Archive for the ‘maria callas’ Tag
Thanks (again) to Vinyl Divas, I discovered the singer “Gohar Gasparyan.” I youtubed her, simply because her name was so eccentric, and her mug not exactly the prettiest. I immediately smelled a camp classic discovery. Well, I was both wrong, and right. Turns out, she was very lovingly considered “The Armenian Nightingale.” It struck me that each country or culture seems to have their diva…the one considered to be the greatest, and to inspire and somehow embody the spirit of the nation.
Here’s a look at some of the biggies. Some of these names immediately came to mind, but a few took a little more digging. Some are genuine classics, and a couple (ie: Gohar and Yma) have one foot firmly (if unintentionally) in camp. One of the qualifications of a true diva is a title, nickname, or single name (ala Cher), as most all of them prove. Pathos is a requirement, and often a tragic life and/or death the deal maker for that highest rung of fame in posterity. In some cases, an operatic diva reaches this highest level of mainstream public adoration, but only in those cases did I include them here. Of course, the diva phenom and the gay sensibility are inextricably linked, and although that is surely part of my own inspiration, it is not the focus here.
Gohar Gasparyan (’24 – ’07): “The Armenian Nightingale”
“In ’48, she migrated to Soviet Armenia, along with hundreds of thousands of other Armenians from the Middle East.” Upon her death, she was billed “The greatest master of the Armenian Opera Theater, the People’s Artist of the USSR, the hero of the Social Labor, the National Artist of Armenia, the Mesrop Mashtots order-bearer, and the professor of the Yerevan State Konservatory after Komitas.” In her prime, she displayed beautiful control and range:
This video of “O beau pays“ from Meyerbeer’s Les Huguenots shows she had the chops, but no technical or interpretive greatness in western opera to qualify her as a true operatic legend outside of Armenian rep. She delivers priceless camp at 7:05, with a shameless peekaboo that will have you rolling! As with all true divas, she was still worshipped in her later years, when her voice and body were in decline, because her heart and expressivity were at their most potent (the accidental whistle on her “sh” consonants is precious).
I just discovered the most potent porn for any opera, LP, or LP cover design lover or fanatic: Vinyl Divas! If you’ve never had the pleasure of visiting the site, sprint there now. It’s a true well of greatness, an opiate for opera queens. For long-time aficionados, it will take you WAY back…for newbies, it will introduce you to some of THE golden and notorious recordings and singers.
I had so much fun perusing V.D. that I’ve gathered up my favorite covers out of the lot (this isn’t about the recordings themselves), and compiled them for you here. BUT, be sure to visit the site, as this is just the tip of the immense iceberg, and my aim is to honor and spread V.D.! I’ve categorized the covers here differently from the original site. (Click on the thumbnails to view them larger.)
Flawless styling, lighting, composition, depth of field, and Régine in her prime: slam dunk!
Worship at the Altar of Diva
These put us in a sort of trance, through the beauty, allure and irrestistability of the diva. Never have Elisabeth, Edita, or Elena looked more “like buttah.” Leontyne’s art song LP was recorded when she was a young Julliard graduate.
Fanantics at Opera in the Park
I was just reminiscing with a friend about one my most fond demented personal operatic moments. In anticipation of SF Opera in the Park (1999), I wanted to come up with something to match the spirit of the lifesized cardboard Callas figure an opera queen had used to stake out his picnic site in a previous year (at right, from the EMI Unknown Recordings ad campaign). I thought…what might create some buzz, embody my fanaticism for my diva(s), and yet be practical enough to be carried down to Golden Gate Park?
My creation: the DIVA Totem Pole, which I fashioned from portraits of my top seven favorites. A friend or two were initially embarrased (especially during the morning walk into the park: a parade of shame?), but by the end of the day, I think they too fell under its irresitable spell. Once we reached Sharon Meadows, we marked our territory by posting it in the ground. We had a ball in the shadow of the totem: drinkin’, noshin’, ‘n hangin’.
Thankfully, SF Chronicle Senior Writer Bob Graham was in attendance that day, and was also wooed by the totem’s magic. He did a casual on-site interview with me. The next morning, I rushed down to retrieve the newspaper from my mailbox, quickly opened the Datebook section, and was thrilled to see my local color included in his review of the day: Fresh Air and Free Arias in the Park. Best of all, it included the listing of the divaaaaahhhs, as well as my own hilarious self-billing: a “part-time professional countertenor now on sabbatical.”
The totem features, from the bottom 7. Renée Fleming (with David Daniels inset), 6. Elisabeth Rethberg, 5. Christa Ludwig, 4. Montserrat Caballé, 3. Eleanor Steber, 2. Lisa Della Casa, 1. LEONTYNE PRICE. You can see, although I am also devoted to Kunst Divas, I do favor Stimm Divas, when push comes to shove. That’s right, no Callas, although I admire her art greatly!
Numbers 7 through 6 would be different now, BUT 5 though 1 would remain quite intact, and La Price would still reign supreme. I felt compelled to include a living/performing diva (and countertenor!), and was very into Renée (ie: her Eschenbach Four Last Songs recording) and Daniels at the time. Next to their portraits, it read “BONUS DIVAS: STILL ON STAGE”. Stemme, Melton, Borodina, or Baltsa would likely topple both of them now as the active divas, were I to revisit this adoration. And, Eileen Farrell would HAVE to make a climb up the totem too.
Next up…Diva Masks at SF Opera in the Park (2002)!