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Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly 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 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 recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is 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 Frederica von Stade dated February 2, 2012. 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. Excerpts up to 1,000 words from this interview may be quoted for publication without seeking permission as long as the use is non-commercial and properly cited. Requests for permission to quote for publication should be addressed to The Bancroft Library, Head of Public Services, Mail Code 6000, University of California, Berkeley, 94720-6000, and should follow instructions available online at http://ucblib.link/OHC-rights. It is recommended that this oral history be cited as follows: Frederica von Stade, “Frederica von Stade: American Star Mezzo-Soprano” conducted by Caroline Crawford from 2011 to 2015, Oral History Center, The Bancroft Library, University of California, Berkeley, 2020. Oral History Center, The Bancroft Library, University of California, Berkeley iii Frederica von Stade Photo by Robert Millard (2005) Courtesy of the San Francisco Opera Oral History Center, The Bancroft Library, University of California, Berkeley iv Abstract Frederica von Stade was born in 1945, grew up in New Jersey, and dreamed of a singing career on Broadway before being auditioned by Sir Rudolf Bing and assigned to several small roles at the Metropolitan Opera in 1970. Paris Opera Director Rolf Lieberman heard an early performance and encouraged her to perform Mozart’s Cherubino in Paris. Cherubino became her signature role, in addition to performing a great range of lyric mezzo roles in opera houses all over the world. Several composers wrote for her; her greatest collaborator has been Jake Heggie. She has lived for many years in Alameda, California, where she enjoys sailing with Mike Gorman, her husband. She retired from the opera stage in 2012 and continues teaching and performing. In this interview, von Stade discusses bel canto, Rossini’s coloratura heroines in La Cenerentola and Barber of Seville, and her love for French operas by Massenet, Thomas, Berlioz, Debussy, and Poulenc. Oral History Center, The Bancroft Library, University of California, Berkeley v Table of Contents Interview History by Caroline Cooley Crawford vii Interview 1: November 11, 2011 Audio File 1 1 The von Stade family: Far Hills, New Jersey, 1945–1953 — Father’s service in the Ruhr Valley during World War II — Music about the family: Elegies by Richard Danielpour, 1994, and Winter Roses, 2004, by Jake Heggie — Growing up in Washington, D.C.: Convent of the Sacred Heart in Bethesda — Latin Mass and a love of theater — Working for Robert Kennedy’s family — Performing at the White House for Presidents Nixon, Reagan, Carter, Bush — Music programs in the schools — Mother’s life and friends: the “guardian angels” — Moving to New Jersey in the late 1950s — Nanki-poo in a school Mikado — A love of Broadway shows: remembering Ethel Merman, Julie Andrews, Vivian Leigh — Boarding school in Stamford, Connecticut — A role in Arsenic and Old Lace — Grandfather’s gift of a year in Paris — Friendship with Annie Haviland and an Ecole Polytechnique ball — Back to New York, working at Tiffany’s and studying at Mannes School with Sebastian Engleberg — Auditioning for Sir Rudolf Bing at the Metropolitan Opera, 1970 — Meeting Rolf Liebermann and a contract to sing Cherubino in Paris, 1974 Interview 2: February 3, 2012 Audio File 2 22 Performing Cherubino at Versailles and in Paris, 1974 — About trouser role — On Cherubino, Peter Hall, and nudity — Remembering directors Jean-Pierre Ponnelle and Giorgio Strehler: pieno di fuoco — Von Stade’s lyric mezzo soprano and Verdi singers — Some favorite conductors: George Solti, von Karajan and John Pritchard — Learning bel canto: “married to the Italian language” — Callas: “A burning power and focused light — Cherubino’s arias: non so piu and voi che sapete — San Francisco debut, 1971: A Sextus with Spring Opera Theater — Kurt Herbert Adler and Calvin Simmons Audio File 3 38 Singing with Kiri te Kanawa: The Countess and Cherubino at Glyndebourne and Munich — A Paris wedding, 1973, and five years in Paris — Matthew Epstein, manager, and some French repertoire: Cendrillon, Cherubin, and La Perichole at Carnegie Hall, and Pelleas and Melisande — The character of Cherubin and more about Massenet: “everything is written like a GPS” — The birth of Jenny Rebecca — Apartment on East Seventy-Second Street in New York Oral History Center, The Bancroft Library, University of California, Berkeley vi Interview 3: May 12, 2014 Audio File 4 44 The births of daughters Jenny Rebecca and Lisa; The Young Musicians Program and Daisy Newman — Rossini roles — Working on Cenerentola in Rome: “Taking the coloratura apart”: Nacqui, nacqui — Rosina — Inventing Melisande — Working with Claudio Abbado on Cenerentola — Directors with innate rhythm: Lenny Bernstein, Leonard Foglia, John Cox — The Met as a Rossini house — Joyce DiDonato and Marilyn Horne — Another pants role: Idamante — Some “natural actors” with a certain generosity of spirit: Pavarotti, Domingo, Marilyn Horne, Susan Graham, Steven Costello — More about Domingo: Merry Widow at the Met, 2000 — James Levine: “everything that is great in the American musician” — Debussy and Pelleas and Melisande: Abbado in Vienna and at La Scala — The role of Octavian in Der Rosenkavalier and Jani Strasser Audio File 5 62 Meeting Jake Heggie, “the creative energy that he had, and all the music” — Paper Wings, a song cycle by Heggie for Lisa, 1997, lyrics by Flicka — Childhood years in Greece and an au pair named Signorina — Working with Jake Heggie on Winter Roses — Heggie’s Dead Man Walking and the roles of Sister Helen Prejean and Mrs. De Rocher, 2000 — Thoughts about the prison system — Reportraying the mother in Dead Man Walking — Three Decembers — Thoughts about children and family — A Coffin in Egypt and drawing young operagoers — Jake Heggie’s work about Rodin’s mistress Camille Claudel for Joyce DiDonato and other new works Interview 4: July 1, 2015 Audio File 6 74 A conversation with Flicka and Jake Heggie; their collaborations — Lotfi Mansouri, Director of San Francisco Opera, and his commissioning Jake Heggie and Terrence McNally to write Dead Man Walking — Remembering David Littlejohn — Roles for Flicka in Dead Man Walking, Three Decembers and Great Scott — Jake’s circle of “friendly ears” — Special opera pals — A French honor and French taxes — Winter Roses: “a little Winterreise” Oral History Center, The Bancroft Library, University of California, Berkeley vii Interview History Caroline Cooley Crawford Berkeley, California September 2018 When Sir Rudolf Bing auditioned Frederica von Stade at the Metropolitan Opera in 1970, he heard an arresting voice that had potential for the great stages of the world. The voice came with a dramatic presence that caused him to think she could inhabit so-called trouser roles, mezzos as young boys, with superlative energy and conviction. He was right. He hired Flicka, the nickname von Stade goes by, for small roles the next season. In one of those performances, Paris Opera Director Rolf Liebermann was in the audience and engaged von Stade immediately after the performance to sing Mozart’s Cherubino. Among the many roles Flicka sang in her forty-year career on the great opera stages of the world, she became the Cherubino to dream on. Her voice has been described as cheeky, shy, smug, erotically combustible, and self-amused all at the same time; close to a job description for the role of the lovesick page boy who falls for the Countess in The Marriage of Figaro and brings down all sorts of trouble in the royal bedrooms of Count di Luna’s mansion. According to Flicka, she sang the role “millions of times.” Few mezzo-sopranos achieve stardom. They are usually cast as maids or confidantes such as Suzuki in Puccini’s Madame Butterfly or Adalgisa in Bellini’s Norma, or Violetta’s maid Flora in La Traviata, all roles she sang in early years at the Met. One mezzo famously lamented: “All I get is witches and britches” — the britches being trouser roles such as Cherubino. At least twelve of Flicka’s more than forty-five roles have been performed in knickers. Von Stade says of her voice, “Quite honestly, I’ve never liked my voice. I love what it’s given me and what it’s done for me.

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