomez

    First the Music, Then the Words:  A Belated Farewell to Jill Gomez

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    When soprano Jill Gomez died on August 11, I was strangely silent. Ordinarily, I’m on the computer and pounding out an obituary or an appreciation as soon as I’m possibly able. But Gomez played such colorful, at times controversial parts, that I had a hard time figuring out how to write about some of them. I don’t even know if I can use certain words on Facebook without having the post removed or suppressed by the algorithm.

    At any rate, this writer (uncredited!) does such a marvelous job of encapsulating her roles and sketching in her personality, I now need only link the article (see below), which originally ran in the British publication The Telegraph (there paywalled).

    It’s interesting to note that her career also crossed several times with that of Ileana Cotrubaș, who died on Thursday at 86. (They both sang Britten’s Tytania and alternated in a production of Debussy’s “Pelléas et Mélisande”.) If not for Cotrubaș’ passing, I’m not sure I would have returned to Gomez. I am glad to finally be able to honor her and put it to rest.

    https://www.aol.com/articles/jill-gomez-soprano-went-topless-105557000.html

    From Britten’s “Les Illuminations”


    She could sing Mozart, too.


    Jill Gomez was 83 years old. R.I.P.


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