The scene – the summer of 1978
in the ballroom of the Holiday Inn in Pendleton, Indiana. On an out-of-tune upright piano my friend and
colleague, George Daugherty, is accompanying me as I am singing for Metropolitan Opera
mezzo-soprano, Rosalind Elias - a private master class with this wonderful
singer.
I finish an aria, Miss Elias
corrects a few things, makes suggestions and gives compliments. George and I then launch into a second aria
and when finished Miss Elias again offers a critique and praise. She is gracious, honest, kind and proffers
professional advice.
Miss Elias asked where I was
going to school and I respond that George and I are students at the
College-Conservatory of Music in Cincinnati.
Immediately she asks, “Do you study with Italo Tajo?” Yes, I had been directed by him in the opera La Cenerentola and had taken his opera
characterization class.
In our continuing
conversation, she states that Italo is a great teacher and colleague. A year or two earlier, Miss Elias had
performed Rosina in Il Barbiere di
Siviglia with Mr. Tajo directing.
Watching her face light up while she described the experience indicated
the joy she had working with him. She had sung the role of Rosina many times
before working with Italo. Rosalind recounted how he had opened her eyes with new
insights into Rossini’s music and his staging brought her a whole new
perspective on the character. The opera
had come alive like she had never experienced previously. She poured compliments on the great Italo
Tajo as a teacher, director and colleague. She then said I should make sure to listen to
all he has to offer as Italo had a deep connection to an operatic era that must
be kept alive.
Adding to her Italo Tajo
story, she went on to recount her recent performances of Charlotte in Werther with tenor Alfredo Kraus in the
lead role. Again, her face lit up with
the excitement of having worked with a wonderful colleague, someone who also
taught her something new. Each evening
as Mr. Kraus sang the aria, “Pourquoi me réveiller”
he held a letter in his hand and at the exact moment each evening, the letter
floated out of his hand to the stage floor.
Miss Elias said that every evening her heart skipped a beat as the
letter left his hand as it always took her by surprise. It was organic, it was intense, it was a
transcendental love sick poet moment where his emotions gripped his colleague’s
heart. She asked Mr. Kraus how he was
able to recreate that moment every evening making it new and yet always the
same. His response was that the moment
was in the music waiting for him to express it.
She held great respect for him as he taught her something new and something
to add to her own musical knowledge.
As I listened to her stories I
realized that though Miss Elias was an accomplished Metropolitan Opera star,
someone who performed around the world, she was vulnerable, warm and always a
student seeking out new ideas and ways to improve her craft. Always a student!
How did this experience
happen? Well, my friend and colleague,
George Daugherty, made it happen and I am thankful to him for asking Rosalind
Elias if she would take the time to listen to me sing. All these years later, I remember her warm and
encouraging spirit. Thank you,
George.
George was the founder, conductor and director of his own
Pendleton Festival Symphony in his hometown of Pendleton, Indiana. That summer Miss Elias was his featured
soloist with his orchestra and the Harvard Glee Club. George invited me to be Miss Elias’s
understudy - learn her arias and the
Brahms’ Alto Rhapsody, then rehearse
with the orchestra and George the night before Miss Elias arrived. What an honor and privilege to work with
George and his fine orchestra. And, I
learned a great deal from the experience - always a student.
Ever the student and not one to pass up a new opportunity
to perform …. in 2011, Miss Elias made
her Broadway debut at the age of 81 in Stephen Sondheim’s Follies! Sadly, Rosalind
Elias died on May 3, 2020. I’m sure she
continues her quest of always being a student!
#BringingBackBranscombe
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