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The Flute in Opera

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The Flute in Opera The New York Flute Club N E W S L E T T E R March 2004 The Flute in Opera: Three Inside Views Interview by Katherine Fink his interview reflects the fascinating differences between our first chair opera flutists, not only in the way they think about their careers, but also in the way the interviews were conducted. Michael Parloff responded by email in a rich and elo- Tquent narrative, Trudy Kane invited me to her home and fed me a delicious brunch, and Bart Feller gave a phone inter- view. The hardest part for me was to condense three fantastic commentaries into one. I encourage you to seek out these artists at the Flute Fair to hear more of their highly entertaining anecdotes. KF: Trudy and Michael, how old were you when you got the job at the Met? Did you encounter difficulties because of your youth? MP: I was 24 when I joined the Met Orchestra in 1977. At that time the flute BART FELLER TRUDY KANE MICHAEL PARLOFF section had recently been transformed from four men with an average age of In Concert about 60 to a group of still-wet-behind- Sunday, March 14, 2004, 5:45 pm the-ears twenty-somethings. Undoubt- edly, it was strange for some of the older LaGuardia Concert Hall members of the orchestra to have young LaGuardia High School of Music and Art and Performing Arts men and, particularly, young women 100 Amsterdam Avenue (at 65th Street) heading up their sections. Interestingly, some of the “youngsters” from the class Program of ’77 have already started to retire. It Rigoletto Fantasy for two flutes and piano.......... Albert Franz Doppler may be a cliché, but it’s sobering to Michael Parloff and Bart Feller, flutes; Ken Noda, piano realize how quickly we progress from one side of the generational divide to Two Poems of Ronsard, Op. 26 ....................................... Albert Roussel the other. Bart Feller, flute; Theodora Hanslowe, mezzo soprano TK: Youth and gender posed fewer Sonata in A Major, Op. 13 .................................................. Gabriel Fauré problems because Karen Griffen, who was the piccoloist at that time, had Transcribed and edited for flute by Trudy Kane Trudy Kane, flute; Peter Wittenberg (Cont’d on page 5) Après Un Rêve .................................................................... Gabriel Fauré I N T H I S I S S U E Trudy Kane, flute; Peter Wittenberg Cantata No. 209 .......................................................................... J.S. Bach The Flute in Opera: Theodora Hanslowe, mezzo-soprano; Bart Feller, flute; Linda Mark, piano Three Inside Views ............... 1 Interview by Katherine Fink XXV Opera Snatches for solo flute .............................William Schuman From the President ..................... 2 Bart Feller, flute A Day at the Opera Member Profile ........................... 3 Lucia’s Mad Scene from Act III of Carol Weinstein Lucia di Lammermoor ................................................ Gaetano Donizetti Lyubov Petrova, soprano; Michael Parloff, flute; Ken Noda, piano Announcements Flute Happenings ............................... 3 Classified ............................................. 4 Free to members and those with Flute Fair badges; $10 at the door for all others. Flute Fair Update ................................ 4 Program subject to change. Call for Members’ New CDs .............. 7 2 — NYFC Newsletter A Day At the Opera by Jayn Rosenfeld THE NEW YORK FLUTE CLUB INC. arcel Moyse was the “Father of Us All,” or of at least 2003–2004 many of us. Georges Barrère firmly established the M French school in America when he played in the Board of Directors New York Symphony. But Moyse taught us what it entailed, Jayn Rosenfeld, President how to do it. His particular slant on it arose, I believe, from Ardith Bondi, First Vice President two influences. One, he always said that he was not a Katherine Fink, Second Vice President “natural” flutist, and therefore he had to work consciously, Svjetlana Kabalin, Recording Secretary with clear goals in mind, to reach the level that he could George Kimmel, Membership Secretary From the President imagine. Two, he played first flute for many years before James Blair, Treasurer the war (WWII) in the Paris Opera Orchestra and had the Nadine Asin Rie Schmidt occasion to hear the great singers of his day. The material Rochelle Itzen Patricia Spencer remnant of this is his book Tone Development through Interpretation, which is Sue Ann Kahn Stefani Starin a collection of opera tunes, arias, intermezzi and selected short works by opera Robert Langevin Nancy Toff composers. We can imagine what he heard in the pit, many nights, good and bad, Barbara H. Williams and since he was very susceptible and loved opera and loved good singing, he absorbed and applied the lessons to be learned there. The chief focus of his book Advisory Board is expressivity, not just musicality, but communication the way the human voice Jeanne Baxtresser Gerardo Levy does it. He wanted the flute to sound like a voice, and this is why he used opera Harold Jones Laurence Libin Marya Martin melodies, because one could copy exactly what one heard on the stage. This is a step beyond what we all think we’re doing when we play expressively, which is Past Presidents “sing”; this is mimicking the human voice, especially one highly trained in the Georges Barrère .................. 1920–1944 deeply emotional and passionate music of French and Italian opera. John Wummer ...................... 1944–1947 Which brings me to our Flute Fair on March 14, A Day at the Opera. We are Milton Wittgenstein ............ 1947–1952 indebted to the flutists of the City Opera and the Metropolitan for showing up in Mildred Hunt Wummer ...... 1952–1955 a big way, and contributing their talents, skills and interests. Through the superb Frederick Wilkins ................. 1955–1957 Harry H. Moskovitz ............. 1957–1960 organization and imagination of our Program Chair, Kathy Fink, the flutists will Paige Brook ........................... 1960–1963 highlight many aspects of the opera, the music and the flutist’s demanding Mildred Hunt Wummer ...... 1963–1964 excerpts, the techniques of playing in an orchestra with singers, audition tech- Maurice S. Rosen ................ 1964–1967 niques, and the special world of the piccoloist. I am particularly happy that we Harry H. Moskovitz ............. 1967–1970 will have some singers performing with our flutists. You may hear what inspired Paige Brook ........................... 1970–1973 Eleanor Lawrence ............... 1973–1976 Marcel Moyse, and hear the power and huge appeal of the human voice. I hope Harold Jones ........................ 1976–1979 you will be tempted to attend an opera in the near future to use your new Eleanor Lawrence ............... 1979–1982 perspectives. Paige Brook ........................... 1982–1983 An anecdote to end: I was once playing La Bohème, a familiar and much John Solum ........................... 1983–1986 beloved old chestnut, at the Garden State Arts Center, a matinee, and there were Eleanor Lawrence ............... 1986–1989 Sue Ann Kahn ...................... 1989–1992 two older ladies sitting behind my husband in the audience. One read the synop- Nancy Toff ............................. 1992–1995 sis of each act to the other, quite audibly, before it started. Before the third act, all Rie Schmidt ........................... 1995–1998 of a sudden, my husband reported, the reader gasped in amazement and said in a Patricia Spencer ................... 1998–2001 startled, pained tone, “I can’t believe it. She dies!” Would that we all could be so Jan Vinci ................................. 2001–2002 involved in the stage dramas of the human heart. ❑ Newsletter Have a wonderful time at our Opera Fair! Katherine Saenger, Editor 115 Underhill Road Ossining, NY 10562 (914) 762-8582 [email protected] Raffle! BE SURE TO ENTER the Alice Barmore, Layout/Production Flute Fair Raffle to win a flute lesson with one 125 Christopher St., #4H of New York’s premier flutists: New York, NY 10014 (212) 675-9706 (phone and fax) Trudy Kane, Michael Parloff or Bart Feller. [email protected] $5 for one ticket or 5 tickets for $20. All proceeds www.nyfluteclub.org help support the New York Flute Club. Copyright © 2004 by The New York Flute Club Inc. unless otherwise noted. All rights reserved. March 2004 — 3 FLUTE Member Profile College of Agriculture and Life Sci- HAPPENINGS ences), MD (SUNY Buffalo). FREE to current NYFC members, this section lists upcoming performances by members; flute-related Carol Weinstein contests, auditions, and masterclasses organized/ NYFC member since 2000 Most notable and/or personally satisfying sponsored by members; and brief descriptions of members’ new recordings, sheet music, and accomplishment(s): Professional: Her books. Send submissions to the Newsletter Editor. psychiatry residency at NY Hospital- Employment: Physician Cornell Medical Center, Westchester O C TMARCH O B E R 2 0 0 2 practicing psychiatry privately and in a ’04 Division, and subsequent employment hospital in Westchester. Saturday 4:00 pm as associate director of a Psych ER in the March Bronx. Personal: starting to play the flute 6 “The Scandinavian Flute,” a A recent recital/performance: Two fall program of music by Roman, (2003) semester concerts at the Mannes again as an adult and getting over the stage Sveinsson, Kuhlau, Saariaho, and Grieg School of Music, as part of a chamber fright she had in high school; becoming featuring Svjetlana Kabalin of the Sylvan music class she took. The pieces
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