Helen Traubel
DM
internet for more information. In the meantime. What is you opinion of
this singer? Where would you slot her in comparision to others? What
was her best work? Verdi, Wagner, etc
dan
Drakejake
I think she suffered from getting her opera career going rather late and being
punished by Bing for singing in nightclubs, if memory serves. She reportedly
developed a fear of high notes mid-career. On records the voice is rock steady
and richer and darker than that of Flagstad, but perhaps less flexible. One of
the great Wagnerian singers of the 20th century despite the short duration of
her involvement with this repertoire, compared to others.
Jake Drake
Mike Richter
A fine assessment, but there are some other aspects. Her career was
almost entirely at the Met where Bing limited her rep to Wagner (the
exceptions are particularly uninteresting). She did release an LP of
Italian which makes me believe that 'he done her wrong'. In fact, her
voice was remarkably flexible for one of such dark timbre and such great
size.
Her high notes were never particularly strong and transposition was the
rule, not the exception. Overall, I would say that Flagstad represented
the goddess, Traubel the woman. Traubel's "Frauenliebe und -leben", like
Flagstad's "Vier letzte Lieder", represents a pinnacle of song
interpretation and presentation.
Terrymelin
especially in the role of Isolde. In various live recordings Traubel seems to
be creating a character whereas Flagstad is just after beauty and solidity of
sound. Not that there's anything wrong with that. Just my humble opinion.
Terry Ellsworth
Adam Callahan
> Judging from recordings and contemporary accounts, she had a huge, rich voice.
> I think she suffered from getting her opera career going rather late and being
> punished by Bing for singing in nightclubs, if memory serves. She reportedly
> developed a fear of high notes mid-career.
more interested in her social funcions and her designer costumes than
working on her voice, in particular, working on her top notes. It was
easier to transpose the high C's down than spend a lot of time working
on vocal technique, which interested her less and less as time went
on.
It was her carbaret act in Las Vegas that forced Bing to ban her (even
though it was a very tasteful show from all reports), and rightfully
so. The Met felt such behavior was compromising to their artistic
standards and whether one agrees or not, they made the rules and one
either followed them or went elsewhere.
When one looks at her 16 season career at the Met, and it wasn't all
that short considering the repertoire she was in, it is interesting to
note she sang more Gotterdammerung and Walkure Brunnhilde's than
Flagstad did. And by 1953, she had a lot of competition from Harshaw
and Varnay, and Nilsson was already on the horizon and it probably
didn't take too much prodding for Helen to throw in the towel. I
would have loved to have heard one of her four Marschallin's. JAG
Drakejake
outside the Met.
Traubel--a creamy, luscious, feminine voice. She didn't use as much portamento
as Flagstad. Traubel sang the music very straight--no coloring or added
emotional expression .All notes hit head on, no scooping, except perhaps for
an occasional effect. But the voice was inherently expressive, so what she did
was plenty. If you want to hear steady tone and evenness of registers from top
to bottom, listen to her. She was a worthy partner to Melchior, who found that
her temperament matched his playfulness better than Flagstad's. Together
Traubel and Melchior were super-heroic. Perhaps she should have switched to
mezzo at some point. Nevertheless, one of the great dramatic soprano voices of
all time.
Jake Drake
Drakejake
information I have, she sang 176 times at the Met, 168 times in Wagner. I
stand by my statement that her opera career was rather short. She got into her
real opera career late and stopped quite early. But she was interested in
other things and wrote several novels, including Murder at the Metropolitan.
But I only have sketchy information on her and welcome corrections and
additions.
Jake Drake
daniel f. tritter
laziness was hardly the problem with her high notes. she started and ended as a contralto, and the upper
extension required for the hochdramatische sopran fach was, with considerable study, added on, which
sometimes, particularly in her latter career, made it a chancy reach for traubel.
the cabaret act came as a result of her guest appearances on radio with beloved comedian jimmy durante
[who also had some movie fun with traubel's constant wagnerian opposite number, lauritz melchior], when
it was revealed that she had a great sense of humor, a ready raucous laugh, and an endearing lese
majeste about herself. she was a down to earth native of st. louis, who a adored her st. louis browns
[who moved in 1953 to baltimore, to become the orioles and leave its cellar-dwelling past behind]
baseball team. her appearances at the met became fewer and fewer... based on bing's antipathy toward
wagner repertoire, which at the same time ended melchior's met career, as well as the presence of varnay
[who moved her career to germany for the same reasons] and harshaw, splitting the scant wagner evenings
available. when bing gave his "my way or the highway" ultimatum on traubel's club act, with her met
career plainly coming to an end, with the big bucks available in las vegas for the relatively easy club
act she had developed, leaving the met caused her no regret. she certainly had proven all she needed, as
the reigning wagnerian [with varnay] at the met between flagstad and nilsson. later, she had a modest
success on broadway as the bordello keeper in rodgers and hammerstein's "pipe dream." her recordings
with melchior/toscanini/nbc symphony, as well as a burnnhilde with rodzinski and the nyphil remain
landmarks in the repertoire. she is a voice out of my childhood who helped bring me to the opera house,
and the traubel sound will not leave my memory.
dft
sorry, but nilsson was not on the horizon in 1953, just an interesting but not yet renowned soprano. her
met debut isolde did not happen until the end of 1958.
=======================
EvelynVogtGamble(Divamanque)
Adam Callahan wrote:
>
> It was laziness. Anybody who knew Helen knew she was a "party-girl",
> more interested in her social funcions and her designer costumes than
> working on her voice, in particular, working on her top notes. It was
> easier to transpose the high C's down than spend a lot of time working
> on vocal technique, which interested her less and less as time went
> on.
Hmmm.... How well did you know her? Wanda Weiskopf (widow of Herbert
Weiskopf, the founder of the Portland OR opera) studied voice with her
in St. Louis as a girl - she has a totally different assessment of the
lady.
daniel f. tritter
Drakejake wrote:
actually, she was at the met for 16 seasons, making her debut in may 1937 as mary
in world premiere of "the man without a country," and repeating the same role into
the following season [though only four performances in all]. her wagner tenure
began with a december 1939 sieglinde and extended until her final [of 44 with the
met] 89isolde in march 1953. she had only two kundry forays, in march-april 1950.
her only other non-wagnerian appearances after her debut were four marschallins in
january 1951.
traubel's operatic career did not spring full-blown from the head of zeus. she had
considerable experience in europe before coming to edward johnson's attention. and
let us not forget that [always with the exception of the epochal career of astrid
varnay] wagnerian sopranos seldom arrive as fresh-faced youngsters. such seminal
sopranos as frenstad, lehmann [both lilli and lotte], leider, flagstad, konetzni,
nilsson, latterly joanna meier, janis martin and any number you care to name, all
had toiled in the vineyards, doing repertoire from operetta on up, or in lower
voice categories, before essaying the daunting dramatic german repertoire.
dft
Adam Callahan
not interested in perfecting her instrument. Certainly lack of
interest definitely was. Helen's mind was on other things other than
vocal technique and the work needed to produce all those notes she
avoided. Simply put, she was lazy and content to slough along and
wasn't too concerned about top notes.
As a teacher, she must have been a real inspiration: if you can't hit
the note, that's ok, just sing anything!
And as for Nilsson, she was very much on the horizon in the early-mid
50's, in Glyndebourne, Munich, Stockholm, Vienna and the Met was
undoubtedly aware of her a long time before her debut in 1959 because
she made her debut in San Francisco in 1956. Many tapes exist of her
performances at Bayreuth between 1954 and 1970 from Bayreuth.
Don't get me wrong, I love Helen's sound, definitely in a three-way
tie with Flagstad and Harshaw. AC
HenryFogel
>From: JAG...@aol.com (Adam Callahan)
>Date: 1/28/2003 2:01 PM Central Standard Time
>Message-id: <7f87ea9c.03012...@posting.google.com>
>
>I don't know what one calls it, other than laziness, when a singer is
>not interested in perfecting her instrument. Certainly lack of
>interest definitely was. Helen's mind was on other things other than
>vocal technique and the work needed to produce all those notes she
>avoided. Simply put, she was lazy and content to slough along and
>wasn't too concerned about top notes.
I think some of us arel interested in some documentation of your knowledge of
Helen Traubel. Are you speculating, based on what you hear in the singing, or
did you actually know her and know of her work habits? A flawed top is not
necessarily the result of laziness -- although that can be one cause. Did you
feel Tebaldi was lazy too, since her top was never free and open?
Henry Fogel
Big Bob
habits. I remember her well, heard her live a number of times, and even now
can hear the sound of that huge, clear voice in my mind. Of all the singers
I have heard, only Traubel and Nilsson produced a volume that pulsated
uncomfortably on the eardrums. Traubel had a short top, and at her last
performances (in 1953?) she was ducking even B-flats in "Tristan." But she
was generally regarded as the ultimate in technique. I remember when Ljuba
Welitsch appeared, the NY Times wrote that "Among today's singers, not even
Helen Traubel has a more secure vocal technique." (Three years later,
Welitsch would be half of what she was, but I don't know the reasons.) From
all I had read, her late arrival at the Met was due to her overly severe
standards and the huge amount of work which applied to her singing.
Furthermore, she was an extremely accurate singer, and that accuracy is
documented on the various pirate tapes.
In short, I doubt Mr. Callahan's statements about Traubel and wish he would,
as they say, put up or shut up.
"Adam Callahan" <JAG...@aol.com> wrote in message
news:7f87ea9c.03012...@posting.google.com...
Edward A. Cowan
primarily from her Met broadcasts and from recordings. To be sure, I did
not start hearing those Met broadcasts until 1946, when I was all of
*eight* years old. But by 1950, I knew who Traubel was.
Alas, as recordings of those broadcasts will demonstrate, her upper
register had vanished by 1950, as can be heard from her Elsa to
Melchior's Lohengrin in the latter's farewell broadcast from the Met.
(It's on CD from Danacord.) There are recordings from much earlier, such
as the Met broadcast of _Die Walkuere_ from Dec.6, 1941, which offers
Traubel's first broadcast of the role of Bruennhilde (and Schorr's last
one as Wotan), plus the professional stage debut of Astrid Varnay as
Sieglinde. (I did hear Varnay and Nilsson. Indeed, I heard Varnay as
Elsa also in 1950 in a Met tour performance in Houston.) This _Walkuere_
is on Naxos (available from the UK). There exists also a _Tristan_ with
Traubel and Svanholm (on Myto) and a _Tannhaeuser_ from the early 1940's
cond. George Szell. (Not sure of the label of this one.) The 1951 Met
_Ring_, with Traubel as Bruennhilde in _Siegfried_ and
_Goetterdaemmerung_, is also available from the UK on the Gebhardt
label. I heard the original broadcasts of that cycle.
The soprano's commercial recordings include an Immolation Scene from
_Goetterdaemmerung_ cond. Toscanini (with a splendid Act 1, Sc.3, from
_Die Walkuere_ with Melchior). She recorded Act 3 of that work with
Rodzinski and the NYPO (never on CD, AFAIK). There was a compilation of
her Wagner recordings for Columbia on Sony Masterworks Heritage. (This
set is essential, also, for Melchior's extended scene in _Tristan_, Act
3.) There is a collection of her 78s on the Preiser label.
Hope this helps...
--E.A.C.
Matthew B. Tepper (if there are backslashes in this address, it is forged)
letters to be typed in news:1fpida2.jfl82p1jk7xhcN%eac...@anet-dfw.com:
> (I did hear Varnay and Nilsson. Indeed, I heard Varnay as Elsa also in
> 1950 in a Met tour performance in Houston.)
As always, I am consumed with envy. I heard Varnay "in the house" too, but
it was as Richard Strauss' Herodias in San Francisco in 1974! Fortunately,
I did manage to hear Nilsson as Isolde in the same house.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Mark Coy tossed off eBay? http://makeashorterlink.com/?M2B734C02
RMCR's most pointless, dumb and laughable chowderhead: Mark Coy.
EvelynVogtGamble(Divamanque)
Indeed - hers was the voice I idolized, when I was a young, aspiring
singer - I envy a friend of mine, who actually studied with her!
>
> Jake Drake
EvelynVogtGamble(Divamanque)
"Edward A. Cowan" wrote:
>
> I regret never having heard Helen Traubel in person. I heard her
> primarily from her Met broadcasts and from recordings. To be sure, I did
> not start hearing those Met broadcasts until 1946, when I was all of
> *eight* years old. But by 1950, I knew who Traubel was.
The first opera I ever heard was Valkyrie on a Met tour shortly after
WW2, with Traubel as Brunhilde and Varnay as Sieglinde. Oh yes, there
was also a comparatively new mezzo as Fricka - Blanche Thebom. How
often, nowadays, does one find three of that caliber on the same stage
in the same production?
Mitchell Kaufman
> Elsa also in 1950 in a Met tour performance in Houston.) This _Walkuere_
> is on Naxos (available from the UK). There exists also a _Tristan_ with
> Traubel and Svanholm (on Myto) and a _Tannhaeuser_ from the early 1940's
> cond. George Szell. (Not sure of the label of this one.) The 1951 Met
> _Ring_, with Traubel as Bruennhilde in _Siegfried_ and
> _Goetterdaemmerung_, is also available from the UK on the Gebhardt
> label. I heard the original broadcasts of that cycle.
Also, a Met Tristan with Melchior (Leinsdorf, cond.) on Naxos, available
via the usual sources (MDT, etc.).
MK
David7Gable
As far as I'm concerned--not that my opinion is that controversial in this
instance--Traubel was one of the three or four greatest Wagnerian dramatic
sopranos of the twentieth century along with Frida Leider, Kirsten Flagstad,
and possibly Birgit Nilsson. Traubel was somewhat overshadowed by her
contemporary Flagstad, but she was easily a singer of the same caliber.
Flagstad had a somewhat warmer voice and maybe even a greater personal warmth
and probably a slightly larger instrument, but Traubel was arguably the more
intelligent singer and a real powerhouse in her own right: there is a greater
incisiveness, more backbone, in her projection of Wagner's rhythms than in
Flagstad's. Leider was perhaps the greatest of them all, singing the most
tricky and intricate nearly atonal passages in Tristan with an ease and
accuracy that have yet to be surpassed. Leider was also the most imaginative
of these singers in the phrasing and expressivity department, but Traubel was a
very musical and expressive. In fact, Leider, Flagstad, and Traubel were all
so great that's it's churlish to insist on ranking them.
A splendid souvenir of Traubel's artistry is the NBC SO broadcast concert from
the late 40's with the following program:
Die Walküre: Act I, Scene 3
Die Götterdämerung: Dawn, Love Duet ("Zu neuen Taten"), & Siegfried's Rhine
Journey
Melchior is the tenor, Toscanini the conductor. Unfortunately,although they
stem from the same concert, these two excerpts were released on two separate
CD's, but both are well worth tracking down.
Naxos has released a terrific live Tristan und Isolde with Traubel and Melchior
in the title roles with Leinsdorf conducting. I've never heard the Buenos
Aires Tristan with Traubel, Melchior, and Fritz Busch that Gebhardt has
released.
-david gable
David7Gable
>an occasional effect. But the voice was inherently expressive, so what she
>did
>was plenty.
Yes, this is exactly what I was trying to convey in my post. Rhythmically she
was rock solid, and she sang very expressively but "artlessly," in a completely
unmannered fashion.
-david gable
Commspkmn
<< Naxos has released a terrific live Tristan und Isolde with Traubel and
Melchior
in the title roles with Leinsdorf conducting. >>
It is terrific, and Traubel is particularly effective in conveying Isolde's
anger in Act I. She is really a force of nature there.
Ken Meltzer
Big Bob
person she was. She loved baseball, hotdogs and beer, and she had the
biggest, most infectuous laugh on earth. She and Jimmy Durante became
something of a radio team, and even made at least one comedy record
together. Beginning around 1946 and extending to her retirement around 1953,
she could really be called "America's Sweetheart," challenging Kate Smith
and comparable to the more recent Beverly Sills in terms of personal
popularity. There is, or at least WAS, a video of her Voice of Firestone
appearances. The material is mostly light, but there is a "Du bist der Lenz"
and a "Hoyotoho" (I believe it is transposed down, but am not sure). Between
1954 and 1961, Traubel also appeared in at least three movies -- you can
find out the details by doing a Google on "helen traubel films". She wrote
an autobiography ("St. Louis Woman") that is more believable than most diva
tomes, and she also wrote at least one murder mystery. I've always thought
she was a woman who would have been a genuine delight to know.
Leonard Tillman
deployed as frequently in Italian opera, as in Wagner repertory, but
well displayed on a (probably out-of-print) 10" LP of Italian arias.
She virtually "stole the show" with her portrayal of a singer-friend
of Sigmund Romberg's (Jose Ferrer) in the biopic, "Deep In My Heart,
Dear", and provided some fine comedic moments in "The Ladies' Man",
playing a partial "spoof" of herself, IIRC.
Helen Traubel and Jimmy Durante, truly a "duet made in Heaven",
recorded the ditty,
"Our voices were meant for each other."
(After one hearing, who would dare *deny* it?, -- or be so heartless
as to want to? [Never mind. we know.].)
She was to many of the general public, and in a positive sense, -
the epitome of the Opera Diva of vocal grandeur.
LT
"Music is moonlight in the gloomy night of life."
-- Jean Paul Richter
Matthew B. Tepper (if there are backslashes in this address, it is forged)
letters to be typed in news:20030129160417...@mb-mf.aol.com:
> As far as I'm concerned--not that my opinion is that controversial in
> this instance--Traubel was one of the three or four greatest Wagnerian
> dramatic sopranos of the twentieth century along with Frida Leider,
> Kirsten Flagstad, and possibly Birgit Nilsson.
They are all in my "top group," although I wouldn't want to have to miss
Astrid Varnay, Martha Mödl, Marjorie Lawrence, and at least one Konetzni.
PARSIFAL13
with those who admired her work. This was truly a remarkable voice. I was
wondering, though, why no one has written a book about her? Considering the
wealth of material that could be included, it would make fascinating reading.
Maybe when Mr. Tuggle finishes his Flagstad biography he will want to do one on
Helen? It is sorely needed. P13
Mitchell Kaufman
FWIW, Traubel did publish an autobiography of sorts, called "St. Louis
Woman." It was recently reprinted:
http://makeashorterlink.com/?Z20212843
MK
EvelynVogtGamble(Divamanque)
Speaking of books, didn't she write one? Not an autobiography, a murder
mystery - title something "Murder at the Met".
David7Gable
>on
>Helen? It is sorely needed
There is always her own autobiography, the title of which escapes me at the
moment.
-david gable
Leonard Tillman
PS:
The forward is by James C. Olsen...
Is he, perchance, a Cub Reporter?
Congrats, Jim.
Leonard Tillman
GRNDPADAVE
"Nobody knows the Traubel I've seen"?
:>)) G/P Dave
Leonard Tillman
>Was it Sir Rudolf who lamented:
>"Nobody knows the Traubel I've seen"?
>G/P Dave
Some might say that Sir Rudolf could be a "Traubel-maker" in his
own right... I guess he didn't "kvell" at HT's romantic duet with the
great, and one-and-only James Durante.. :
http://www.cris.com/~oakapple/gasdisc/piraten.htm (#12, of the "bonus
tracks")
Matthew B. Tepper (if there are backslashes in this address, it is forged)
letters to be typed in news:20030130190405...@mb-cq.aol.com:
> Was it Sir Rudolf who lamented:
>
> "Nobody knows the Traubel I've seen"?
No, Jimmy Durante, ostensibly after making an ill-timed visit to her
dressing room.
G POLLIONI
richly-coloured voice. During her Met career, she sang Wagner almost
exclusively, and she sang it quite well.
That said, true aficionados of the art nearly never find her work entirely
satisfying. She was, to begin with, "short on top" --lacking in security at
the top of the voice. She would have been a great Sieglinde, but was relegated
to and identified with Brunnhilde and Isolde more than any other roles. Of the
176 performances she gave with the Met, only 8 were not of Wagnerian parts.
She also did 4 Marschallins very late in the day (1951) and four of Mary in "
Man Without a Country" by I cannot recall whom.
In her singing of Wagner, she was known for taking every cut that could be
taken, and for fighting to keep all the cuts open. She once told Birgit
Nilsson that she couln't understand why she (Nilsson) sang the works uncut, and
Nilsson replied that she sang them at Bayreuth -- an easy way out of the
embarrassment that comes from dealing with a colleague whose point of view
reflects inferior artistry.
For inferior artistry it was: the skirted or botched attempts at high notes,
the cuts, the lack of imagination and so on - all of these led to her being
pretty much dismissed when the likes of Varnay, Nilsson and Crespin came into
their own in the '50s. Flagstad, of course, was virtually of a previous
generation -- but even she was active long after Traubel had departed the scene
in a musical sense.
Traubel made a few notable records -- I immediately recall a ten-inch Columbia
LP of Brahms lieder with Conraad V. Bos at the piano -- also a recording of the
Wesendonck Lieder that was quite fine (memory says Stokowski and the
Philadelphia Orchestra, about 1940). She also sang very memorably with
Toscanini on a few occasions -- the best known being 2/22/41 wherein she sang
excerpts from Tannhäuser, Die Walküre and Götterdämmerung with Lauritz
Melchior. This performance, all of which is preserved and much of which is
widely circulated on commercial and private CDs, shows her at very best: high
notes are NOT avoided, the intellect is engaged to maximum effect (although how
much of this the Maestro is responsible for one can only guess -- one supposes
a very great deal of it), and the sheer beauty of the instrument is exhibited
most effectively.
It would be cliché at this point to say that, "she wasn't very good by the
standards of that time but we'd trade our eye-teeth to have her now." This is
not the case really however: Waltraud Meier may not have as refulgent a voice,
but she is infinitely preferable as Isolde, even a trifle long-in-the-tooth as
she now is. Voigt also is a better artist and a better singer and far more
versatile to boot. Two decades ago, much the same could have been said of
Hildegard Behrens, although she is far too old now. The point is that all of
these women have lead or are in the midst of long careers, during which they
have sung a wide variety of roles and taken risks upon which considerable
reputations have been built. Had Helen Traubel allowed herself to be bothered
to anything of the kind, she might have been a truly extraordinary artist with
a memorable career, but this is sadly not the case.
Gene
dtritter
inaccurate, and, i would surmise, written by a fellow who never heard
helen traubel live, any more than the chance that any of us ever heard
the great olive fremstad. while i treasure my recordings, i have never
been under the illusion that [particularly with those made in the studio
more than a generation ago] they represent more than an approximation of
the voice heard live in a theater. this is inevitably the case with
larger voices. closer to our own time, i speak of birgit nilsson, whom i
heard dozens of times from her met debut forward, to regine crespin,
whom i likewise heard from the early 'sixties on, and leonie rysanek,
whom i first heard at aix in 1952 and her nearly four deacades or so at
the met. the recorded voices of these and many comparable "presences"
have only a fractional impact of the voices heard in performance. i
would suggest that the pollioni observations here are that same distance
apart from the reality.
dft
===========================================
alexis du champignon
-AdC
dtritter <dtri...@bway.net> wrote in message news:<3E3D322E...@bway.net>...
and leonie rysanek,
> whom i first heard at aix in 1952 and her nearly four deacades or so at
> the met. > ===========================================
Shahrdad
"HenryFogel" <henry...@aol.com> wrote in message
news:20030128152748...@mb-fa.aol.com...
Both Crespin and Ponselle had short tops too, and I don't think either was
"lazy."
s.
Leonard Tillman
> documentation of your knowledge of Helen
> Traubel.
>Are you speculating, based on what
> you hear in the singing, or did you actually
> know her and know of her work habits? A
> flawed top is not necessarily the result of
> laziness -- although that can be one cause.
> Did you feel Tebaldi was lazy too, since her
> top was never free and open?
>Henry Fogel
----------------------
>Both Crespin and Ponselle had short tops too,
> and I don't think either was "lazy."
>s.
---------------------
-- It seems doubtful, that from new or veteran listeners hearing any
of these artists' recordings, - the word "lazy" will be among their
prominent and likely reactions.
Leonard Tillman
- In the beginning, there was nothing. And G-d said, "Let there be
Light." And there was still nothing. But, at least you could see it. "
sch...@gefen.cc.biu.ac.il
: Was it Sir Rudolf who lamented:
:
: "Nobody knows the Traubel I've seen"?
It was Jimmy Durante, who walked into her dressing room before she was
finished dressing, and exited, singing "Nobody knows the Traubel I've seen."
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"You go on playing Bach your way, and I'll go on playing him *his* way."
-- Wanda Landowska
Matthew B. Tepper (posts from uswest.net are forged)
letters to be typed in news:b1rd2c$998$2...@news.iucc.ac.il:
> In article <20030130190405...@mb-cq.aol.com>, GRNDPADAVE
> <grndp...@aol.com> wrote:
>
>: Was it Sir Rudolf who lamented:
>:
>: "Nobody knows the Traubel I've seen"?
>
> It was Jimmy Durante, who walked into her dressing room before she was
> finished dressing, and exited, singing "Nobody knows the Traubel I've
> seen."
I think I said that a few days ago.
Andre Storfer
cease to amaze us....even if we need to remind you to remind us.
It's _my_ "raison d'être."
AES
"Matthew B. Tepper (posts from uswest.net are forged)" wrote:
>
> <sch...@gefen.cc.biu.ac.il> appears to have caused the following
> letters to be typed in news:b1rd2c$998$2...@news.iucc.ac.il:
>
> > In article <20030130190405...@mb-cq.aol.com>, GRNDPADAVE
> > <grndp...@aol.com> wrote:
> >
> >: Was it Sir Rudolf who lamented:
> >:
> >: "Nobody knows the Traubel I've seen"?
> >
> > It was Jimmy Durante, who walked into her dressing room before she was
> > finished dressing, and exited, singing "Nobody knows the Traubel I've
> > seen."
>
> I think I said that a few days ago.
>
> --
> Matthew B. Tepper: duck!
sch...@gefen.cc.biu.ac.il
: <sch...@gefen.cc.biu.ac.il> appears to have caused the following
: letters to be typed in news:b1rd2c$998$2...@news.iucc.ac.il:
:> In article <20030130190405...@mb-cq.aol.com>, GRNDPADAVE
:>: "Nobody knows the Traubel I've seen"?
:> It was Jimmy Durante, who walked into her dressing room before she was
:> finished dressing, and exited, singing "Nobody knows the Traubel I've
:> seen."
: I think I said that a few days ago.
I think you did (a rink-a-dink-a-doo), but I penned my response before I
had seen yours. I gladly defer to you in terms of priority.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
It's a bird, it's a plane -- no, it's Mozart. . .
Leonard Tillman
> dressing room before she was finished
> dressing, and exited, singing "Nobody knows
> the Traubel I've seen."
Mr. Durante, btw, recorded an especially likable version of
"September song", as one would expect from him.
LT
MBT wrote:
(Re - above quote:)
>I think I said that a few days ago.
Uh...."alrighty, then!"..
Leonard Tillman
"97.37853% of the people who use statistics in arguments make them up. "