Music Meets Drama

  It was Christmas Day dinner 1983 in my apartment in Elmhurst, Queens.   Among those at the table were my friends Jon, Greg, Edwin McArthur and his wife, Peggy.   The dinner conversation flowed between multiple subjects including church music of the season, politics and the weather.   Once those subjects faded into eating the main course and dessert, Edwin began to hold court with his reminiscences of his colorful, storied and many years in the classical music world.   We peppered Edwin with questions about famous opera singers of his long career.  He knew all of them, had worked with them and had very strong opinions about each and everyone of them.     It was either 1981 or 1982 when my friend Jon introduced me to Edwin.   He insisted that we would hit it off and I would enjoy hearing Edwin’s stories.   Jon was right.     Edwin arrived in New York City in the late 1920s.   He was the son of a Colorado minister....

  Six year ago the movie Florence Foster Jenkins starring Meryl Streep and Hugh Grant hit the big screen and was a hit.   Based on the play Souvenir which played Off-Broadway and Broadway starring Judy Kaye, both the play and movie highlight the life and singing career of New York City’s socialite Florence Foster Jenkins.     For decades singers and the public have been introduced to and listened to the recorded singing of Florence Foster Jenkins (1868-1944) which leads to uproarious laughter and head shaking disbelief that someone could possibly sound like that and be proud of it.   Her sense of pitch is precarious, correct rhythm was not in her personal music lexicon and phrasing did not seem to interest her.   Her recitals presented in her apartment or private clubs were by invitation only.   With over-the-top costumes designed by her and befitting the arias she was performing she added flowers, props and even some dancing.   Because ...