I was working in the office for the Richard Tucker Foundation’s 28th Gala Concert when I witnessed first-hand the importance of being prepared for “the moment,” the break that can launch a singer’s career. The Tucker Foundation’s mission is to support singers, and for the yearly fundraising gala concert the foundation usually schedules singers who are already stars.
The lineup for this year’s program included Denyce Graves, Salvatore Licitra, Stephanie Blythe, Ruth Ann Swenson, Aprile Millo, Jennifer Larmore, Paul Groves and Kim Josephson. For me, however, the real thrill came when three singers with mostly regional credits made their Avery Fisher Hall debuts—with just three days’ notice or less. Two were called on the day of rehearsal and happened to be available, and one was literally pulled from the audience where she was watching the concert.
A swollen vocal cord forced Celena Schafer, the scheduled Musetta, to cancel the day before rehearsal. When Peter Carwell, Executive Director of the Foundation, discussed Indira Mahajan as a possible replacement, I told him I had sung in the chorus to Indira’s Lucia at Dicapo Opera a few years ago. I mentioned that Indira was a commanding performer with a beautiful voice and presence, and a terrific colleague.
As luck would have it, Indira was preparing Musetta to sing at the Dallas Opera, with rehearsals scheduled to start in Texas the day after the Tucker Gala. After a number of calls, including one to Dallas requesting Indira’s delayed arrival there, Peter was able to book Indira for the Act II finale of La Bohème with fellow performers Ruth Ann Swenson, Paul Groves, and Kim Josephson. As someone who watched Indira perform in a 200-seat theater only a few years ago, I found it inspiring to watch her shine in a house of 2,800.
Unfortunately for some people (and fortunately for others), it was cold and flu season. When Denyce Graves had to withdraw due to illness, Elena Bocharova, a young mezzo, was given a day’s notice to step into rehearsal for the quintet from Aida.
The most exciting replacement of the gala, however, was that of a soprano who set out that evening to attend the performance—or so she thought. Aprile Millo addressed the audience from the stage after performing her aria, apologizing that she was ill and unable to continue that evening. She was scheduled to sing in the triumphal march from Aida as the concert’s finale. Painfully aware that the concert did not have an intermission, I also knew that there was no cover and there would be some scrambling to figure out what to do in Ms. Millo’s sudden absence.
Catherine Heraty, also a soprano and Peter Carwell’s executive assistant at the Tucker Foundation, remembered that Lisa Daltirus was in the audience. Lisa had picked up her tickets from Catherine just before the concert began.
In Catherine’s brief chat with Lisa and a friend, she complimented Lisa on a recent Tosca performance in which Catherine had sung chorus. Lisa’s friend mentioned that Lisa had recently “performed a wonderful Aida—you should have heard it.” When Catherine asked what was new with Lisa’s singing career, Lisa said, “Oh, you know, waiting for the next thing.”
At the moment of crisis, when Ms. Millo made her announcement, Catherine recalled her conversation with Lisa, and specifically the comment made by her friend. With foundation President Barry Tucker’s approval, Lisa was invited to take the stage in Ms. Millo’s absence. After catching her breath at the prospect, Lisa agreed.
Catherine took Lisa backstage, looking for a room in which Lisa could warm up. Just as they turned the corner, Ms. Millo emerged from her dressing room on the way out. Ms. Millo gracefully embraced Lisa and wished her well. Lisa had only 20 minutes to vocalize and review the score before her Avery Fisher Hall debut.
As I sat in the audience, I was struck by how terrific Lisa looked on stage, considering she left home that evening planning to attend a concert, not perform in one. She was the epitome of dressing for success. In a stunning gold wrap top and black skirt, Lisa gracefully took her place alongside Kim Josephson, Salvatore Licitra, Elena Bocharova, and Christian Van Horn. When conductor Joseph Colaneri announced that Lisa had literally been plucked from the audience and asked to perform, there was a collective gasp.
There was a palpable sense of support in the hall as Lisa took command of her part, and before the final notes sounded, the audience was on its feet with thunderous applause. Lisa earned positive critical acclaim for her performance, and when asked a few months later if the evening had an effect on her career, she said, “people know who I am now.”
I have a friend who visualizes being plucked from the audience to fill in for a big star. I have seen first-hand that such things do happen.
