Request for Information on American tenor DAVID POLERI
Descartes
I would be grateful for any and all information any of you might be able
to provide regarding Poleri's short career, his repertoire,
his performances, his recordings, his teachers, his education,
his family background. Above all, I would be most interested
to hear any first-hand accounts from people who knew Poleri,
heard him sing live, or worked with him. Finally, I would
appreciate any facts pertaining to his famous walkout
during a performance of Carmen or his bizarre, tragic
suicide. Many thanks.
D.
Valfer
Arts. There he may have studied either with Giuseppe Valdengo or
Dorothy Di Scala. Unfortunately, the Academy's records for the 40's
and 50's were lost some time ago.
You mention a suicide. I thought Poleri had died in an airplane
accident. Can anyone clarify?
Valfer
Descartes <cog...@ergo.com> wrote in message news:<g7v4mu0g0b7qvn6bc...@4ax.com>...
Mitchell Kaufman
> AFAIK, David Poleri graduated from Philadelphia's Academy of Vocal
> Arts. There he may have studied either with Giuseppe Valdengo or
> Dorothy Di Scala. Unfortunately, the Academy's records for the 40's
> and 50's were lost some time ago.
>
> You mention a suicide. I thought Poleri had died in an airplane
> accident. Can anyone clarify?
As I understand it, Poleri and his wife (with whom he had an on-again,
off-again relationship) were killed in a helicopter crash over Hawaii,
where they had gone for a second honeymoon.
The suicide thing may be a reference to a City Opera Carmen in 1953,
where Poleri, the Don Jose, had a dispute over tempo with the conductor
during the performance. Poleri yelled, "Finish it yourself," and stormed
offstage, never to return. Gloria Lane, the Carmen, had to kill
*herself*, while a cover tenor finished the performance from the wings.
MK
--
"Hitting the ball is good." -- Mo Vaughn
Descartes
>AFAIK, David Poleri graduated from Philadelphia's Academy of Vocal
>Arts. There he may have studied either with Giuseppe Valdengo or
>Dorothy Di Scala. Unfortunately, the Academy's records for the 40's
>and 50's were lost some time ago.
>
>You mention a suicide. I thought Poleri had died in an airplane
>accident. Can anyone clarify?
Evidently, you are correct. My info was mistaken.
D.
Tom Kaufman
of material.
He tried to E-mail M. Descartes, but it bounced.
Please e-mail him at:
andy...@acninc.net
Tom
Tom Kaufman
URL of web site:
<A href="www.geocities.com/Vienna/8917/index.html">Tom Kaufman's site</A>
Leonard Tillman
Rusticana in the late '50s - early '60s era... I don't recall his
co-stars, though.
LT
For that elusive "balanced diet": Eat *equal amounts*
of dark and light chocolates.
Mermaid Legs
there a chance a kinescope (or whatever they called them then) might
survive?
"Leonard Tillman" <tapef...@webtv.net> wrote in message
news:4788-3D6...@storefull-2273.public.lawson.webtv.net...
Leonard Tillman
>The Santuzza was Virginia Copeland, and it
> was a performance to die for.
Definitely! Was the baritone an American? I remember that his "Il
Cavallo Scalpita" was one of the better ones.
Copeland was later known as Virginia Gordoni, and under that
name, sang in an excellent Ernani performance, with Corelli, Raimondi,
and (IIRC) Cappuccilli. I believe it's available on CDs.
Poleri, a genuine Tenore Drammatico, was an ideal Turiddu,
inspiring sympathy, despite his "erring ways"....and with singing of
great tonal beauty, - if my recollections some forty years since are
correct.
> Is there a chance a kinescope (or whatever
> they called them then) might survive?
I hope that *someone* has it, - and will be kind enough to make
it available sometime.
I saw it years before getting my very first tape recorder (and
*way* before VCRs were around).
LT
(And who were Del Monaco's co-stars in *his* Cavalleria film?)
--------------------------------------
"Leonard Tillman" <tapef...@webtv.net> wrote in message
news:4788-3D6...@storefull-2273.public.lawson.webtv.net...
"He was also a fine Turiddu in a tv-film or production of Cavalleria
Rusticana in the late '50s - early '60s era... I don't recall his
co-stars, though."
LT
Mermaid Legs
watching it in the apartment of a friend while we were talking about the
kidnapping of Adolf Eichmann from Argentina. The Eichmann business was the
number one news item at the time. So the Eichmann snatch happened in May,
1960, so my extremely good guess is that the CAVALLERIA telecast happened
about that time.
I can also supply the name of the Santuzza in the Del Monaco film. It was
Rina Telli. I saw the film at the old Cinema Giglio on Canal Street in
Manhattan (anybody else remember that place?). About the only thing I really
remember is Del Monaco's entrance: he entered smoking a cigar (or was it a
cigarette?), stopped short when he practically bumped into Santuzza, uttered
the line "Tu qui, Santuzza?" and disdainfully blew a mouthful of smoke in
her face. Great entrance.
"Leonard Tillman" <tapef...@webtv.net> wrote in message
news:25079-3D6...@storefull-2275.public.lawson.webtv.net...
Leonard Tillman
>I believe I can date the Copeland/Poleri
> CAVALLERIA fairly well. I remember
> watching it in the apartment of a friend while
> we were talking about the kidnapping of Adolf
> Eichmann from Argentina. The Eichmann
> business was the number one news item at
> the time. So the Eichmann snatch happened
> in May, 1960, so my extremely good guess is
> that the CAVALLERIA telecast happened
> about that time.
There must have also been a repeat showing, as my viewing of it
was in about '62.
I remember living then in an apartment other than my 1960 address. So
there must, at least for a while, have been a recording or kinescope of
it.
>I can also supply the name of the Santuzza in
> the Del Monaco film. It was Rina Telli.
I remember her now. She was garbed in the appropriate dark,
"peasant" dress of the story's era, with shawl, kerchief framing her
face, etc.
>I saw the film at the old Cinema Giglio on
> Canal Street in Manhattan (anybody else
> remember that place?). About the only thing I
> really remember is Del Monaco's entrance: he
> entered smoking a cigar (or was it a
> cigarette?),
Cigar, I think.
>stopped short when he practically bumped into
> Santuzza, uttered the line "Tu qui, Santuzza?"
> and disdainfully blew a mouthful of smoke in
> her face. Great entrance.
It also made him a little less *simpatico*, at first.....almost
causing one to begin rooting for Alfio, right then and there!
LT
------------------------------------------------------------
From: sharp...@hotmail.com (Mermaid Legs)
"Leonard Tillman" <tapef...@webtv.net> wrote in message
news:4788-3D6...@storefull-2273.public.lawson.webtv.net...
"He was also a fine Turiddu in a tv-film or production of Cavalleria
Rusticana in the late '50s - early '60s era... I don't recall his
co-stars, though."
LT
LT
David7Gable
>Rusticana in the late '50s - early '60s era... I don't recall his
>co-stars, though.
Wasn't Farrell Santuzza?
-david gable
Mary Neuhoff
company in Southern California. It was named The Beverly Hills Civic =
Opera Association, and its only "distinction" upon formation was having =
Mario del Monaco and Gabriella Tucci as honorary board members (a former =
accompanist of Del Monaco's was the musical director). I was not a =
singer as such, but was pressed into singing in the chorus because I =
could carry a tune, didn't sound unpleasant, could read music, knew =
Italian, AND, among the women with high voices, was willing to sing =
second soprano.
The company was ambitious in its initial production undertakings. The =
first, in 1960, was "Il Trovatore." The following year it was "Aida." =
I knew little of David Poleri, except that he had the reputation of =
being something of an enfant terrible. I don't recall how it was that =
our little company secured his services as Radames for our several =
performances, but it did. We were absolutely a "nobody" as far as opera =
companies went. Our foolish stage director was the one who arranged for =
Jose Ferrer to be Amonasro. Ferrer was his nextdoor neighbor and could =
not sing at all, but wanted to sing opera in the worst way, which was =
the way he did it <g>.
Neither Poleri or Ferrer ever rehearsed with us prior to the dress. =
Ferrer did not sing at the dress, claiming "a cold". Ferrer never did =
really sing. Poleri, of course, did, and did a quite OK job of it. =
During his short time with us he was no problem at all. I just could =
not imagine what he was doing THERE!
Evelyn Vogt Gamble (Divamanque)
I attended (one of) the performance(s). I don't remember
how he sang, but I was surprised the soprano let him live.
(Had I been she, I would have at least severely bitten the
hand with which he insisted upon covering her face during
the last act duet!) BTW, I think the "way you secured his
services" was because Herbert Weiskopf (a fairly well-know
conductor, later to help found the Portland, Oregon Opera)
asked him to sing it. (Also, the fact that his career was
not exactly flourishing at the time - it was too soon after
that Carmen fiasco for people to be enchanted by the
"opportunity" of hiring him.)
I also remember Jose Ferrer's Amonasro. We had heard him in
a "coaching" lesson at Weiskopf's house (ours being
scheduled after it), so knew he couldn't sing, but assumed
he would at least ACT an impressive King of Ethiopia. Not
so - apparently the strain of trying to do something to
which he was so ill-suited got in the way of his normally
impressive acting talent, too.
FYI, one or two of the local singers who made up the rest of
the cast went on to have quite successful careers in Europe,
although they remained more or less "unknown" in the U.S.
HelenMynrd
Hartford ..must have been in 1954 or so..(I was lucky, Frank Pandolfi ran the
company and I was his student ....fun!).and David came to do Cav.
there...(Resnik was the Santuzza.) He blew the high note in the first aria, (I
heard he had been out carousing the night before....but who knows....)
Anyway......we all got a big kick out of him coming into the women's dressing
room unannounced.......I guess you are right, infant terrible! Love and
sing..HelenM
>jbpoodles writes"
Mary Neuhoff
it was that =
[....] BTW, I think the "way you secured his
> services" was because Herbert Weiskopf (a fairly well-know
> conductor, later to help found the Portland, Oregon Opera)
> asked him to sing it. (Also, the fact that his career was
> not exactly flourishing at the time - it was too soon after
> that Carmen fiasco for people to be enchanted by the
> "opportunity" of hiring him.)
> [....]>
> FYI, one or two of the local singers who made up the rest of
> the cast went on to have quite successful careers in Europe,
> although they remained more or less "unknown" in the U.S.
Was one of those singers the mezzo Estelle Blanchette? Hope so. I
thought she was marvelous. The other sensational voice I recall from
that group was Michael Andor, a baritone.
I'd forgotten about Weiskopf, who, of course, led the Beverly Hills
Symphony for our "Aida".
Leonard Tillman
were featured in them.
Some went on to fame, most did not...for whatever the reasons.
The little opera-group I often remember most was "The Stuyvesant Opera
Company", run by the late voice teacher/soprano/pianist, Stella Sweeney
(of practically sacred memory, to me).
The singers were, as to be expected, of varying quality. One
excellent "spinto" baritone, Charles Long (who strongly resembled Sam
Ramey) actually did "make it" to the New York City Opera, performing
Alfio and Tonio in "Cavalleria" and "Pagliacci" -- but disappearing from
their roster way too soon. I remember his wife also, - one of the best
lyric sopranos I've ever heard - *anywhere*.
There was a magnificent mezzo, Adele Bonser, a tall goodlooking
woman vocally and facially very similar to Marilyn Horne.
Also, two real Basso-Prrrrofondi, John Morgan and Mario Arano.
A tall, very talented spinto-tenor named Stephen Tamkin, often
cast as Manrico, Don Alvaro, Don Jose, etc.
The frequent Faust was lyric-tenor Marty Brahms, who I recall
toying with the idea of maybe singing *baritone*..
An actual baritone, George Maldonado who performed a fine Rossini
Figaro...
Bob Paulucci, bass-baritone.
Todd Brown, basso-buffo..
-- These are just a few of the likeable -- and very gifted -- folks
I often remember from about 25 - 28 years back.
....And as we know, "not all of the cream rises to the top" (nor
remains there)..
LT
"Truth, though scarce, often seems to be in greater supply than demand."
-- Henry Wheeler Shaw, aka "Josh Billings", 19th Century American
humorist and very astute person.
Leonard Tillman
Stuyvesant Opera Co.
And Friedrich (Fred) Saam, bass-baritone;
And for the moment, last but not least, a personal Fave of mine - the
gorgeous Florence Sammon, the Musetta of most of their La Bohemes.
None to be forgotten..
Valfer
we believed) to sing "Gianni Schicchi" in San Juan, back in 1972. The
production came to a screeching halt due to "problems", among them
Ferrer's cancellation. He never showed up to rehearse, and the show
was cancelled a week before opening night. Later we found out that
the producer had not paid him, thus provoking the cancellation. We
never heard Ferrer sing, although we trusted that his acting would
compensate for any faulty vocalism. He did come later to do a
spectacular "Man of La Mancha", although the vocal demands of the
musical are well below those of the Puccini opera.
Jose Ferrer's interest in opera dated back to the 40's, when he met
the tenor Antonio Paoli in San Juan. I don't know if he actually took
any voice lessons from him, or from his sister Amalia, but as far back
as 1949 he expressed a desire to be the first singing actor to perform
Iago in both Shakespeare and Verdi/Boito. At that time he reportedly
had the baritone voice to achieve this.
Valfer
TheDivo
I haven't heard some of those names in many years. I did a number of operas
with Stephen Tamkin including a wonderful Forza. He was indeed a talented
tenor with, dare I say, a Corelli-like sound. I've often wondered what happened
to him. I also knew George Maldonado very well. I did Tonio in Pagliacci and
he did Silvio and we also alternated as Danilo in a production of Merry Widow.
If I'm not mistaken George is still performing in the NY area.
I think anyone trying to get operatic experience in the early 70's knew
Stella Sweeney. A wonderful lady who was always willing to give young singers
an opportunity to perform. I don't think there are as many venues in NY today,
such as The Stuyvesant Opera, where a young singer can get stage experience in
various operatic roles.
Leonard Tillman
I (LT) wrote:
"I'm interested in these recollections of such groups and the singers
who were featured in them.
Some went on to fame, most did
not...for whatever the reasons. The little opera-group I often remember
most was "The Stuyvesant Opera Company", run by the late voice
teacher/soprano/pianist, Stella Sweeney (of practically sacred memory,
to me).
The singers were, as to be expected, of varying
quality. One excellent "spinto" baritone, Charles Long (who strongly
resembled Sam Ramey) actually did "make it" to the New York City Opera,
performing Alfio and Tonio in "Cavalleria" and "Pagliacci" -- but
disappearing from their roster way too soon. I remember his wife also, -
one of the best lyric sopranos I've ever heard - *anywhere*.
There was a magnificent mezzo, Adele
Bonser, a tall goodlooking woman vocally and facially very similar to
Marilyn Horne.
Also, two real Basso-Prrrrofondi,
John Morgan and Mario Arano.
A tall, very talented spinto-tenor
named Stephen Tamkin, often cast as Manrico, Don Alvaro, Don Jose, etc.
The frequent Faust was lyric-tenor
Marty Brams, who I recall toying with the idea of maybe singing
*baritone*..
An actual baritone, George Maldonado
who performed a fine Rossini Figaro...
Bob Paulucci, bass-baritone.
Todd Brown, basso-buffo..
-- These are just a few of the likeable --
and very gifted -- folks
I often remember from about 25 - 28 years back.
-------------------------------------------
> I haven't heard some of those names in
> many years. I did a number of operas with
> Stephen Tamkin including a wonderful Forza.
I saw him in one, with an excellent Carlo di Vargas, sung by John
McEvoy (if I correctly recall his surname), and John Morgan as Padre
Guardiano.
( This baritone, McEvoy, another of Stella Sweeney's group, also was
her main Don Giovanni, in a cast including the aforementioned Brams as
Ottavio, Paolucci and Brown respectively as Masetto and Leporello, and
Morgan as Il Commendatore.)
> He was indeed a talented tenor with, dare I
> say, a Corelli-like sound.
On a "spinto-scale", he did have that quality.
Tamkin also acted similarly to, and even *resembled* Corelli, --
especially as Don Jose in his final few moments, as he's about to
"finish off" Carmen (Adele Bonser). His facial and vocal intensity,
very Corelli-like, were among the best I've witnessed in live
performances.
>I've often wondered what happened to him.
Last time I ever saw him was in a '77 or '78 Aida production of that
company.
>I also knew George Maldonado very well. I did
> Tonio in Pagliacci and he did Silvio and we
> also alternated as Danilo in a production of
> Merry Widow. If I'm not mistaken George is
> still performing in the NY area.
I also saw him as Tonio. I'm not certain of this, but he may be
connected or acquainted with Tony Amato of the Amato Opera Company on
NYC's lower Eastside,
(q.v.: - Great site:
http://amato.org/ )
- and possibly involved in teaching or preparing young singers for
performances.
> I think anyone trying to get operatic
> experience in the early 70's knew Stella
> Sweeney. A wonderful lady who was always
> willing to give young singers an opportunity to
> perform.
She was a great human being whom I'll never forget. I also remember
her husband, Tony Marietta, who personally hand painted, crafted, and
sculpted the various scenic backgrounds and props of these presentations
- which imparted the needed effects, if on a necessarily small-scale.
>I don't think there are as many venues in NY
> today, such as The Stuyvesant Opera, where
> a young singer can get stage experience in
> various operatic roles.
If there now are any that are comparable, I haven't heard of them.
And if I seem nostalgic and very fond of that group, - it's only
because I am. Many of their performances were IMO more gratifying than
much that I've been to at the Met and NYCO, or anywhere else.
Mark D Lew
(TheDivo) wrote:
> I think anyone trying to get operatic experience in the early 70's knew
> Stella Sweeney. A wonderful lady who was always willing to give young singers
> an opportunity to perform. I don't think there are as many venues in NY
today,
> such as The Stuyvesant Opera, where a young singer can get stage experience in
> various operatic roles.
Some colleagues who have been bicoastal tell me that the main difference
between New York and the SF area is that while New York has more companies
at the higher levels, as well as plenty at the no-budget/workshop level, it
lacks the abundance of medium-sized, in-between companies that one finds in
California.
--
Incidentally, during the hour break between afternoon and evening legs of a
rehearsal yesterday, I had nowhere better to go so I stayed in the
rehearsal space. It turns out that the accompanist had scheduled a coaching
with a local singer. By sticking around I got to listen in on a fellow who
sang a very respectable Siegfried (in Siegfried). They ran through about
half the role, and he sounded completely up to the part to me -- maybe not
a superstar, but respectable at any level.
I only mention this because certain people in this group seem to think that
Siegfried is among those roles which are virtually uncastable and there's
no one alive who is capable of doing it. I think that's nonsense, of
course.
mdl
Evelyn Vogt Gamble (Divamanque)
Mary Neuhoff wrote:
>
> Was one of those singers the mezzo Estelle Blanchette? Hope so. I
> thought she was marvelous. The other sensational voice I recall from
> that group was Michael Andor, a baritone.
I'm not sure - I'll ask Wanda (Weiskopf) next time I see her
- she'd probably remember, having been more closely
associated with the whole thing (being married to the
conductor). BTW, I thought she had done the Amneris, but
I'm probably getting it mixed up with other productions.
(We both sang the role frequently - sometimes in alternating
performances.)
pamelag...@gmail.com
j-stav...@tamu.edu
nat...@comcast.net
james...@gmail.com
james...@gmail.com
sunc...@gmail.com
Im always grateful if anyone has any unedited recordings , or wants to help me have his unedited rca pieces brought to the light.... theyre in a vault and I was told by a sony archivist that it would cost 12,000....... any philathropists out there?? ciao, Leslie
Capobagarino
Capobagarino
singe...@kdwelt.de
Frank
daniel...@mindspring.com
> I am collecting information on American tenor DAVID POLERI.
> I would be grateful for any and all information any of you might be able
> to provide regarding Poleri's short career, his repertoire,
> his performances, his recordings, his teachers, his education,
> his family background. Above all, I would be most interested
> to hear any first-hand accounts from people who knew Poleri,
> heard him sing live, or worked with him. Finally, I would
> appreciate any facts pertaining to his famous walkout
> during a performance of Carmen or his bizarre, tragic
> suicide. Many thanks.
>
> D.
He went on a charter small plane out in Hawaii where he viewed volcanic activity...the plane got too close to cinders or magma in a small eruption... emitting from a small eruption of the volcano and went down...crashed into the magma and all on board the small plane were incinerated.
dshe...@gmail.com
> I am collecting information on American tenor DAVID POLERI.
> I would be grateful for any and all information any of you might be able
> to provide regarding Poleri's short career, his repertoire,
> his performances, his recordings, his teachers, his education,
> his family background. Above all, I would be most interested
> to hear any first-hand accounts from people who knew Poleri,
> heard him sing live, or worked with him. Finally, I would
> appreciate any facts pertaining to his famous walkout
> during a performance of Carmen or his bizarre, tragic
> suicide. Many thanks.
>
> D.
