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November 10, 2006
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Volume 34
Issue 45
 
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Opera from the Heavens!
Opera from the Heavens!
by Rod Parke - SGN A&E Writer

When I was a kid growing up on Queen Anne Hill, I used to ride my bike on Saturday afternoons. The point of these excursions was to escape the offensive sounds coming from the radio, as my older brother listened to the regular Saturday matinee broadcasts from the stage of the Metropolitan Opera in New York City.

Thus, it's more than a little ironic that I'm writing this article to proclaim the greatest gift ever to opera lovers: the rebroadcast of those same live performances that I sought to escape. All of them, from 1931 on! These radio archives are an incredible treasure trove of the world's greatest singers, both in their prime and not-so-prime --- real, live events that, until now, have not been available, with rare exception, to anyone. You could not buy them for love or money.

Now, on channel 85 of Sirius Satellite Radio, you can hear (and record!) not only these archival radio transcriptions but also an average of four LIVE performances each week from the stage of the Met. (8pm curtain time in NYC means 5pm broadcasts here in Seattle, four nights a week!) Channel 85 is the Met on the Radio, broadcasting 24/7.

You don't need to buy a new radio to get Sirius Satellite Radio. It's available on your computer for $12.95 a month (same subscription rate for those who do buy a Sirius radio for about $100). Of course, on your computer it is especially easy to record the broadcasts on your hard drive and from there burn CD's.

These live Sirius Radio broadcasts from the Met are similar to the regular Saturday broadcasts on KING-FM, with a couple differences: first, there are no commercials, ever, on the Met channel on Sirius; second, with four live operas each week, you get many repeats of the same opera with sometimes slightly different casts. For instance, Levine conducted the Opening Night 'Madama Butterfly,' while Asher Fisch led the remaining performances.

As in the Saturday KING-FM broadcasts, Margaret Juntwait is the host. There are no intermission quiz panels; instead Juntwait interviews cast members and behind-the-scenes workers at the Met. So far, I have found these interviews quite informative and fun. For instance, on Opening Night Marcello Giordani literally ran from the stage to the broadcast booth after Act I to talk with Juntwait about singing the tenor lead in 'Madama Butterfly.' (He was a little out of breath!)

This gift to American opera lovers is the result of new management at the Met. Peter Gelb took over as General Manager a few months ago and has changed the face of the Met with lightning speed in many ways, mostly for the better. Opening night was presented on outdoor mega-screens at Lincoln Center and Times Square (!), as one of several new approaches to get opera to a new, wider audience. The speed with which the Met got channel 85 up and running was stunning. Margaret Juntwait went from a part-time job to full time, and engineers were set busy re-mastering the hundreds of archival broadcast acetate discs and tapes to minimize technical flaws. And last week the Met announced that a few live broadcasts would also become available for free on the internet. The house also sponsored its first-ever Open House, which included a free dress rehearsal.

The new GM had nothing to do with the casts now appearing, all of whom were contracted several years ago. But I hope he is embarrassed by a glaring fault, as revealed in the current live broadcasts: namely, the preponderance of singers with ugly wobbles* instead of shimmering vibratos. No fine opera house should put up with such a glaring, off-putting flaw in any singer. At Seattle Opera you will almost never hear a wobble, nor should you at the Met. Yet, on the opening night broadcast the lead singers, especially the Butterfly, wobbled all over the place. Subsequent live relays from the Met stage have not been much better. One hopes that Mr. Gelb is a wobble-phobe and will clean up this problem as he hires singers for future seasons!

[*A wobble is a common vocal disease, and is often parodied by anyone wishing to disparage opera singing because it is so unattractive. It causes a singer to wobble on each note, going back and forth above and then below the pitch so that it is sometimes hard to tell what note the person is singing. It is a grotesque exaggeration of a vibrato. A healthy vibrato is usually beautiful and gives a voice character and expression. What causes a vibrato to become exaggerated into a wobble is a subject not easily tackled here. Basically, it's bad vocal training and most often happens when a singer tries to sing roles that require larger instruments than he or she possesses. It happens to pop singers too. Take Ella Fitzgerald as a supreme example of a gorgeous vibrato, and late Judy Garland as one of the worst wobbles of all, which the public nonetheless accepted in a beloved artist.]

I have just scratched the surface this story about the Met on the Radio. Perhaps a second article is needed. Questions about the above can be directed to Rod Parke at rmp62@columbia.edu.
Sports Complex

by Jim Provenzano

Roll Bounce: An Author's Obsession with Roller Derby

Tim Patten has been obsessed with roller derby for as long as he can recall. The first time he watched games on TV, he wanted to be a part of it, and took up roller skating soon after. Whenever roller derby tournaments toured near his childhood home in Wisconsin, he begged his parents to take him.

He later competed in the sport/entertainment, ran a California women's league for years, and was the subject of a documentary,   Jam  , about his attempts to keep that league afloat, despite ongoing struggles.

This year, Patten self-published a novel,   Roller Babes  , a fictional yet historically accurate and personalized account of the national women's roller derby leagues in the 1950s. This past July, Patten and his lawyer finally negotiated the film option of his book with Los Angeles-based Kaliber Films.

“When it first happened, I was elated and couldn't sleep,” says Patten, who spent four years working on his novel.

The author of five other e-books, Patten says, "I had already had a taste of self-publishing." After numerous rejections from publishers and agents, he decided to put the book out himself. "The process [of getting published] is crazy," he says. "I couldn't afford to wait."

That's because Patten thought he might die. Diagnosed with an HIV-related brain infection, Patten spent months in treatment and hospitals, writing out passages of   Roller Babes   when he wasn't too sick to work.

"What's the point of waiting for an agent who wouldn't want to even deal with the property, knowing my personal complications? Fortunately, I did a lot of experimental medications, which doctors didn't approve," says Patten, who still endures some symptoms. "I thought [the novel] was going to be my last words to the world. It became like my final obsession to complete this."

Patten was so worried about his legacy being lost, he took a pen name, that of his sister, D. M. Bordner, who lives in Wisconsin. Patten says she gets his royalties "because I'm not supposed to be alive right now."

His illness destroyed his balance and mobility, and could still affect his muscular system as well. "I was prepared for all of that to happen when the MRIs showed that part of my brain was destroyed. I was pretty much a basket case for quite a while."

Patten, 54, moved from Wisconsin to San Francisco in 1973. After graduating from college with studies in computer science, "before there was even such a degree," he balanced his work in computer development with skating.

Through 18 years of competing in men's and mixed leagues, Patten began working on owning and promoting a league. In roller derby, players loop a circular track, either flat or ramped, and compete to finish first as a team. As players often fall or collide, the more outrageous versions of the sport capitalize on the wilder action, with fights sometimes breaking out.

Such sensational changes have taken place in both men's and women's leagues. "But I was always intrigued by the women," says Patten, who has been out as a gay man for decades. "Even straight people who love roller derby were always intrigued by the women and how vicious competitive women are."

Of the private, locker room atmosphere, Patten says his experiences with men's and women's leagues varied. “The men would be strategizing around [how to play despite] each others' injuries, while the women would be figuring out how to attack opponents. I thought this was fascinating - everything that nobody really sees.”

In Patten's novel, two of the female characters are lesbians, while the main story is about a straight player. Additionally, one irascible character, Eva Belzak, is a barely veiled depiction of roller derby icon Anne Calvello, who recently died.

So, is roller derby staged? Originally a competitive sport in its early depression-era Chicago origins, roller derby has gone through revivals and fallow periods, and has occasionally been known for theatrics similar to professional wrestling.

"There is some staging," Patten admits. "You're doing this every night for a living. But in my book, I wanted to show the real competition that goes on between players and the public doesn't see."

Speaking of his own experiences competing, Patton says, "Usually every game starts out with the idea of what we'll do. Then the claws start coming out. By the end of the game, you really are skating as hard as you can, and doing the best you can."

Patten's enthusiasm and devotion for roller derby comes through clearly in his book and in his many promotional efforts over the years, including a website for a San Francisco team, www.baycitybombers.com.

"There is a transformation that happens to the crowd," he says of even the most casual roller derby fans. "They come and think it's fun, and then they get drawn in."

Patten says that in his early years, he wasn't out in roller derby, but gradually found acceptance. "There are lesbians in the sport," he says, but wouldn't name any players on the record.

"Ever since it started in 1935, the sport's always been gay-friendly, even for the men, but especially for the women. Back then, women normally didn't choose a physical sport with body contact, and that included fighting and blocking."

Although his accounts of African-American players being banned from certain hotels in the South while on tour were fictional, they were based on common practice at the time. "I discovered it was easy to slip into these 1950s characters. I'm writing my experience as them."

Patten says, "I wanted the lesbian characters to be as real as possible, so you don't even trip on it. That's the way it always has been in roller derby. Lesbians have always been part of the culture, and it always had an interracial mix, too. Socially, [roller derby] was so far ahead of the curve in this area."

  Jim Provenzano is the author of the novels PINS and Monkey Suits. Read more sports articles at www.sportscomplex.org. He can be reached care of this publication or at sportscomplex@qsyndicate.com. 

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