When I was first getting into opera, Ruggero Raimondi was my guide, at first without my really realizing it. In the beginning I wasn’t paying much attention to the names on the CD covers, but once I started paying attention I realized he was on all my favourite recordings. I started off with Puccini, and Raimondi was there on the 1979 Carreras/Ricciarelli Tosca, as the smoothest evilest Scarpia out there. Then I moved on to Mozart, and Raimondi was there as a chocolate-tongued Don Giovanni and a Count Almaviva with gravitas. Then I started getting into the Russian rep and Raimondi was there in the Russianest opera of them all, Boris Godunov. Then I was interested in Rossini and Raimondi was there again in a variety of comic roles.
The “opera tour” is one of my travel fantasies, although I’ve never quite achieved it. In contrast to rushing from city to city, trying to hit the top five sights of each and fretting that you won’t be able to eat as well as the travel writers, there’s an unmistakable appeal to traveling with a specific purpose in mind. Decisions become simpler, and you know you’ll come away from it with more than a vague dissatisfaction and a dilettante’s appreciation of neoclassical architectural details. However, packaged opera tours are relatively rigid and prohibitively expensive for me.
Hence, Berlin. My plan was to find a cheap-ish vacation apartment and spend the month of May in cafes, attending several concerts and operas every week. I was particularly excited to see Ruggero Raimondi perform as Scarpia at the Deustche Oper Berlin. He has a special place in my heart: my transition from opera appreciator to opera obsessive coincided with my viewing of his 1992 television broadcast of “Tosca in the Settings and at the Times of Tosca”. It would be much classier to say that it was the Maria Callas/de Sabata recording that held that special place in my heart, but I am ready to admit my deficiencies in taste.
Recent developments have upended all my plans, and Berlin will likely have to wait for next year. I hope Ruggero Raimondi doesn’t pick this year to retire.
If you count Gilbert & Sullivan (and here, I will) the first opera I attended was the Rossland Light Opera’s Pirates of Penzance. I was around seven years old, and a fledgling pianist who greatly enjoyed my Classical Kids tapes. Evidently my mother decided I was capable of sitting quietly for up to an hour, and off we went. She gave me a few pointers on the plot (including explaining the often/orphan joke) and a large bag of candy, and at the end of the evening my initiation as an opera-goer was complete. A few days later we ran into the actor who played Frederic at the post office, and I recognized him and was amazed. My mother told me that if I liked to sing, one day I could join a singing group just like that.
After that comes a large gap. I loved Broadway musicals but wasn’t very interested in opera – the vocal style seemed heavy and strange, and it put me off. I was still playing the piano, and I saw the odd ballet and stage play, but no opera.
Eventually, around the time I got to grade 10 (we had moved to Edmonton by then), I reached the level in my piano playing where the Royal Conservatory of Music required me to study music history. The introductory course covered the Romantic era, and La Traviata, Carmen and Die Walkure were on the syllabus. Something went “click” in my head, and I put away my Broadway CDs. I studied the course material like a maniac and started spending all my money on symphony tickets.
The music course hadn’t told me enough about opera. I convinced my mother to buy me a copy of Opera for Dummies, figuring it would be the quickest way to get up to speed. Though co-written by a computer professional, it contained useful information about the major operas and composers, vocal types, the importance of Maria Callas, and so on. Before long I had the book and accompanying CD committed to memory.
The first “real” opera I saw was Il Barbiere di Siviglia, at Edmonton Opera. By this time I was pretty far gone. I took opera box sets out of the public library three or four at a time and listened with libretto in hand. Opera went round and round in my head all day. I spent a car trip with my parents listening to Act II from Tosca over and over on my discman. After a few underage drinks, I was pretty likely to start singing opera in the middle of my friends’ parties. My favourite singer back then was Ruggero Raimondi. I followed the conversation (but rarely posted) on rec.music.opera, and began to believe my knowledge was hopelessly inadequate, and that because I didn’t live in New York I’d never get caught up.
My obsession continued unabated most of the way through high school and university. Edmonton Opera’s four (then, when the recession hit, three) operas a year I supplemented with video performances from the library. I started taking singing lessons, and spent a good part of the lesson just talking about opera with my teacher.
At some point a few years ago, I ran out of steam. Perhaps that’s how it goes with most teenage obsessions. I moved to Toronto and had the opportunity to go to the opera more frequently, and then I spent a year in NYC and had a chance to see live some of the performers whose recordings I’d been listening to for years. But even though I attend the opera more frequently now than I did as an Edmonton neophyte, much of the fervor has gone. Now, I rarely sing opera in the shower or listening to it while cooking dinner.
I’m not quite sure what happened, and whatever it was, I think it’s a bit of a shame. This blog is, in part, an effort to get some of that excitement back. Because when I see something amazing like the Lapage Bluebeard’s Castle or Karita Matilla’s Jenufa, I’m reminded that it’s all still there.
P.S. In honor of that first night at the “opera”: