Opera Fanatic Magazine in the News, continued
Carreras vs. Domingo vs. Pavarotti
Jeannie Williams wrote in her column in USA Today:
Publishing on Pavarotti in the Montreal Gazette, Arthur Kaptainis noted, Stefan Zucker says most callers to his radio show are more than satisfied with the current version of the primo tenore. There is even a hard statistical case for awarding Pavarotti that controversial title, Kaptainis stated, giving details about our polls. (The PAV is Back)
In La Follia di New York, Cathy Wall devoted two pages to reporting the results of our polls. Our earlier polls were reported by Marylis Sevilla-Gonzaga in Opera News, by Michael Redmond in the Newark Star-Ledger, by Iris Bass in Sightlines, by Harold C. Schonberg in The New York Times and, by Zucker, in New York magazine and The New York Times Magazine. Detailed results for a number of polls are in Opera Fanatic.
The New York Times Magazine ran an effusive article about Millo by one Lisa Schwarzbaum that mentioned that Opera Fanatic told her familys saga with surprising viciousness. [Not so. I told the story by quoting court records, restricting my own writing to reportage about interstitial events. Are facts vicious?SZ]
In a lengthy article about the magazine, Michael Redmond, music editor of the Newark Star-Ledger, championed Millos singing: Just how high will this star rise in the operatic firmament? . . . the skys the limit. He stated, Above and beyond the sometimes embarrassing facts of family history, Opera Fanatic has raised the issues of what, if anything, an artist owes to the public in the way of biographical disclosure, and what, if anything, the press should do when questions are raised about an artists veracity in on-the-record interviews. Redmond felt the magazine delves deep. (Sopranos Family Ties Stir Furor Among Opera Fans)
In an article about Millo in The Washington Post, Joe McLellan noted that Opera Fanatic lavishly documented her familys problems. (Aprile Millo, the Bashful Strategist)
The New York Post printed a partially accurate account of the Millogate story and described OF as an opera fanzine. The nerve! The story ran as the lead on Page Six, reserved for juicy scandals. (Tangled Plot of Met Stars Parents)
Including a full-page photo of Zucker, a Condé Nast glossy from Britain, Tatler, referred to Opera Fanatic as the magazine that prints the angst behind the arias and declared, Zuckers journalistic nose twitches in pursuit of stories from the wildest shores of operatic scandals. Calling the radio show a forum for loony opera-buffs, Robert Turnbull touched on the coverage of Caballés tummy ache, Cotrubas walkout, Domingos love life and the LaRouche-opera connection and gave an inaccurate account of the Millogate story and of a radio interview of Virginia Zeani. (Singing on the Brain: Operamaniacs)
Richard S. Ginell, in the Los Angeles Daily News, began, Opera nuts who arent content with the sleaze that is sometimes depicted on stage can take heart: A new publication is serving their needs. He limned the Millogate story and said of The Listening Public Reviews, These catty listeners arent shy, either, quoting an extended exchange about Te Kanawa. Ginell remarked, I savor Opera Fanatic. (New Opera Magazine Dishes Up the Dirt for Fans)
LaRouche and the Tuning Pitch
Bernard Holland wrote an article in The New York Times about the tuning pitch, based on the LaRouche position (Singers Join in a Lament about Rising Pitch). The Times published Zuckers reply, mentioning this magazine (Illegal Pitch?). Zucker contended that [Hollands] claim that [Verdi] legislated a tuning pitch is pure invention. Zucker also maintained that during most of Verdis life, tuning pitches were higher than todaysas high as A 457. The mean tuning pitch was in the neighborhood of A 450, which led the Accademia di Santa Cecilia in Rome to recommend it as the standard.
Zucker published an article on LaRouche and the tuning pitch in the Chelsea Clinton News and The Westsider, mentioning Opera Fanatic. Discussing the involvement of Pavarotti, Sutherland, Fischer-Dieskau, Caballé, Domingo, Horne, Freni, Kraus, Tebaldi, Di Stefano, Nilsson, Bergonzi, Bumbry, Milnes, Ameling, Mitchell, Cossotto, Verrett, Bechi, Bacquier, Cappuccilli, Sayão, Lorengar, Schreier, Kabaivanska, Cruz-Romo, R. Raimondi, Ludwig, Moll, E. Moser, L. Quilico, Rothenberger, Robbins-Landon, Kubelik, Chailly, Bonynge, Gavazzeni and hundreds of others in the opera world with LaRouche, Zucker contended:
Francis Church focused on LaRouche and pitch in The Richmond News Leader, quoting Opera Fanatic extensively. He declared:
Church concluded with Zucker saying, If LaRouche has his way, pitch police might well tramp down the aisles of La Scala to arrest dissenters tuning to A 440. (Shall Lyndon LaRouche Call the Tuning Pitch?)
In consequence of Opera Fanatics criticism of LaRouches bill regarding the tuning pitch, he and Zucker were interviewed by Lars Hoel on National Public Radios Morning Edition. Speaking from jail, LaRouche tried to justify his stand on pitch, which Zucker attacked, as in Issue 3. Hoel observed that Zucker poked holes in the historical and scientific rationales behind LaRouches position. During the course of the broadcast, one of the signatories of LaRouches pitch petition, soprano Phyllis Bryn-Julson, avowed:
On the same broadcast, Tim Page of Newsday stated:
Hoel noted, Music critic Tim Page thinks all this energy haggling over pitch might be put to a better use, such as including more 20th-century music in the standard concert repertoire.
[Because of the programs format, I didnt get a chance to reply. Bryn-Julson apparently doesnt know that when Ah, perfido! was composed, in 1796, the tuning pitch was 422-424 cycles per second. LaRouches bill specifies that tuning pitches varying from 432 by more than 0.5 hertz are illegal. Were the Italian Senate to enact the bill, in accordance with one of its provisions, she would be fined as much as $730 for using a tuning pitch as low as 424. 432 is too high for most music written prior to 1810 and too low for nearly everything later. (See Issue 3, pp. 39-52.) What Page fails to realize is that, on account of his pitch bill, LaRouche is being taken seriously: The Newark Star-Ledger, The New Yorker and the New York Post all more or less supported it on the grounds that since Pavarotti et al. wanted it, it had to be good. For the same reason, the European press has been very favorable to LaRouche. What could make him more credible than having his bill debated in the Italian Senate? On the subject of modern music, should LaRouche come to power he would prohibit the performance of music by Wagner and anyone since.SZ]
Opera Fanatics coverage of the LaRouche-celebrity-singer connection occasioned three articles in the New York Post, one by Sharon Churcher (Stars Favor One LaRouche Pitch) and two by Clare McHugh (LaRouche Backers Hit Sour Note and Lyndons Latest Pitch). McHugh reported complaints by non-celebrity signatories of LaRouches pitch petition that they were being bombarded by the LaRouchites with propaganda and were being hit up for donations.
One of Domingos Mistresses
Richard Johnson wrote in Page Six of the New York Post:
The Domingo-Montgomery story was also picked up by WNET-TV, the London newspaper Today and the Italian newsweekly Panorama.
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