Jacques and I were at the Musée d’Orsay two days ago, and as I was standing in admiration of the Bourdelle bronze bust of Beethoven, Jacques cried out his famous “Don’t move! – Ne bouge pas !” A few hours later, he handed me a memory stick with this picture on it. And today by all accounts it is Beethoven’s birthday. So…
Recalling the night Eleanor Steber sang ‘An die ferne Geliebte,’ in Jordan Hall, Boston. It was the first time I heard that perfect song cycle, sung with shimmering beauty and impeccable classical elegance. So taken was I that it became my project. It ended up on the program of my graduate recital, and is deeply a part of me ever since.
Recalling ‘Adelaïde’ sung by Björling. A CD we bought in a discount store at Santa Fe, I was engaged there for the two-month season in ‘Don Giovanni.’. The song was on continuous play while in the drenching sunlight we spent wondrous hours on free days, driving amid the scenic glories of New Mexico with ‘Adelaïde’ as theme song.
Recalling ‘Fidelio,’ the most magnificent opera. The supreme Wagnerian Kirsten Flagstad – of all people – said that Beethoven was her preferred composer, and how I understand! Having sung Rocco so many times, perhaps of all scenes I prefer that very still, suspended moment of counterpoint in the exquisite vocal quartet which depicts sincere love and innocence, and hope – amid despair… I remember a night while seated in the audience at the Met, where at the very first sounds of that overture, tears, indescribable tears of emotion, came to me. One of the greatest orchestras in the world, in that glorious acoustic, and so far across the sea from Beethoven’s homeland. Many years before, at the Deutsche Oper in Berlin, Barry McDaniel had invited me to hear him perform as the Second Prisoner. “It’s not a very long role, but you will surely remember forever that scene with the liberated prisoners…” Yes, that’s true; and the final scene with Josef Greindl was not bad either!
Recalling The 9th Symphony, and the stirring experience in London to share the platform with Arleen Auger, a moment that counted for me most particularly. But my name on a Decca recording had little real personal impact until one midday in August when I was sharing a vacation with my Mother and we were driving around eastern Canada. When the classical station suddenly aired the last movement, I recognized my voice instantly. So did Mom. The emotion, again, was that of gratitude to the great Beethoven, for bringing together these elements in such a circular and perfect message to every man in every land, the Ode to Joy, ode to freedom, ode to some kind of hope for the future of our civilization…