Dear Editor: It seems as though the name of my voice teacher has completely escaped my article, “Bell Canto & Bell’Esperienza” in the January 2006 issue of Classical Singer. Since my voice teacher, Jane Olian, was the impetus for my decision to attend Bel Canto and a truly wonderful teacher, I would greatly appreciate a correction being printed with her name.
—Zachary Peterson-Bernhard, via e-mail
Dear Editor: I was very saddened at CJ’s untimely passing. On a personal note, she was instrumental in having a competition I entered refund my check when they scheduled me on the wrong day for my audition. I had gone to travel expense and had set aside that day. They apologized, but offered no refund until CJ intervened. I will always be grateful for that.
—Betty Jean Rieders, Rushland, Penn.
Dear Editor: The profoundly sad news of the passing of the incomparable Birgit Nilsson prompts me to offer a personal homage to her as a colleague and a friend who played such a significant part in my career on the stages of the Met, La Scala, Vienna and Covent Garden.
It was my good fortune to play Klytaemnestra to her Elektra, Fricka and Waltraute to her Brünnhilde, Brangaene to her Isolde, and even Ulrica to her Amelia. To record Elektra with her was the experience of a lifetime: sure of herself and her glorious instrument, always full of crackling humor and, above all, very considerate with her colleagues. A constant source of inspiration, of dedication and determination, she challenged me to do my best.
In later years, we judged together in international competitions, where the sturdy but compassionate side of Birgit Nilsson towards young artists was heartwarming and always constructive. I am grateful that I was able to have a rare and cherished telephone conversation with her not too long ago. This personal moment too, will linger long in my memory, as well as the vocal and musical mastery she shared with me and millions of others.
—Regina Resnik, via e-mail
Dear Editor: Birgit Nilsson has finally made her grand entrance into Valhalla. Undoubtedly she is wearing her Brünnhilde costume, clutching a spear, and letting out a series of ear-splitting Valkyrian war whoops—exactly as her fans remember her. Yet we survivors of the old Met opera house recall another image of Birgit: Standing backstage in a bathrobe, she often munched on an apple and gulped down a small jar of honey (which she claimed was her secret fuel for vocal power and endurance), while swapping jokes and banter with the Met stagehands, musicians, and even the porters, who would chat with her while they swept the floors.
Once, when she had finished her apple and honey, clutching the rind in one hand and the empty jar in the other, a porter kindly offered to save her a trip to the trash bin. As he reached for the apple rind and empty jar, the greatest Wagnerian soprano of the century smiled, patted the surprised porter on the cheek, and said, “Hey! I am not so fat and old that I can’t throw out my own garbage!”
She was adored by everyone, and we shall miss her immensely.
—Les Dreyer, New York, N.Y. (violinist in the Met opera orchestra)
ERRATA
In the January 2006 issue, the opera Il sogno di una notte di mezza estate pictured on page 31, was composed by Kristin Elizabeth Hevner. Also, Robert Ian Weintraub, Certified Singer, sang Schaunard in La bohème with Connecticut Grand Opera and not Dicapo Opera.
