04 Dec 2013
Diary of a Redneck Opera Zinger
Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
A musical challenge to our view of the past
In Musical Exoticism (Cambridge 2011) Ralph P. Locke undertook an extensive appraisal of the portrayal of the ‘Other’ in works dating from 1700 to the present day, an enquiry that embraced a wide range of genres from Baroque opera to Algerian rap, and which was at once musical, cultural, historical, political and ethical.
Is it okay to tweet during a concert, if it allows those who couldn’t attend to engage with the performance and the music? Or is it really just distracting, on top of all the coughing?
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
Commonly viewed as a ‘second-rate’ composer — a European radical persecuted by the Nazis whose trans-Atlantic emigration represented a sell-out to an inferior American popular culture —
Although part of a series entitled Cambridge Introductions to Music, Robert Cannon’s wide-ranging, imaginative and thought-provoking survey of opera is certainly not a ‘beginners’ guide’.
Those of us of a certain age have fond memories of James Melton, who entertained our parents starting in the 1930s and the rest of us in the 1940s and beyond on recordings, the radio, and films.
An important new book on Italo Montemezzi sheds light on his opera Nave. The author/editor is David Chandler whose books on Alfredo Catalani have done so much to restore interest in the genre.
Assumptions about later Italian opera are dominated by Puccini, but Alfredo Catalani, born in the same town and almost at the same time, was highly regarded by their contemporaries. Two new books on Catalani could change our perceptions.
I was feeling cowed by Herr Engels. The four of us had retired from the Stravinsky performance to a Billy Wilder-themed bar in Berlin, the least horrible late-night option in the high end mediocrity of Potsdamer Platz.
This substantial book is one of the latest in the Ashgate series of collected essays in opera studies and draws together articles from a disparate group of scholarly journals and collected volumes, some recent, some now difficult to locate.
Vincent Giroud’s valuable new French Opera, a Short History, is in hand and very welcome it is.
The noted operatic impresario and stage director, Lotfi Mansouri, with the professional help of writer Donald Arthur, has issued his memoirs under the title Lotfi Mansouri: An Operatic Journey.
Originally published in German as Herrin des Hügels, das Leben der Cosima Wagner (Siedler, 2007), this new book by Oliver Hilmes is an engaging portrait of one of the most important women in music during the late nineteenth and early twentieth centuries.
Robert Stuart Thomson’s Italian language learning text, Operatic Italian, promises to become an invaluable textbook for aspiring operatic singers, voice teachers, coaches and conductors.
Ralph Locke’s recent book on Musical Exoticism is both an historical survey of aspects of the exotic in Western musical culture and a discussion of paradigms of the exotic and their relevance for musicological understanding.
Readers may recognize the author of this book, David J. Buch, a specialist on the origins of the libretto to Mozart’s Magic Flute.
Perhaps it will be enough to tell you that I wasn’t halfway through this book before I searched the web for a copy of Professor Ewans’s study of Wagner and Aeschylus’s Oresteia, and ordered it forthwith: It has to be good.
Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.
Readers will learn of his fishing trip with Bryn Terfel, why he was not safe at the Safeway, and his experience as John Lithgow’s dinner guest.
Jay Hunter Morris says that he has been keeping a diary of his experiences as an itinerant opera singer for more than fifteen years. Eventually, he edited its many chapters and formed them into a manuscript which he calls the Diary of a Redneck Opera Zinger. Then he put it on his website and let fans read it for free for quite some time. Having first encountered it when I was digging for questions to ask him in an interview, I could not put it down. Now that it’s published in paperback, it can be read the old fashioned way in places the computer might not go, such as waiting in line for opera tickets.
After acknowledging the contributions of various people who helped him on his way to Heldentenor stardom, Jay covers non-operatic events from the years 2000 to 2011. He begins with his introduction to an earthy hippie commune that took place while he was in San Francisco singing his first Wagner role, Walther von Stolzing in Die Meistersinger. He describes its people, such as Wendy the windbreaker who wore no clothes, in a most amusing manner. Some readers might be offended by Morris's potty humor but he uses it in a good-natured way. Much of the writing is in dialect, but it’s not hard to read and his self-deprecating style is absolutely charming.
Under all that humor lies a sensitive artist, and he tells us beautiful stories of people who love opera so much that they devote their lives to it with no thought of stardom. Those of us who sit in the red plush seats don’t often think of the people who retire from non-musical jobs and devote their time to working backstage. Thank you for that, Mr. Morris. He finds interesting people in foreign cities, too. His description of Gunta, the German widow who was trying to maintain two gardens, that of her late husband and her own, told the reader as much about the writer as it did about her.
Not all of a singer’s life is high C’s and bravos, however, and Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera. He did not have to tell us what happened when he portrayed those heroic characters. That news was are all over the media. Readers will have to get the book to learn of his fishing trip with Bryn Terfel, why he was not safe at the Safeway, and his experience as John Lithgow’s dinner guest. There is a great deal of amusing reading in this book and I think opera loving readers will want to have a copy at hand to look at more than once. I also think that filmmakers should take a look at this work. It could be a very funny movie.
Maria Nockin
DIARY OF A REDNECK OPERA ZINGER. By Jay Hunter Morris. Washington, D.C., USA; Auckland, New Zealand; São Paolo Brazil: Opera Lively Press, 2013. 132 pp. Paperback $10.95