Opera – Love and Hate by Betsy

I
love opera.  I hate opera.  I guess that means I have one of those
love/hate relationships that makes people neurotic, usually about another
person.  But in this case I am neurotic
about an art form.  And a beautiful art
form it is.  There is nothing that stirs
my emotions more intensely than a great piece of music.  A symphony, concerto, string quartet created
by one of the masters.  I don’t care what
period it is from–Rococo, Baroque, Classical, Romantic–any of it can put me
in a  listening trance.  The better I know the music, the more
stirring it is and the more it does for me. 
I
can say this about some opera, but not all opera.  I am a fan of, I  think, what is commonly considered popular
opera.  A Puccini area a la La Boheme will
bring me to tears faster than any Beethoven piano concerto or Schubert string
trio.
Unfortunately,
I don’t know the names of the arias so familiar to opera fans.  I’m really not interested in their titles,
nor do I feel any need to learn the unfamiliar words.  Suffice it to say that I love dramatic
music. 
There
is plenty to say about my hatred of opera, in spite of the love feelings.  I remember one time as a very young adult–20
something–I was in New York City and decided to take advantage of some spare
time, raise my level of cultural exposure, and attend an opera at the Met.  I was very excited about this and just knew
that the experience would increase my developing interest and appreciation of
good music.  I was learning to really
appreciate Russian music so why wouldn’t I enjoy this Mussorgsky
masterpiece.  What I didn’t know is that
Boris Gudanov is probably the longest opera ever written.  And heavy is the only word that comes to mind
when I try to recall this experience. 
The truth is I do not really remember much about it because I slept
through at least one half of it.  The
entire opera is  4 hours and 15 minutes
long not including intermission.
I realize I do not sound like much of a music
lover when I use words like heavy and boring to describe what I truly feel
about some opera–the heavy, boring kind. 
Not to mention names, but I’m thinking of the Wagner-esque type of
opera.  

And
so the development of my appreciation for opera was arrested sometime around the
age of 20 something.  But no
problem.  There are the few stirring
well-known arias that still bring me to tears.
I
must mention another point for love.  The
performers are my heroes–well, more likely my heroines.  In my dreams I am an opera singer.  In my next life I am an opera singer.  Oh, to be able to open my mouth and produce
such sound. Why do I always fall in love with these women?  Perhaps it is their bosoms.  Maybe I love them because they remind me so
much of my grandmother, an accomplished contralto, who often held me as a young
child next to her ever so soft, cuddly bosom.
There
is really nothing I can do to resolve the love/hate situation here.  Just to admit that I probably will never be
an opera-goer and stick to only those few arias I love.

© 7 June 2011

About the Author 

Betsy has been active in the
GLBT community including PFLAG, the Denver women’s chorus, OLOC (Old Lesbians
Organizing for Change).  She has been
retired from the Human Services field for about 15 years.  Since her retirement, her major activities
include tennis, camping, traveling, teaching skiing as a volunteer instructor
with National Sports Center for the Disabled, and learning.  Betsy came out as a lesbian after 25 years of
marriage. She has a close relationship with her three children and enjoys
spending time with her four grandchildren. 
Betsy says her greatest and most meaningful enjoyment comes from sharing
her life with her partner of 25 years, Gillian Edwards.

The Interview by Ray S

Q:  “Can I, or may I come over and interview you
for a piece I am doing for the station?”
     Although I’d known
Betsey was on the broadcast staff of the local fine arts FM radio station as
well as a musicologist that did background talks for the symphony, I was at a
loss as to what I had to offer.
A:  “Well, yes, it would be good to visit with
you, but what have I got to contribute to your job?”
     Her response informed
me that she was doing a general interest piece prior to the opening night
festivities in Central City at the Opera House. 
Someone had mentioned to her that a mutual acquaintance had long ago
been an usher or something on the Opera House staff.
     “Local color, human
interest,” she said.
     With the old what
goes around comes around feeling I said, “Ask away.”
Q.  “How did you learn about a summer job at
Central?”
A.  It was my junior year at college and a
sorority sister of my future wife told me I might be able to land a job
starting the end of May.  She was a voice
major and had worked at the Central City Opera box office in the men’s
department of the D & F store on Arapahoe St. in downtown Denver.
Not
looking forward to another sweltering summer in the Windy City, I jumped at the
chance to be in the midst of real live theatre and opera at that.
Q.  “So you got the job.  What did you do?”
A.  Once I boned up on the history of Central and
particularly Opera House, I would have washed dishes or scrubbed the Face on
the Bar Room Floor.  Seemed like the
business manager needed an eager and possibly rational gopher.  I lived in the ushers’ dormitory, ate at West
Matinees “Olde Fashioned” dining room on Eureka St. across from the Teller
House.  Every morning we breakfasted on
Miss Hanah’s  huge cinnamon buns.
My
routine was to drive my boss down to Denver every day to the office in the City
and County Building, run errands all day, and we would return to Central in
time to open the box office at the Teller House.  I couldn’t believe my life had been so
transformed.  I felt like an apprentice
to my employer learning all about what makes the show get going.
Q. “What
was the production that year?”
A.  The board and artistic director had to rile
the old guard by announcing it would be Strauss’s “Die Fledermous,” outraged
that grand opera had been replaced by an “operetta.”  As it turned out after the opening night
performance the house was sold out for the season, showmanship surpassed KULTUR
with a “K.”  Then to add insult to injury
the second 1/2 of the season was to be “Diamond Lil” starring in her original
role, Ms. Mae West.
Q. “I’ve
heard it was a beautiful production. 
What stands out in your memory?”
A.  For me the whole opera scene opened up, it was
a wonderland come to life.  The music is
unforgettable, the singers, from stars to chorus and orchestra, all so genuine,
professional, and talented.
Learning
to know the director and his staff.  Most
all major cast members brought their families so they needed baby sitting
too.  It was one big party in the cast
housing, but strictly business in the theatre.
    The
experience and opportunity to immerse one’s self in this high altitude
opera/theatre realm was like moving into an alternate life. So much happened
that summer in that wonderful old opera house. 
And to me, that I couldn’t believe I had my own voyage through a musical
looking glass. Guess I was forever stage struck and the battery died in Betsy’s
recorder.
     End of Interview!

About the Author