Oberon's Grove

Francesca Todesco ~ Isadora Duncan Classes

Francesca Todesco (above) is offering a series of classes focusing on the technique and repertory of Isadora Duncan, to be held on Fridays from 1:00-3:00 PM at 12 Saint Marks Place, on Manhattan's Lower East Side. The classes will run from September 20th thru December 20th, 2019. Details below:

Francesca's dedication to the Duncan legacy - both as a dancer and teacher - makes her an invaluable spokeswoman in all matters Isadora. Francesca recently attended the Isadora Duncan International Symposium in London - an event held every other year in a different city - where an international gathering of performers, instructors, and writers meet to celebrate and honor the Mother of Modern Dance.

Francesca Todesco epitomizes the enduring grace and power of the Duncan style, which has been handed down from generation to generation; she studied here in New York with Catherine Gallant and Loretta Thomas. Thru her classes, Francesca continues the tradition.

Isadora Duncan is one of the most fascinating women of all time. I read her biography once a year, and have found that my interest in her took on a personal resonance when I realized that I am related on my mother's side to one of Isadora's pianists - and lovers: Walter Morse Rummel. Their story is but one of so many intriguing episodes in the life of this spellbinding woman.

~ Oberon

Enemy of the Fatherland

In Umberto Giordano's opera, ANDREA CHENIER, there is a powerful aria that could easily be sung in an opera about our current world state. The opera's story is built on the real-life character of the poet André Chénier, who died on the scaffold in the final days of the Reign of Terror.

During the years of the French revolution, Carlo Gérard, a former servant in an aristocratic household, has risen to a powerful position in the Reign of Terror. As a prosecutor for the Revolutionary Tribunal, he arranges "evidence" against those charged with treason.

Now he must present the case against the poet André Chénier, a man he knows full well is innocent of the charges against him. At this moment, Gérard finds his true heart and soul again. At the trial, he defends Chénier, saying that his accusing document is a fabrication.

Nevertheless, Chénier is condemned to death. He was guillotined on July 25, 1794. Three days later came Robespierre's fall from power and subsequent execution, ending the Reign of Terror.

The great baritone Giuseppe Taddei sings the aria, "Nemico della patria" here.

Follow the words below; it could be happening today:

"An enemy of the State?!

It’s an old fable

That people are still blissfully swallowing.

Born in Constantinople? A Foreigner!

Studied at Saint-Cyr? A Soldier!                          

Traitor! Accomplice to Dumouriez!

And a poet? Corrupter of hearts

And morals!

(a pause)

I once lived joyfully,

Without hatred or vengeance

Pure, innocent, and strong;

I thought myself a giant!

But I’m still only a servant...

One who’s changed masters.           

An obedient servant to violent passions!

Ah, worse yet: they've made me a killer!

And while I kill, I weep!

Me, a son of the Revolution,                             

One of the first to hear its cry!

For the world, I united that cry to my own.

Have I now lost faith

In that dream of destiny?

Oh, how my path

Shone with glory!

The heart’s conscience,

A reawakening of the people,

Gathering up the tears

Of the vanquished and suffering,

Making the world a Pantheon,

Changing men into gods;

And in one kiss -

In one kiss and one embrace -

To love all mankind!"

Lydia Kindermann

Lydia Kindermann was born in Lodz, Poland, in 1891. She made her operatic debut in 1917 and for the next two decades sang at Graz, Stuttgart, Cologne, Prague, the Berlin Staatsoper. Barcelona, Madrid, with the Concertgebouw in Amsterdam, and in a Wagner concert at Paris. Her large repertoire included Magdalene in MEISTERSINGER, Brangaene, Die Amme in FRAU OHNE SCHATTEN, Jocasta in OEDIPUS REX, Laura in GIOCONDA, the Mother in HANSEL UND GRETEl, Fricka, Azucena, Amneris, and Dailia. She worked with such illustrious conductors as Arturo Toscanini, Fritz Busch, and Erich Kleiber.

In 1938, fleeing the rise of Nazisim, Lydia Kindermann emigrated to Buenos Aires and became a pillar of the company at the Teatro Colón. She broadened her already extensive repertoire with such roles as Genevieve in PELLEAS ET MELISANDE, Ulrica in BALLO IN MASCHERA, Dame Quickly, Erda and Waltraute in the RING Cycle, Klytemnestra in ELEKTRA, and Ortrud in LOHENGRIN. She continued to perform at the Colón and to sing in opera and recital elsewhere in South America until 1948, the year of this performance of Strauss's DAPHNE conducted by Kleiber:

Lydia Kindermann & Rose Bampton - scene from DAPHNE - Teatro Colón 1948

Returning to Vienna in 1949, Madame Kindermann taught until the recurrence of a brain tumor claimed her life in 1954.

~ Oberon

Gertraud Eckert Sings Klytemnestra

Above: Clytemnestra by English artist John Collier (1850-1931)

There's very little information to be found regarding mezzo-soprano Gertraud Eckert; not even a photo could I find of this singer, who was born in Vienna in 1941.

Ms. Eckert made her operatic debut in 1964 at Bonn, later appearing at Bregenz, Brussels, Innsbruck, and Graz. It was in the last-named city that she was based thru most of her career. Beyond that, I can find nothing more.

But I do like her Klytemnestra on this live recording of ELEKTRA from Graz 1973; Ludmila Dvořáková was singing the title-role for what seems to be the only time in her career.

Gertraud Eckert as Klytemnestra - ELEKTRA - with Ludmila Dvořáková - Graz 1973

Gertraud Eckert's singing is both voicy and characterful. I wish I could find out more about her.

~ Oberon

Olivia Stapp ~ Griffes Songs

Olivia Stapp sings two songs by Charles Tomlinson Griffes: Le Jardin and La Mer. Diane Richardson is the pianist.

These are settings of poems by Oscar Wilde:

Olivia Stapp - Griffes ~ Le Jardin

"The lily's withered chalice falls
Around its rod of dusty gold,
And from the beech-trees on the wold
The last wood-pigeon coos and calls.

The gaudy leonine sunflower
Hangs black and barren on its stalk,
And down the windy garden walk
The dead leaves scatter, - hour by hour.

Pale privet-petals white as milk
Are blown into a snowy mass:
The roses lie upon the grass
Like little shreds of crimson silk."

Olivia Stapp - Griffes ~ La Mer

"A white mist drifts across the shrouds,
A wild moon in this wintry sky
Gleams like an angry lion's eye
Out of a mane of tawny clouds.

The muffled steersman at the wheel
Is but a shadow in the gloom; -
And in the throbbing engine-room
Leap the long rods of polished steel.

The shattered storm has left its trace
Upon this huge and heaving dome,
For the thin threads of yellow foam
Float on the waves like ravelled lace."