I read "Galina", the book, not because I'm on opera guy - actually I don't like opera at all. I read it because I'm a Shostakovich guy and because I like reading good books about classical music in general. I would recommend "Galina" not just for people who like opera or Shostakovich, but for people who like reading books about classical music in general. Who knows, maybe I'll read Astrid Varnay for the same reason: it's a good book about classical music. Please do more book reviews! Thank you!
My impression after reading this was of sitting in your favorite aunt's kitchen and listening to her tell you stories of the opera greats while baking your favorite cookies. Ahe was an artist at the very top of her profession while remaining firmly down to earth. I first heard her in one of her few studio recordings, which I didn't think very highly of, but then I bought the Karajan Walküre Act 3, and her being in full cry on the stage was a far more thrilling experience.
I’am currently working my way through this wonderful book. Astrid Varnay is my favorite Wagnerian female singer. I’am eternally grateful her early performances were recorded or I might never have known of her.
I saw her only once, in a very good production of Hansel & Gretel in Munich. The disgracefully inattentive audience was silenced by her appearance as the witch. She commanded the whole theatre from the moment of her entrance. One can only imagine what she was like in her Bayreuth prime...
Thank you for this, and for your recognition of Varnay! It is indeed a great autobiography, and she was a great dramatic soprano who was scandalously underused by the record companies. She had different strengths and weaknesses than Birgit Nilsson, but at her best she was equally great. Thank heavens for all those live Bayreuth performances that have now come out! You are correct too that there are too few opera autobiographies (or biographies) that are actually interesting, most are either mere listings of what the singer did, or hagiographies. Here are a couple of opera biographies that are NOT of that type and that are highly interesting and informative, both about great Wagnerian divas of the early part of the 20th century: "Yankee Diva" by Ira Glackens (about Lilian Nordica), and "The Rainbow Bridge" by Mary Watkins Cushing (about Olive Fremstad).
Astrid Varnay was in the first Wagner opera recording I bought many years ago. It was The Flying Dutchman on Richmond Stereo Treasury Series. A fabulous voice.
I recently re-read Gary Graffman's memoir, "I Really Should Be Practicing". I think he wrote it when his right hand stopped behaving. That was a long time ago, but it's still warm, funny, and well worth anybody's time. He talks about being one of the OYAPs--Outstanding Young American Pianists (I think he and his friends came up with the acronym). On just about every page, he makes it clear how much of his career depended on the loving help of his wife, Naomi. i'd recommend it to anyone who's interested in what makes a great music career possible.
I read it when it came out and yes, it's an amazing book. As Dave says, it's written from the point of view of a professional. What do you do when part of the scenery starts collapsing, the conductor gets lost or your colleague is sick? She also had the advantage that she lived in an era with real ensembles, so she sang with the same people (Nilsson, Mödl, Rysanek, Windgassen, Stolze, Hotter, Uhde...) dozens of times. Donald Arthur is also the co-author of Hans Hotter's autobiography, much more intellectual but also interesting.
I also read those two books when they came out. Hotter and Varnay! The problem is that I cannot listen to Wagner recorded after they, together with Suthaus, Uhde, Neidlinger, Greindl… disappeared.
Excellent book along with Galina. Bing treated Varnay shabbily, but she was in good company because he also dissed Hans Hotter. But her 1955 Met broadcast Isolde under Kempe is mandatory listening.
I only saw her a few times, in Mahagonny and in Elektra opposite Nilsson, late in the careers of both. She was indeed transfixing. I knew her name before that, but seeing her was a revelation. Thank you for this review. 🙏
Thanks Dave. I'm looking up the book to read. There are still diamonds to discover out there and that's atleast one reason to live. Contrary to popular believe there's no evidence that some diamonds were once coal. You're a marvel too btw!
Hi Dave. Thanks for your review. I've been trying to decide which memoir/biography to read next (I'm currently reading Burton's Bernstein biography) and you helped me decide between Varnay's and Ludwig's. But you created a new problem for me: I became curious about Vishnevskaya!...I'll keep on "reading" and listening! Many thanks!!!!
off topic again here, but have you guys heard the Matthew Sheeran orchestrations of Easley Blackwood's 12 microtonal Etudes for electronic music media? wow- i'd love to hear your take on this release Dave!- Jason Schooling, KY
Astrid Varnay fue una mujer con la personalidad y redaños suficientes para mandar literalmente a la mierda a John Culshaw cuando éste le propuso hacer una Fricka de consolación en 'die Walküre' en la Tetralogía de Decca.
Thanks Dave, I love the idea of selected book videos. If you can, grab Earl Wild's memoir. Its a wild hoot. Totally unfiltered and off the cuff. I laughed in between feeling the drop dead out of the blue takes on other pianists and people in the industry. Paul
Have you read Regine Crespin’s memoir? Her passing remark about John Culshaw is intriguing, to say the least! I also enjoy Culshaw’s (unfinished) memoir, though I cared for him as a person somewhat less for having read it ….
As Blanche Thebom once said when asked about Varnay's Isolde; Astrid approached all her roles with a pickaxe, meaning she left no stone unturned...I worshiped her and was fortunate to see her in action on both sides of the big pond. Thank you for reviewing this book, I bought it when it came out some years ago in Germany and I still refer to it!
