Sills vs Horne at La Scala
J. Michael Parr
I find it amazing that this old operatic rubbish is being dredged up for new
life on the internet. Marilyn Horne did not recommend Sills to La Scala or
anybody.How could she ? She had never worked with her previously and as her
carreer was pretty busy on her own meritts at this time in question I
seriously doubt that she had even heard her sing.If Horne would have
recommended anyone it would have been Joan Sutherland.
According to Sills last autobiography she was recommended to Thomas
Schippers by New York City publicist Edgar Vincent who handled many conductors
pr. Schippers spoke with her directly before she got the job of replacing
Renata Scotto. If any singer was involved in recommending Sills for the job
it would have been Justino Diaz who worked with Sills many times before.
All this is an interesting aside to a performance which judging by the cds
had everyone at their respective best including the often wayward Franco
Bonisolli. A fascinating keepsake to have alongside the EMI recording of the
Met cast 6 years later.
Mike
Musipro
dl...@FreeNet.Carleton.CA (J. Michael Parr) wrote:
>I find it amazing that this old operatic rubbish is being dredged up for
new
>life on the internet. Marilyn Horne did not recommend Sills to La Scala
or
>anybody.How could she ? She had never worked with her previously and as
>her career was pretty busy on her own meritts at this time in question I
>seriously doubt that she had even heard her sing.If Horne would have
>recommended anyone it would have been Joan Sutherland.
According to Horne's autobiography (_My Life_, with Jane Scovell), she
*does* claim to have mentioned Sills' name when the question of casting
Pamira was being mentioned. According to her, first Caballe, then Renata
Scotto were cast; both dropped out, Scotto because of pregnancy. Then La
Scala wanted _her_ to sing Pamira, but Horne, already set for Neocle,
refused the soprano role, and suggested Sills. Horne goes on to say some
quite nasty things about how Beverly Sills repaid her by trying to usurp
the lion's share of publicity from the smash La Scala performance. See _My
Life_, pages 160-165.
It actually is an interesting question, at least to me, why Horne did not
suggest Joan Sutherland for the role, which I believe the latter never
sang. Vocal unsuitability? Lack of time for an admittedly slow learner to
tackle the complex role? Who knows.
g paul padillo
J. Michael Parr wrote:
>
> I find it amazing that this old operatic rubbish is being dredged up for new
> life
>>
>Thanks, Mike! I was pretty flabergasted to see this coming up as well. I love Sills & Horne and having tried once to get my own career off the
ground know how difficult it can be and how easily other artists can
take offense when you become the "star". Horne seems to have been
rapidly mad at Sills when Time magazine, and all of the hoopla
surrounding that redheaded gal from Brooklyn making her big eyetalian
opera debut. I doubt Sills (obviously caught up in the whole broohaha
herself) a thoroughly committed artist and fairly moral woman, would
have tried to sabatoge Horne or steal any of her thunder. Besides, the
public nearly almost always goes for the soprano and the tenor more than
the mezzo or baritone. Horne should've realized that & got her own
damned publicist. But the Met's later choice of Verrett is quite
thrilling on its own merits. (But I won't trade my cd's of the Scala
performances for ANYTHING!)
Paul.
dkessler
I know that there was 'bad blood' between Horne and Sills. This was told
to me by Jim Nabors, at the time a close friend of Jacquie and since he
is now deceased, I suppose it is Ok to repeat it. Jacquie was upset with
'Bubbles' over her grabbing or attempting to grab all of the publicity on
the LE SIEGE DE CORINTH at Scala. Also, Jacquie had suggested that they
perform together again but Sills never got back or did not respond
subsequently.
William Prien
In <E82Iy...@nonexistent.com> dkessler
are two of my very favorite singers. As for Sills getting the lion's
share of publicity, well, I can understand why. Mainly, she had one of
the best PR guys in the business, Edgar Vincent. Also, it was her debut
at La Scala, in a role new to her repertoire. I think Horne made one of
the few tactical errors in her career by debuting at La Scala earlier
in a production of Oedipus Rex in the role of Jocasta. Thus, her
appearance in L'Assedio was, for PR purposes, less of an event than
Sills'. It would really have been something had it also been Horne's La
Scala debut. In any event, it was a spectacular performance from both
ladies, and I am glad to have it documented on CD. I would have paid a
zillion dollars to have been in the audience!!!
In spite of a promising crop of new mezzos and coloraturas, there
will never be another Bubbles or Jackie...
Cheers,
William Prien
ca...@ix.netcom.com
James Jorden
Musipro wrote:
> According to Horne's autobiography (_My Life_, with Jane Scovell), she
> *does* claim to have mentioned Sills' name when the question of
> casting Pamira was being mentioned.
Horne also claims to have recommended Magda Olivero to the Met to sing
"Tosca". She may be giving herself a little too much credit.
My guess is a number of names were discussed; someone asked Horne her
opinion of Sills; Horne replied, "I hear she's pretty good." That's not
exactly the same thing as having the light bulb go off over your head.
--
james jorden
jjo...@ix.netcom.com
http://www.anaserve.com/~parterre
"Without Jews, Gypsies and homosexuals, there is no theater."
-- Mel Brooks in "To Be or Not to Be"
solovoice
>I know that there was 'bad blood' between Horne and Sills. This was told
>to me by Jim Nabors, at the time a close friend of Jacquie and since he
>is now deceased, I suppose it is Ok to repeat it. Jacquie was upset with
>'Bubbles' over her grabbing or attempting to grab all of the publicity on
>the LE SIEGE DE CORINTH at Scala. Also, Jacquie had suggested that they
>perform together again but Sills never got back or did not respond
>subsequently.
>
Jim Nabors is deceased? Gomer Pyle? When did that happen?
They that can give up essential liberty to obtain a little temporary safety deserve neither liberty nor safety -- Benjamin Franklin
Ken Marder
<<I know that there was 'bad blood' between Horne and Sills. This was
told
to me by Jim Nabors, at the time a close friend of Jacquie and since he
is now deceased, I suppose it is Ok to repeat it. >>
When did Jim Nabors die, he was just seen at the Oscars.
Ken Marder in Chicago
Musipro
g paul padillo <gpad...@ix.netcom.com> wrote:
>I love Sills & Horne and having tried once to get my own career off the
>ground know how difficult it can be and how easily other artists can
>take offense when you become the "star". Horne seems to have been
>rapidly mad at Sills when Time magazine, and all of the hoopla
>surrounding that redheaded gal from Brooklyn making her big eyetalian
>opera debut. I doubt Sills (obviously caught up in the whole broohaha
>herself) a thoroughly committed artist and fairly moral woman, would
>have tried to sabatoge Horne or steal any of her thunder.
Let's not go too far toward canonizing Ms. Sills, though--she _did_ cut
that costume in half when the wardrobe mistress wouldn't redo it to go
with her hair. (Not that I don't think she had good reason--it certainly
made a good scene, besides)
Sills was quite aware of her own worth and how to promote herself. She is
quite straightforward about threatening to quit the NYCO in 1966 unless
Julius Rudel gave her the production of _Giuilio Cesare_ that was
originally set to go forward with Phyllis Curtin. Her career vision was
perfect in that instance, of course--the Handel opera really brought her
to international notice. I can tell you from firsthand knowledge, though,
that Miss Curtin hasn't forgotten about it, nor does she agree with
Beverly that "there has never been any bitterness between Phyllis and me
over the matter."