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Pocketfulofwry00pipprich.Pdf University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Donald Pippin A POCKETFUL OF WRY: AN IMPRESARIO S LIFE IN SAN FRANCISCO AND THE HISTORY OF THE POCKET OPERA, 1950S-2001 With an Introduction by Gwyn Sullivan Interviews Conducted by Caroline C. Crawford in 1996 and 1997 Copyright 2001 by the Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of northern California, the West, and the nation. Oral history is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well- informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ***********************! All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Donald Pippin dated January 16, 1997. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. Requests for permission to quote for publication should be addressed to the Regional Oral History Office, 486 Bancroft Library, Mail Code 6000, University of California, Berkeley 94720-6000, and should include identification of the specific passages to be quoted, anticipated use of the passages, and identification of the user. The legal agreement with Donald Pippin requires that he be notified of the request and allowed thirty days in which to respond. It is recommended that this oral history be cited as follows: Donald Pippin, "A Pocketful of Wry: An Impresario s Life in San Francisco and the History of the Pocket Opera, 1950S-2001," an oral history conducted in 1996 and 1997 by Caroline C. Crawford, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 2001. Copy no. /_ Donald Pippin, Artistic Director of Pocket Opera. Photo courtesy Pocket Opera. Cataloging Information Pippin, Donald (b. 1926) Musician A Pocketful of Wry: An Impresario s Life in San Francisco and the History of the Pocket Opera, 1950S-2001, 2001, v, 258 pp. Early years in North Carolina and Virginia; piano studies; studies at Harvard, 1942-1944; working with Vilzak-Schollar Ballet School and Balanchine s School of American Ballet; moving to California to work with composers Ben Johnston and Harry Partch, 1951; performing at the hungry i, Opus One, and The Old Spaghetti Factory in San Francisco s North Beach in the 1950s, 60s, 70s; founding and directing Pocket Opera, 1977-present; reflections on piano studies and performance, opera repertoire, staging, translation, administration, reviewing press. Introduction by Gwyn Sullivan, Pocket Opera founding board member. Interviewed 1996-1997 by Caroline Crawford. Regional Oral History Office, The Bancroft Library, University of California, Berkeley. TABLE OF CONTENTS- -Donald Pippin INTRODUCTION by Gwyn Sullivan i INTERVIEW HISTORY by Caroline Crawford iv I CHILDHOOD, FAMILY, EDUCATION, EARLY CAREER: 1926-1944 1 Zebulon, North Carolina; Introduction to Music and Piano; A Move to Richmond, Virginia, 1938; Grandmother Laws and Summers at Lake George; Studying at Harvard, 1942-1944; Life in Greenwich Village and Accompaniest for the Vilzak-Schollar Ballet School and Balanchine s School of American Ballet; Piano Study with Israel Citkowitz II MOVING TO CALIFORNIA: 1951 29 Ben Johnston and Harry Partch in Gualala; Settling in San Francisco and Performing at the hungry i, 1952; Enrico Banducci, Impresario of North Beach; Beer, Bach and Beethoven: Sunday Afternoons at the hungry i; Working and Studying Piano with Laura Nast and Living in a Loft in "Pacific Depths"; Creating and Performing Concerts at Opus One, 1952; Exploring Scientology; Leaving Opus One and a Partnership, 1957 III FINDING THE OLD SPAGHETTI FACTORY: 1954 58 The Old Spaghetti Factory s Evolutionary Stages; Programming Chamber Works; Thematic and Vocal Performances, from Four Generations of Bachs to Merrie England; The "Great Unknowns"; Robert Hughes and the Oakland Youth Chamber Orchestra; Guest Artists and Recitals IV DISCOVERING OPERA: 1968 78 Opera Beginnings: Bastien and Bastienne and other one-acters; Thoughts about Translation; The Handel Treasury; Introducing Narration: Admeto; Fashioning Narrations and Casting; Verdi s King for a Day, a Problem Tenor, and an Aborted Visit from The New York Times; Don Pasquale and Orchestrating; Taking Liberties with L Ajo nell Itnbarazzo (Tutor in a Tangle) V POCKET OPERA IS BORN: 1977 113 Getting Management: Samira Baroody and Peter Jacoby; English Versions and Literalism: Examples from Cosi; New Territory: La Cenerentola, The Rake s Progress and Stiffelio, 1979; The Importance of Elegant, Evocative Shabbiness and New Venues: The Little Fox, On Broadway, Alcazar and Other Theatres; First Off- Broadway Seasons, 1980; More about English Versions: The Two Widows; Donizetti, Bel Canto, Cuts and Maria Callas; Pocket Opera Discovers Offenbach, 1981; Grand and Tragic Themes to Gush Over: Luisa Miller, Lucia di Lammermoor, Eugene Onegin VI PERILS AND PITFALLS 160 The First Offenbachanalia, 1984; Enter Dino Di Donato; Difficulties with Critics and Bookings; Outings with Jerome Kern and George Gershwin; A Disastrous Second Offenbachanalia; The Waterfront Theatre: Hopes for a Permanent Home; The Loan of Yanked from the Harem; The Waterfront Closes Its Doors; Dark Days and Recovery; Thoughts about Directing; Merola Opera Program Uses Translation of The Secret Marriage; Smooth Sailing at Last: New Homes, New Repertory, New Directions: Thanks, Lists and Lyrics TAPE GUIDE 203 APPENDIX English version of Tchaikovsky s Eugene Onegin by Donald Pippin 204 Pocket Opera Repertoire, 1977-2001 251 INDEX 255 INTRODUCTION- -by Gwyn Sullivan These interviews with Donald Pippin are full of wonderful stories and talk and Bay Area music history. No surprise they are so entertaining, when Pippin s witty narratives and translations for his Pocket Opera have delighted audiences for two and a half decades. This oral history reads like a novel. Its story has a one-damn-thing-after- another quality, with cliffhangers urging us from chapter to chapter. Like an eighteenth-century fiction it has a huge cast- -a tale of our musical city- -and feels powerfully as if it had a goal, a purpose that works through the amazing twists and turns of the plot s momentum. It s Pippin picaresque. Pippin s life story has been a pilgrim s progress, and nothing if not serendipitous from the beginning. This concert pianist seems to have floated, almost accidentally, late in his career, into opera. After early years in North Carolina and New York, where he accompanied classes of Balanchine s School of American Ballet, Pippin arrived in San Francisco in the 1950s minus money and management. Like most pianists he did not immediately find a showcase for his talents. So he created one. He started a series of his own recitals often with two different programs a week- -at North Beach s hungry i, and, later, at Opus One where, almost to his own surprise, he became a part owner. Noticing the city s paucity of live chamber music, he added it to his own concerts. Of course he featured a core of classical and romantic music, but he also pioneered the medieval and baroque. He presented modern and contemporary work, often by California composers. Pippin s development as manager and musician has been free-floating over the decades. Often he has settled into one locale, only to be driven out by earthquake, financial setback, or fierce competition for performing space- -he once had to share a stage with a huge bedroom set for Torch Song Trilogy. But there were periods of greater stability. At The Old Spaghetti Factory beginning in the sixties, he was an ongoing impresario for nineteen years. The Sunday Evening concerts, as Pippin christened the series, became the city s primary home of chamber music. It lacked institutional muscle. There was only one person, Donald Pippin, handling all matters musical, financial and organizational. He alone was its administrative infrastructure. He was winging it, but he was able to draw upon Bay Area freelancers and orchestra professionals eager for the intimacy and pleasures of chamber music. Unlike most small music ventures, his lasted. In the late sixties, he began presenting Handel s Italian operas. These have slowly 11 become favorites everywhere, so that even large organizations do them, but in the sixties audiences generally thought them dull and dusty. Pippin has always loved Handel s exuberance. As the arias do not move the plot, he performs them in Italian, but connects them in English. He narrates and explains the stories. Fortunately, this oral history captures the amusement and seriousness he brings to this work. Some critics have compared the soft-spoken maestro to Anna Russell- - misleadingly, for while Pippin can be hilarious, his tone has none of her wild cackle. His glee is there but muted. He does not mock the music or the emotional truth of Handel s librettos, even as he delights in their robust complexity.
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