The Voices of Germany

 

The exceptional musical talents of my two daughters have come up one or twice in this blog (see “Glinke’s Clinkers” and “Fame 2.0 – Stage Mom”) In that second one, I ranted for a while about casting shows and why I forbade my daughter participation in any of those. As a successful cabaret artist / musician / friend of mine once told me, the best path for a budding musician is the most natural one. It begins with singing at family gatherings. From there it goes on to participating in musical events at school or in the village. From there one goes on to singing at weddings and baptisms and then local concerts and festivals. Good results in music competitions help too – first local ones and then ones encompassing larger geographical spaces. The child musician should slowly expand the circumference of their audience or those who recognize his/her talent. All the while, the budding musician should also benefit from having a normal childhood and a good all-around education.

My younger daughter is a wonderful pianist, but does not really enjoy the competitions or performances. She plays in two local concerts a year, purely for the sake of her teacher. The elder daughter, on the other hand, was clearly born for the stage. And her development and trajectory have been right on track. At seventeen, she is now in a band along with some of the best local musicians (all 10 to 20 years older and more experienced than she). Her successes at competitions in singing and songwriting have made her a known quantity in the province’s music scene. Last week, she hit a new high mark when performing at an international symposium in Vienna, attended by music teachers and professors from 25 nations. The concert consisted of nine varied contributions by music school students, one from each of the country’s provinces. Mitzi was “Miss Burgenland” so to speak. She played piano and sang two of her own songs. I realize I am not exactly impartial, but I will tell you anyway that she was fabulous.

And absolutely on the right track.

Yesterday, the husband came home from work and dropped a bombshell. He had received an email from a “scout” for one of the biggest casting shows in the German-speaking area, called “The Voice of Germany”. He (or she) had seen a video of Mitzi on the school’s website and wanted to contact her about participating in the show. (I am not sure if they realized they were writing to Mitzi’s father as well as her school principal . . . ) The fact that Mitzi was being actively recruited meant that she could skip past the first round of auditions – she would begin already in the “finalist” category. The husband added that he had called Mitzi’s singing teacher who was all for it. “Why not?” she had added.

Why not?

I confess, the whole idea creeps me out. I see in my daughter’s eyes that she wants to do it. I see in my husband’s eyes that he could be brought to a “yes” – his mouth is already forming the word silently. I hear my own voice repeating the mantra of earlier years: “No casting shows!” I smell danger. I picture thousands of anonymous voices of Germany whispering in my daughter’s ear for the proverbial fifteen minutes: “You are a star. I love you.” I feel her confusion about just how real these oh-so-unreal reality shows seem to feel. I envision the sudden spike in her trajectory and the deep and drastic dive that follows it. I sense I am alone in my rejection of this whole idea, this detour which will temporarily catapult all of our lives into the realm of sensationalism. I taste the bile of adrenaline as I contemplate the coming conflict.

 

Advertisements

A Round Dance

I should probably do something to make up for my last post. During my three weeks in the States, most of the conversation and the ENTIRETY of the news revolved around the antics of the pwesident and his circular firing squad of cronies. It was “All Twump, All the Time”. He eventually wheedled his way into my blog. But now I am home again and after stumbling through two days of jetlag, I am ready to write about something that has nothing to do with American politics – maybe something European and cultured . . . sophisticated . . . snooty, even.

Luckily, it just so happens that I went to the opera yesterday. “Rigoletto” by Giuseppe Verdi. And not just in any ol’ opera house – but one that had been built outdoors inside a huge stone quarry:

As we took the roundabout walkway that descended into the quarry, the impressive stage slowly came into sight. And when we took our seats, I was happy to see that the ones directly in front of mine were empty for four rows – leaving me a perfect view. The stage itself was at least four times the size of a normal one, and having no ceiling, it allowed for dramatically large objects in the stage design.  The natural rock wall behind it was integrated into the backdrop and light show. The sound system surrounding us would put us deep inside of the music:

 

 

The sun set and the opera began. The sheer enormity of the stage props made the players seem tiny at first – but that might fit well with one theme of the opera – the general smallness of people. They scurried around the stage like insects while huge projected images loomed over them. (Only their singing voices were large enough in dimension to compete.)

For those that don’t know the story (as I myself didn’t until reading up on it during the two hour drive to the quarry), Rigoletto is a court jester serving a womanizing Duke whose most profound statement is that love must be free (and apparently, fleeting). He then proceeds to seduce (ruin) one girl after another with Rigoletto’s help. The jester’s reward is the kick he gets out of ridiculing the girls’ husbands and fathers once the deed has been done. However, when one of these offended men puts a curse on Rigoletto, it begins to haunt him obsessively – to the point where he considers paying to have this father killed. It is a glimpse that somewhere inside him, there might be something like a conscience. Why else would this curse get to him so badly? For one brief moment, he seems to realize that as a person, he is not much better than a hired assassin. He uses his tongue as his sword while aiding and abetting the juvenile, narcissist/playboy in charge, possibly against his own character. I couldn’t help but think of all those rep . . . (nope, no, not going to go there, back to the plot . . .)

Rigoletto’s most human quality is the love he has for his daughter whose existence he has kept a secret from everyone. (You see where this is going now, don’t you?) Oddly enough, he also keeps his real name and what he does for a living a secret from her – as if he asked himself “How could I look my daughter in the eye and say I support this man?” (Oops, darn it! back to the opera.)  Of course, he wouldn’t want his own daughter anywhere near the Duke, much less, god forbid, alone with him.

 In a Shakespearean-style, implausible mix-up, Rigoletto ends up unwittingly helping in the kidnapping of – you guessed it – his own daughter who then becomes the Duke’s next conquest. Enraged, Rigoletto returns to the assassin and this time goes through with the deal – but with a new target: the Duke. When his daughter tells him that she still loves the man, he forces her to watch the Duke go after his next conquest and then sends her away. She sneaks back and sacrifices herself to save the Duke. She manages to stay alive just long enough to be discovered by her father, sing a (fairly long!) aria and apologize, as if it were her own actions and not her father’s that brought all this about. Then she dies.

Things never seem to go well for the female characters in operas.

But that is not quite the end. Rigoletto holds his dead daughter and screams out something about “The Curse!!”  In other words, “look what has been done to me!” rather than “look what I have done!”

Aahhh, 19th Century morality. Gotta love it. Those were the days. So great. Wish we could be (made) so great again . . . (oops, sorry!) . . .

No, I did not think about Twump and his minions all through the opera. In fact I didn’t give them a second thought. They came slinking back today as I wrote this post. Thankfully, last night the music and singing and stagecraft were so wonderful, that they allowed me to suspend the present and shake off my modern feminist and political sensibilities for three straight hours (which went by in a flash!) I thoroughly enjoyed the experience of this horrible horrible story.

 

PS. The cool fireworks afterward helped too. You don’t get those in a dumb ol’ opera house.

      

The Pompitous of 1973

It all started back in the 5th Grade with Secret Valentines. Two weeks after the landmark Roe v. Wade decision, I started finding little Sweetheart candies on my school desk. Then on February 14th,  the big reveal came. MC had drawn my name out of the hat and he handed my present off to me in an embarrassed walk-by. It was a 45 – “The Joker” by the Steve Miller Band. That record set off a month-long unrequited crush and an awakening to music’s power to incite and amplify emotions. I played that single to death while somewhere in the background, the troops were withdrawn from Vietnam, the Twin Towers of the World Trade Center were finished – making them briefly the world’s tallest buildings – and the Watergate hearings began. Only that third one really registered with me because it upset Grandpa so much. It also vindicated me after losing the class debate on the ’72 Presidential Election earlier in the fall. My attention was much more attuned to “Maurice” ‘cause  he spoke “of the pompitous of love” (whatever that meant). That was the first record in what would become a fairly large collection of vinyl.

If memory serves, I played my 45 on a portable record player in my own room. I don’t remember exactly how it looked, but while googling, this picture seemed most familiar to me, closest to my fuzzy recollections – especially those two white knobs on the front. Meanwhile, an exploration of our house had added two LP’s to my collection – the only two I found that weren’t classical music: “The Best of the Monkees” and the soundtrack to “Jesus Christ Superstar”. I played them to death. Secretariat won the Triple Crown and the Lakota people gave up their occupation of Wounded Knee with the government promising to investigate broken treaties, but I barely noticed. I wanted more. I wanted the stuff I was hearing on WKTI FM – the “non-stop stereo rock” station.

I had started the 6th Grade and the Vice-President had resigned, when I saw an ad on TV for “24 Golden Hits of 1973” and it was perfect. It had “Monster Mash” and “Superfly” and “Crocodile Rock” on it!! Amazingly my mother let me order it. (Possibly she was tired of hearing “The Joker” and Davey Jones?) When it arrived in the mail, I was so excited and then immediately deeply, deeply disappointed. Somehow I had missed the fact in the commercial that these weren’t the original songs. They were all covers done by a group called “The Sound Effects”. (To use my non-PC 1973 vocabulary): “What a gyp!”

 

I played that record to death.

And I began “appropriating” records from my brothers to grow my collection. Goodbye Pop Top 40, hello Pink Floyd and Jethro Tull.

By the time I was 13 or 14, Nixon was long gone, the world population had passed the 4 billion mark and Lucy’s discovery in Ethiopia had set its starting date back about 3 million years. I started to have a little mad money from babysitting, raking leaves, shoveling snow, etc. I had also stopped spending all of my allowance on Wacky Packages stickers and Bazooka bubble gum. One day, I finally did it. I entered a record store with the intention of actually buying something. The decision was excruciating, but I finally went for Elton John’s “Goodbye Yellow Brick Road” and the brand new Queen album – “A Night at the Opera”.  (“Hhmmm. Pretty good choices!” my later self would think 40 years in the future.)

From then on, music was a constant and continually changing companion. It helped me feel the world and helps me now to remember it. Every relationship got its theme song. Styx’s “Come Sail Away” will always evoke the basement of my high school house and the first boyfriend who lasted more than a few weeks, (now shrouded with an extra layer of sadness since the news of his suicide a few years ago.)  Toto’s “Hold the Line” still throws me back to my first real date – as in boy picks up girl in his dad’s car and gets grilled by the girl’s stepfather (who only looks mean) before driving her to a family restaurant with popcorn on the floor. Journey, Kansas, Genesis, Foreigner, The Cars, Kinks, Kings and Doors were some of my guides through the wild but romantically lean college years during which I scared away a succession of potential suitors by pointing out how their love of Bruce Springsteen contradicted their support for President Trickledown.  Later, a certain nameless artist’s now unmentionable song about violet precipitation remains the soundtrack to my one and only broken heart and still, 30 years later, makes me change the radio station went it comes on.

 

But it is not only romances I remember. Country music conjures the smell of the pine trees up in northern Wisconsin. Neue Deutsche Welle tastes like German wheat beer and pungent French filter-less cigarettes. Punk makes my shoes stick to the floor in an illegally occupied tenement turned even more illegal dancing bar. The sound of the accordion has me sitting in a cozy warm mountain lodge on a cold night sipping tea with schnapps. R.E.M. puts my first baby back in my arms. The fiddle wakes up ancestral memories stored in my DNA. Fusion Jazz tells me that my childhood is officially over. But never fear – a Davey Jones song can bring it back for a while if I ever need it to.

As I wrote a while back, my birthday present this year was the resurrection of long lost feelings and memories, raised from near-oblivion by the power of music – “the records of my past” in both meanings of the phrase. Something tells me this going-back-to-vinyl thing will be more than just a passing fancy. Last week I was in Graz and had some time on my hands before I had to catch my train. I googled record stores and actually found one. Here’s what my smile and I came home with:

Listening to these sometimes scratchy sounds takes me out of the present for a while, but while helping me with a dose of nostalgia, I also sense a faint and haunting echo.As the disc spins, it seems to me, here in 2017, that the world of 1973 has circled back on me – only now with its population doubled and its history slightly warped. There are big holes in the ground where the twin towers used to be, and yet, we are still living under their shadows. There’s another space cowboy/joker in the White House planning new onslaughts on Roe and the Lakota. There’s an old conflict in Southeast Asia ramping up just as the hearings on Watergate 2.0 begin. There is pompitous galore and the same old song being played to death.