@OperaPhila with the Fringe goes pop!

Operatoonity.com review: Andy: A Popera, an Opera Philadelphia Showcase presented by Opera Philadelphia and the Bearded Ladies Cabaret Troupe
Live performance: Saturday, September 20, 2015, 8:00 p.m.
Fringe Festival, 1526 North American Street, Philadelphia
Music: Heath Allen & Dan Visconti
Libretto: John Jarboe in development with Sean Lally & ensemble
4.5 out of 5.0 stars




Andrei portrayed by Mary Tuomanen becomes Andy Warhol | photograph Dominic M. Mercier

Andrei portrayed by Mary Tuomanen becomes Andy Warhol | photograph Dominic M. Mercier

Who knew a great yoga class could do more than increase your strength and flexibility? Apparently, a particularly bone-crushing class inspired an artistic partnership between senior managers at Opera Philadelphia and The Bearded Ladies Cabaret Troupe. The end result? Andy: A Popera–an original and provocative exploration into the life of the godfather of pop art offered up for the 2015 Philly Fringe Festival.

The evening began in an art gallery adjacent to the warehouse performance space called Bahdeebahdu. Preshow festivities included dressing up as a Campbell’s Soup can (#iamasoupcan), enjoying the Bearded Ladies’ refreshing party punch, and eyeing hulking chandeliers crafted from found materials. The preshow was a window into what was to come–a hedonistic and provocative night of popera, full of surprises.

At the preshow, bohemian guests mingled with other audience members. These bohemians eventually became characters in the popera, which was totally fitting. Even as audience members, they possessed an I’m-extra-special quality that would  have attracted someone like Andy Warhol, who developed a love affair with celebrity culture.

The band wore boxes on their heads as the audience entered the warehouse littered with boxes. Young Andy crawled out of box to start the show, a box symbolizing his extreme introversion and his being sheltered due to a rare childhood disease called chorea.

Mary Tuomanen as Andrei and his over protective Slovakian mother Julia played by Malgorzata Kasprzycka

Mary Tuomanen as Andrei and his over protective Slovakian mother Julia played by Malgorzata Kasprzycka | photograph by Dominic M. Mercier

On page 11 of the program, the audience is explicitly warned about interactive nature of the show, that by the act of attending, one consents to being filmed and photographed. Several people in the audience got their 15 minutes of fame as the result of being filmed and broadcast on the large overhead screen or pulled onto stage.

While the popera unfurled itself in a warehouse converted to a theatre for the occasion, we were simultaneously introduced to many other Andy’s sung by the well-trained Opera Phila chorus members as well as the flamboyant “stars” of Warhol’s famous “Factory” productions.


Andrei (Mary Tuomanen) creates several replicas of himself, known as Andy | photograph by Dominic M. Mercier

Composers Allen and Visconti created a vehicle which effectively showcased the cabaret voices of The Bearded Ladies as well as the glorious operatic tones of Opera Philadelphia singers. Part exploration, part clever homage, part burlesque, Andy: A Popera reminded me of the sensational contemporary opera Anna Nicole, which is also a biopic of a highly dysfunctional American blonde freak of nature. (Hint: Would LOVE to see Anna Nicole come to Philly, too.)

Superstar Edie (Kristen Bailey) and Andy (Mary Tuomanen)

Superstar Edie (Kristen Bailey) and Andy (Mary Tuomanen) | photograph by Dominic M. Mercier

Actor/playwright Mary Tuomanen was extraordinary as Andrei and later Andy. She conveyed a naturalness portraying and singing Andy that seemed to suggest Andy was born for the life he led–an authentic artist whose individuality couldn’t be dimmed by societal strictures. Tuomanen and Kristen Bailey as Superstar Edie had a superstar turn atop a hightop cardboard  box in Act 1.

Another highlight of Act I was the scene Marilyn’s Baptism by Paint, devoted to Warhol’s famous Marilyn Diptych of 50 photos showing Marilyn Monroe as not just sex symbol but as a person.

Warhol's Marilyn Diptych

Warhol’s Marilyn Diptych

While critics might claim that anyone can create pop art like the Marilyn Diptych, the point Andy: A Popera makes is that only one person did, and Warhol changed the landscape of art as a result. An homage to the work featured a musical rainbow of Marilyns singing and prancing about on the stage.

 Andy creates colorful replicas of Marilyn Monroe (Karina Sweeney, Jackson Williams, Katherine Mallon-Day, and Veronica Chapman-Smith)

Andy creates colorful replicas of Marilyn Monroe (Karina Sweeney, Jackson Williams, Katherine Mallon-Day, and Veronica Chapman-Smith) | Photograph by Dominic M. Mercier

Actor Sean Lally had his fifteen minutes of fame as Joseph the ecdysiast, who is outfitted with a banana costume as part of Andy’s entourage before he peels it all off. (And I do mean all.) While his physique and performance certainly inspired, he is also deserving of praise for his meaningful work as co-librettist with John Jarboe. What a richly textured and deeply-layered work from which one emerges with new or renewed understanding of Andy Warhol and the pop art revolution!


Joe (Sean Lally) is a Warhol Superstar who dresses as a banana | photograph by Dominic M. Mercier

Top performance honors must be awarded to Scott McPheeters portraying the drag queen Candy. Sometimes Candy sang her own numbers and sometimes she was voiced by Opera Phila sopranos. Every moment McPheeters was on stage was electrified by his presence.

Candy (Scott McPheeters) performs her big Death Scene

Candy (Scott McPheeters) performs her big Death Scene | photograph by Dominic M. Mercier

Candy’s Death Scene was a tour de force. Bravo, McPheeters. Brava, Candy.

One of the opera’s most grating characters was Valerie Solanas played by Kate Raines. Valerie was a radical feminist who published the SCUM MANIFESTO, and who shot and nearly killed Andy for misplacing one of the scripts in 1968. Raines played her as a paranoid schizophrenic without apology, which resulted in the audience growing tired of her, as perhaps Warhol and his entourage did. No song stylist, her numbers were difficult to listen to, becoming more strident as her paranoia increased. Her second act departure was welcomed.

Val (Kate Raines) hijacks the Popera to perform her own opera

Val (Kate Raines) hijacks the Popera to perform her own opera | Photograph by Dominic M. Mercier

Sadly even Andy’s mother Julia Warhola eventually demands her fifteen minutes of fame in Act II, while Andy recovers from the shooting, a la Mama Rose in Gypsy.

The popera ellipsed Andy’s career a bit too aggressively in the 70s, quickly advancing to his death in the 80s. The program notes that the two companies collaborated on the show for two years, releasing it in bits and pieces. While the show ran long, the second act was underdeveloped compared to the first. Perhaps more Act II and less Act I would give the show more dramatic balance.

Andy: A Popera forced Opera Phila and The Bearded Ladies to create art together in a new way. The Philly Fringe and the arts landscape is richer for this spirited collaboration. While social media, it seems, can cough up 15 minutes of fame for almost anyone, this show reminds us that Andy Warhol did it a time well before our current intoxication with celebrity culture.

I raise a Dixie cup of vodka, cranberry juice, and Tang to Andy: A Popera. It’s not every day that the audience gets to wear a soup can, process through a giant vagina, or witness full frontal nudity in the name of opera. Bring on Anna Nicole.

Leave a Comment

Filed under Uncategorized

Opera Phila tells poignant tale of jazz in one word: Yardbird

Charlie Parker's Yardbird

The cast of Charlie Parker’s Yardbird presented by Opera Phila

Operatoonity.com review: Charlie Parker’s Yardbird, a world premiere co-commissioned and co-produced by Opera Philadelphia with Gotham Chamber Opera
Live performance: Sunday, June 14, 2015, 2:30 p.m.
The Perelman Theater, Philadelphia
Music: Daniel Schnyder
Libretto: Bridgette A. Wimberly
4.5 out of 5.0 stars



Tenor Lawrence Brownlee singing the title role Charlie Parker’s Yardbird | Photos courtesy of Opera Philadelphia

It is a rich and thrilling time in which to live when the world of opera boldly embraces the world of jazz. Virtuosos from one musical realm inspire virtuosity from another, specifically bebop or the style of jazz invented by Charlie Parker and Dizzy Gillespie that employed lightning fast riffs and sophisticated chord structures.

Opera Philadelphia presented a moving homage to the legacy of Charlie Parker with a world premiere of the chamber opera Charlie Parker’s Yardbird. The premise intrigues. On the day of Parker’s death, March 12, 1955, he arrives at Birdland to write his final masterpiece. There he encounters significant figures from his past including his mother, his past wives, his heroin dealer, and even Dizzy Gillespie until his body is identified, and he passes over into the next realm.

In this reviewer’s humble opinion, this work represents where modern opera needs to go: embracing current and timely myths and legends rather than those tales that have been done and overdone by classical composers.

Though robust, Daniel Schnyder’s musical score didn’t embrace as many dimensions as Charlie Parker’s did. Yes, Parker defined bebop together with Dizzy Gillespie, but he also played standards better than any saxophonist of his generation. I was hoping for more diversity of sound, a bit more convention and less aberration, more light and dark throughout. However, Bridgette A. Wimberly’s libretto was poignant and honest–a stunning treatment.

In the scene called ” Calvary,” Parker’s mother Addie and first wife Rebecca sing a tender duet of loss, each echoing the other’s words:

Ain’t easy, it ain’t easy to be a mother, a wife to a strong black man
This land ain’t no place for a jazz bird, for a jazz bird
For a jazz bird like my man got dreams


Tenor Lawrence Brownlee was ideally voiced for the role. Vocally, he’s a monster, to borrow a term from jazz referring to a musician with chops that simply don’t quit. While Charlie Parker became addicted to heroin through no fault of his own–he was recovering from a debilitating accident–he became a drug addict nonetheless. Brownlee is, well, somewhat of a boy scout. Or at least that’s how he comes off onstage. Perhaps he is wild and raucous offstage–who knows? Regardless, a heroin addict is a theatrical challenge for the wholesome-looking Brownlee to portray convincingly.


Soprano Chrystal E. Williams as Charlie’s first wife Rebecca and soprano Angela Brown as Charlie’s mother Addie.

The women in this show were a tour de force. Malleable, versatile, and adaptive, they were more than believable in their roles as discarded women, ex-wives, and illicit lovers. Angela Brown was the loving, long-suffering mother, Addie Parker whose son’s downward spiral evoked audience empathy since that she tells him he has become mean, either from the drugs or the success. She knows she has a prodigy in Charlie and can only wring her hands at his self-destructive choices. She sang with beauty and despair at his wanton choices and was warmly rewarded for her performance at curtain call.

AVA grad Chrystal Williams has been delightful in every role I’ve been lucky enough to catch her in at AVA and Glimmerglass. She can take on any role with sensitivity and believability. She has a clear, powerful soprano voice and tremendous stage presence, and I can’t wait to see her in her next role.


Soprano Angela Mortellaro as Parker’s third wife Doris.

All of Parker’s wives evidenced incomprehensible devotion to him, despite his rejection and infidelity. Angela Mortellaro as Doris Parker and Rachel Sterrenberg as his fourth wife Chan brightened the stage with each appearance. Each had soaring voices and loads of presence on stage. While they each must have loved Charlie for the same reasons, it was hard to believe he could have cheated on either of these desirable women if he’d been of sound mind.


Bird dies in the hotel suite of wealthy jazz patroness Pannonica de Koenigswarter or “Nica,” who endures life-shattering censure and scorn because a black man died in her segregated hotel suite. This lovely heiress, sung by Tamara Mumford with elegance and compassion, helped the audience better appreciate how much sheer appeal and charisma that Charlie Bird Parker possessed.

Tamara Mumford as Bird's patroness Nica.

Tamara Mumford as Bird’s patroness Nica.

From “Powder Her Nose” to “Silent Night” to “Dark Sisters,” it is vitally important to have a company with Opera Philadelphia’s resources and polish introducing contemporary works to today’s operagoers. Someone I greatly respect once said that if today’s opera could combine the melody of the classic works with the relevance of contemporary story, they’d have the ideal marriage of qualities to move opera forward to new audiences in the 21st century. Keep the new work and the chamber operas coming, Opera Phila. You are doing a tremendous service to the art form. Operagoers are indebted to you for your willingness to take chances and advance opera in the new millennium.


Filed under 21st Century Opera, chamber opera, Live opera performance, North American Opera, opera star power, Previews, Regional opera

Opera Phila’s ‘Don Carlo’ oddly satisfying

Operatoonity.com review: Don Carlo presented by Opera Philadelphia
Composer: Giuseppi Verdi; text by Joseph Méry and Camille du Locle
Live performance: Sunday, April 26, 2015
The Academy of Music, Philadelphia


Opera Philadelphia’s Don Carlo |photos courtesy of Opera Philadelphia

The afternoon’s performance began with an announcement that role of Princess Eboli would be sung by mezzo-soprano Ekaterina Gubenova, who would warble from the wings while Michele DeYoung who suffered from bronchitis would act out the role only, lipsyncing throughout. One had to divide one’s attention three ways whenever Princess Eboli appeared–between the raked stage, the wings, and the supertitles.

The unveiling of an incomprehensible design concept followed–an octagonal backdrop that left me scratching my head because I didn’t understand how it related to story of the King of Spain marrying his son’s fiancée, a French princess, to end the war between France and Spain. The idea that one of the most powerful leaders of the Western world pined that the woman he stole from his son didn’t really love him may be a commonly romanticized Verdi sensibility but seemed ludicrous based on the actions of world leaders today.

Finally, at the beginning of the second half, an announcement was made that bass baritone Eric Owens, the show’s most luminous performer, was not feeling well and asked for the audience’s forbearance in the event his powerhouse aria wasn’t at its best.


Bass-baritone Eric Owens as King Philip II | courtesy of Opera Philadelphia

While none of those items individually are deal breakers, they did lend themselves to an unusual experience collectively. The human voice may be the frailest of instruments–we all know that. Nonetheless, the audience is disappointed when it fails the performers in the show they are so expectant to see.

Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

(L-r) Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

As the lovelorn Don Carlo, New York tenor Dimitri Pittas was simply a dream. He looked the role and sung with unrelenting power and fluid grace. Singing the role of his former fiancée Elisabeth was soprano Leah Crocetto, who sang sweetly and precisely but was not ideally suited for the role physically as Don Carlo’s lover, coveted by men.

Leah Crocetto as Elisabeth De Valois

Leah Crocetto as Elisabeth De Valois

Ekaterina Gubanova

Ekaterina Gubanova

While no one would wish bronchitis on any performer, DeYoung’s illness did offer a first-time opportunitiy to hear Gubanova sing Princess Eboli. She recently performed the role at the Metropolitan Opera and was in top voice. She sings with temerity and a sultry black swan quality. I will certainly be looking for opportunities to see her perform in the near future. She was mesmerizing–merely singing opera in concert.

Baritone Troy Cook from Quakertown, Pennsylvania was ideally cast as the passionate Rodrigo who convinces Carlo to ask his father for governorship of Flanders, becomes King Philip’s pawn, and loses his life. He has a compelling presence on stage with a lyric baritone that is beautiful and powerful.

The biggest name on the bill was Metropolitan Opera star Eric Owens as King Philip. Despite the disclaimer that he wasn’t feeling well, his second-half aria where he laments that fact that Elisabeth never loved him was a showstopper. I have seen Owens perform several times, and if he could have sung that aria better than he did that afternoon, it would have been an operatic miracle. That being said, it does detract from one’s willing suspension of disbelief to be notified that he was ill. I was half expecting him to collapse on stage throughout because the aria is so physically and emotionally taxing.

As evil and selfish as he is, somehow King Philip doesn’t emerge from this story as the Numero Uno Baddie. That would be the The Grand Inquisitor sung with chilling menace by bass Morris Robinson.

Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

(L-r) Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

Yes, this opera does remind the audience that the reign of the Spanish Inquisition was one of the darkest periods in Western history. Not an easy feat. Consider all the other major contenders. However, did the production have to look so dark? The costumes varied from black to jet black, the set was dark and enigmatic throughout with dark atmospheric lighting, the storyline is relentlessly dark, and the overall effect was, well, oppressive. Sometimes dark becomes darker with the occasional infusion of light and lightness.

One such reprieve very early on was the Women’s Chorus singing as Elisabeth’s attendants. They were lovely to hear and see. Remarkable that the most oppressed sound and look light and airy in this opera and the oppressors dark and heavy.

Many elements made the show oddly satisfying, the Opera Philadelphia Orchestra notwithstanding. Conducted by Corrado Rovaris, the orchestra delivered one of the most consistently striking and admirable performances of the show.

This was an ambitious show, even for Opera Philadelphia. Often in partnership with other companies, in this case WNO and Minnesota Opera, they continue to offer important and challenging works and not just those that commonly appear in the repertoire. They deserve kudos for performing complex operas that aren’t always easy to enjoy. They are making their mark in the opera firmament by being brave and often upstart, demonstrating there’s room for more than one premier company on the East Coast.


Leave a Comment

Filed under Classic Opera, Italian opera, opera star power, Regional opera, Reviews

LIVING ON LOVE is Laugh-Out-Loud Funny

Operatoonity.com review: Living on Love, a new Broadway comedy in association with the Williamstown Theatre Festival
Live performance: Saturday, April 25, 2015; 2 p.m.
The Longacre Theatre, 220 West 48th Street, NYC
Written by: Joe DiPietro
Based on the play: “Peccadillo” by Garson Kanin
Director: Kathleen Marshall
4.5 out of 5.0 stars




Fleming and Sills in Living On Love, a new Broadway show

Fleming and Sills in #LivingonLove, a new Broadway show, with canine co-star Puccini

Maestro Vito De Angelis is a fiery egomaniac of a conductor with a wandering eye. Raquel De Angelis is a cunning operatic soprano who craves the limelight. The diminishing fortunes of this aging professional couple have reduced them to the prospect of living on love rather than basking in the wealth and fan adoration they enjoyed in their prime. The De Angelises’ marriage is in dire trouble—and the audience loves every second of their suffering.

Opera fans will adore Living on Love. However, even the opera-uninitiated will also have a rollicking-good time, perhaps without fully understanding all the inside jokes: the La Boheme-inspired doorbell chime; the Tweedledum and Tweedledee-style butlers who like Patty and Cathy Lane (of Patty Duke show fame) laugh alike and talk alike, and even walk alike while warbling operatic snippets from opera war horses such as The Barber of Seville; Raquel’s pet Pomeranian named “Puccini,” who dons an over-the-top Aida headdress while lolling in the arms of her doting mistress.

Living on Love is one solidly clever comedy, full of endearing running gags and brimming with crack shot comic performances.

Soprano Renée Fleming as fading diva Raquel De Angelis

V Soprano Renée Fleming is utterly charming as fading diva Raquel De Angelis

The show is set in New York in 1957, during a time when Leonard Bernstein is becoming a household name, much to the consternation of the Maestro played with hilarious pomposity by Douglas Sills, whose once-shiny star is dimming with each accolade of rising supernova Bernstein. The play opens with a recording of Maestro’s recollections slated for his memoir, including his confession that he made love to the entire humming chorus in Madame Butterfly though he has promised his wife, fading but still attractive enough to appeal to younger men, that his Don Juan days are over.

Douglas Sills as the Maestro

Douglas Sills as the Maestro, who claims to have made love to the entire humming chorus of Mme. Butterfly.

Maestro’s resigned to writing his life story, sucked in by the prospect of a hefty advance more than anything, but his temperamental ways and indulgent lifestyle caused him to burn through a half dozen of the publisher’s best ghost writers. As our story opens, Maestro’s tormenting the next ghost writer Little Brown sent over, Robert Samson, played with masterful spinelessness by veteran actor Jerry O’Connell. When diva Raquel played by opera great Renée Fleming returns home early because her international tour is cut short, and because money is in short supply, she decides to write a memoir, too.

Douglas Sills and Jerry O'Connell

Douglas Sills and Jerry O’Connell

Let the games begin.

Living on Love Longacre Theatre

Jerry O’Connell and Anna Chlumsky

Raquel stages the seduction of O’Connell’s gutless author for the sole purpose of enraging her philandering husband, who has laser-focused his libido on his new ghost writer, a spunky junior editor played with moxie by My Girl and Veep star Anna Chlumsky.

The legendary Fleming, America’s reigning soprano, looked absolutely scrumptious whether adorned in Carmen’s scarlet flounces or Kitty-Carlisle apricot chiffon, and endeared the audience by poking fun at her and her notoriously tempestuous ilk. The audience savored every note of the tiny bit of operatic singing she did during what is essentially a straight play that is merely music infused.

Renée Fleming, set to seduce, with Anna Chlumsky looking on

Renée Fleming, poised for seduction, with Anna Chlumsky

Fleming moves with elegance and grace–her presence fills a room. Her comic timing was surprisingly effective considering that she reigns the domain of operatic song. However, the actors cast around her were so stellar—pitch perfect delivery and expert comic timing at every turn—that she was at times outschooled by the Broadway veterans.

In this production, the men absolutely stole the show, from Douglas Sills’ side-splitting running gags (“shiny boy”) to his goofy hairstyles—whether coifed by maple syrup or inspired by Beethoven’s 5th—to Jerry O’Connell (aka “shiny boy” himself), who gave an unforgettable performance as the tortured ho-hum American novelist.  How anyone can be so attractive bear-chested as O’Connell and still be painfully  insecure can only be a testament to his extraordinary acting skills.

"Makin' Whoopee"

Scott Robertson and Blake Hammond (l-to-r) whooping it up while the bosses are preoccupied & “Makin’ Whoopee”

Last but certainly not least was the comic duo of Blake Hammond and Scott Robertson as the stiff-upper-lip butlers who let loose when the master and mistress of the Manhattan pied-à-terre were otherwise occupied. Their “Making Whoopee” vocal and piano duet brought down the house. And there’s nothing anyone can do about it.

All of the production values one expects to see in a Broadway comedy were in abundance—superior set design and décor, elegant costumes, inspired sound effects, foolproof jokes. Credit director Kathleen Marshall for instilling a winning esprit de corps among her troupe and mining comic touches and sight gags at every possible turn.

Living on Love Longacre TheatreThis is a charming show that succeeds without sequined roller skaters, creepy phantoms, or jaw-dropping sets flying in from the wings at warp speed. When it comes to Broadway, in this reviewer’s humble opinion, superior comedic writing, solid directing, and great acting still trump spectacle.

Tickets are available at the show’s website. You can also follow the show on FacebookTwitter, and Instagram. Find out more about the show by googling #livingonlove.


1 Comment

Filed under music and humor, Reviews, sopranos

soprano’s memoir “Call Me Debbie” a 5-star read

Operatoonity.com Book Review: Call Me Debbie: True Confessions of a Down-to-Earth Diva
Author: Deborah Voigt with Natasha Stoynoff
Publisher: Harper, an imprint of HarperCollins
Genre: Memoir
ISBN: 9780062118271
ISBN 10: 0062118277
Publication Date: January 27, 2015
Binding: Softcover (Advance Review Copy)
Pages: 271
5.0 stars

five stars

book cover

One can only peer into those deep blue eyes staring out at you from the cover of Call Me Debbie and wonder how this talented American opera star with the Midwestern good looks could have ever written an engaging memoir? Even into her 50’s, she looks like someone whose life must have been a fairy tale. America’s sweetheart, right?

Memoirs need to be jawdroppingly honest, gritty, and maybe even a little dirty to capture my interest. What could possibly be dirty, gritty, or jawdropping in Deborah Voigt’s life with her gifts and star power? What indeed.

The book’s subtitle Confessions of a Down-t0-Earth Diva does a great disservice to Voigt’s gripping life story. It makes those confessions sound wholesome and entertaining. On the contrary, this book is gutsy and brave. It is startling and, at times, horrifying and deserves loads better than the cheesy subtitle the Harper team slapped on it to attract more readers or a wider reading audience.

Deborah Voigt has one helluva life story to tell and does so with incredible candor and self-effacement. It is a story of emotional abandonment, family-of-origin issues, addiction, size discrimination, self-destructive behavior, promiscuity, self-recrimination, recovery, and rebirth.

Her memoir is divided into three sections: Act I , Piccola; Act II, Accelerando; and Act III, Crescendo.

Piccola is about her growing up in a too-strict household infused with Southern Baptist values, one that saddled her with self-esteem issues that would plague her throughout her adult life. It’s about her natural gifts bubbling to the surface despite her parents’ marital issues and emotional abandonment–the spankings, the jibes, the senseless strictures.

But the memoir really takes off during Act II, per this reviewer, when the reader takes the road with Debbie, vicariously experiencing the intense pressure and the scrutiny of reviewers, audiences, and professional colleagues, while battling the ever-present loneliness that comes with being an international opera star who must travel extensively to work.

While Voigt’s reputation grows because there is no denying her extraordinary gift, so does her size. At one point in the memoir when she is at her heaviest,  she comments that “it’s always open season on fat women.” Listen to this performance of Voigt singing “Dich, Teure halle” from Tannhauser with James Levine conducting, and tell me why it matters in the least what size she is:

YouTube Preview Image

In the opening pages of the memoir, she reveals that she heard God tell her that she was on the earth to sing. After listening to that soaring aria, can any hearing person dispute that God spoke to her like she believes?

Throughout the memoir, Voigt does “kiss and tell”, which makes for occasionally juicy reading, but she also does the equivalent of opening a vein and bleeding out her “sins” and scandalous double-life of binge eating and drinking and one-night stands with men not nearly good enough or decent enough for her.

The hardcover version comes with an 8-page color insert, which sounds ideal. In the Advance Review Copy (ARC) I read which was softcover with no insert, I found myself going to the Internet to see photos of Voigt throughout her professional journey and listening to clips of her arias on YouTube. So, I would recommend the hardcover because of its compelling photographic insert.

Deborah Voigt

Deborah Voigt, before and after her gastric bypass surgery.

As a rule, I don’t read memoir.  It’s extraordinarily hard to write memoir well because you must reveal unflattering things about yourself and your loved ones. Not everyone can do it believably. Most people can’t be that honest and self-effacing.

Besides dropping half her size, if shedding the weight of the double life she was leading (acclaimed artist by day; drunk out of her mind and sleeping around on her days off) led to her recovery, than toi, toi, toi, Ms. Voigt. There are many, many people cheering you on and wishing health, happiness and peace, besides this fan. Please never forget that.

* * *

book coverSpecial Operatoonity Giveaway:
If you’d like to win your own softcover copy of “Call Me Debbie,” leave a comment on this blog below. One winner will be selected by April 15.

Disclaimer: A copy of Call Me Debbie was supplied by Harper in exchange for an honest review.



Filed under 21st Century Opera, artists, Best of Operatoonity, Book reviews, Heartstoppers, North American Opera, Richard Tucker prize winners, sopranos