In the House, perhaps, but not with the Company.
2
Ms. Battle also performed the program at the Eastman School of Music on January 30th.
1
A singer with a small voice and an enormous ego. The stories of her temper tantrums are legion and the Met audiences lost nothing with her dismissal. I can't imagine anyone attending this concert to hear her now tattered voice try to fill the Met again. A waste of time and money. Volpe was right.
7
Kathleen Battle was more than just " a small voice and an enormous ego" ... Her perfidy and self- destructive behavior was a tragedy for every African American singer for whom she was a source of pride and hope. With so few successful Black classical singers, her firing ( justified as it might have been) was a particularly painful loss. As I read some of the responses to this article, I felt compelled to add this overlooked note to these replies.
Her voice is now a tattered and worn instrument which cannot do honor to the spirituals she will sing...
It's both profoundly sad and egregiously exploitative. Shame on the MET !
Her voice is now a tattered and worn instrument which cannot do honor to the spirituals she will sing...
It's both profoundly sad and egregiously exploitative. Shame on the MET !
5
Kathleen Battle is a wonderful singer, I heard her perform at Carnegie Hall two years ago and her voice is far from tattered! Also, her ego has no implications whatsoever on other African-American singers, just as Maria Callas's firing from the was no tragedy for all white singers!
9
One of the most beautiful voices in our lifetime and one of the most versatile opera stars in the world. A true gift from God. After the Met, who cares. Continues to perform to sold out audiences around the world and a delight to work with.
6
I simply do not understand the point of Mr. Cooper's article. We have a case of a soprano who was fired from the Met by Mr. Volpe for unprofessional conduct. From what I read at the time the firing was merited. She is apparently now giving a single concert of spirituals. How is appearing once on the Met stage for a non-operatic event "returning to the Met?" I think many of the comments appended to this article are terribly misguided. The age of the opera divas is over namely bad conduct is no longer acceptable for opera singers whatever their gender or ethnicity. It is refreshing to see the great sopranos of recent times like Renee Fleming and Deborah Voigt behaving so impeccably and modestly. Ethnicity had nothing to do with Ms. Battle's firing. Those great retired singers Leontyne Price and Grace Bumbry were renowned for their good behavior and loved by audiences and the Met personnel alike. We all remember Maria Callas with affection. In her case, diva-like behavior was part of her whole persona and part of the source of her immense popularity. It is absurd to compare Ms. Battle with Maria Callas. Mr. Volpe based on what has been published made the correct decision at the time and attacks on him for that are unwarranted.
2
So it's okay for Maria Callas, a white soprano to act like a diva, get fired, and then make a comeback, but not for a black singer?
12
I'm sorry, but I have no use for "diva," however talented they might be, unless and until they check their ego at the door.
6
Dear Tiddle, there are many wonderful artists who are not wonderful people. If you are only going to listen to music, watch films, or read books by artists who were also kind wonderful and moral people, you will never be able to listen Wagner, watch a film by Roman Polanski or Elia Kazan, read a book by Ernest Hemingway, etc. If you don't listen to Ms. Battle sing simply because she was a poorly behaved diva you are missing out on something special. Her voice was spectacular.
10
I know this will sound bizarre: This story made me think of Donald Trump as President: Big ego, and everyone fired that works for him...
5
You mean as opposed to Bull sexually assaulting women, and Hillary shutting them up?
I don't condone unprofessional behavior, but there is a reason that they are called Divas and it has nothing to do with unreasonable demands. It has everything to do with the sublime quality of the art that they practice. What they do at the consistent and divine level to which they do it is something that cannot be done by almost anyone else on earth.
9
Bah, she's a tiny voice with a gigantic chip on her shoulders. No evidence of divinity at all. Well, on second thought, maybe a demi-goddess but with psychological issues. Operas at the Met have survived quite well without her.
2
Many years ago my daughter's birthday present to me was tickets to Ms Battle's recital at Carnegie Hall. It turned out to be a very special experience. After the intermission Ms Battle came on stage and announced that she wanted to dedicate the second half to someone very special who was honoring her with her presence: Marian Anderson! When she bowed to Ms Anderson the audience rose as one to acknowledge this wonderful woman with a standing ovation. My daughter was stunned to see me and many others with tears streaming down our faces. It was a marvelous gesture on the part of Ms Battle which made it difficult for me to reconcile it with later stories of her behavior.
13
The humility and generosity that Ms. Battle displayed towards Marian Anderson was, no doubt, genuine. It was also carried out in public, for public effect as much as sincere admiration. And look, here you are, recounting the story years later as a way of telling us how humble and generous Ms. Battle appeared to be.
On the other hand, the capricious, rude and self-important behaviors that got Ms. Battle fired were carried out backstage, away from the eye of her adoring fans. Only those who worked with her everyday saw that side of her personality.
Most of us are not just one person. Doubly true here.
On the other hand, the capricious, rude and self-important behaviors that got Ms. Battle fired were carried out backstage, away from the eye of her adoring fans. Only those who worked with her everyday saw that side of her personality.
Most of us are not just one person. Doubly true here.
7
Bravo Mr. Gelb—great performers SHOULD be on the stage of the MET and indeed there are too few of them.
And Mr. Volpe: "Kathy Battle is no Callas" you recall telling her manager. Uh, Mr. Volpe, Ms. Battle CERTAINLY WAS like a Maria Callas—both being remarkable performers of international fame possessing instantly recognizable voices that projected and engulfed the audience, Kathleen Battle's upper register radiantly and intoxicatingly beautiful. [Case in point: review the film of her singing "In the Courts of Love" from Orff's Carmina Burana with the Berlin Philharmonic—watch the violinist in the orchestra become dazed when her voice arcs upward, the "Strahl" of it was mesmerizing!]
And you, Mr Volpe, of course are no Rudolf Bing!
In fact, Joseph Volpe, the stage-carpenter-would-be-manager of the MET, made a colossal financial and artistic BLUNDER in firing Kathleen Battle and I deeply regret that a weak-kneed Jim Levine did not come to her aid.
[I also note in reviewing Mr. Volpe's gossipy "memoir" that he also had nasty things to say about Jessye Norman, a frequent onstage collaborator (think of the great production of "Ariadne auf Naxos") with Kathleen Battle.]
Joseph Volpe made a colossal financial and artistic blunder for the MET.
And Mr. Volpe: "Kathy Battle is no Callas" you recall telling her manager. Uh, Mr. Volpe, Ms. Battle CERTAINLY WAS like a Maria Callas—both being remarkable performers of international fame possessing instantly recognizable voices that projected and engulfed the audience, Kathleen Battle's upper register radiantly and intoxicatingly beautiful. [Case in point: review the film of her singing "In the Courts of Love" from Orff's Carmina Burana with the Berlin Philharmonic—watch the violinist in the orchestra become dazed when her voice arcs upward, the "Strahl" of it was mesmerizing!]
And you, Mr Volpe, of course are no Rudolf Bing!
In fact, Joseph Volpe, the stage-carpenter-would-be-manager of the MET, made a colossal financial and artistic BLUNDER in firing Kathleen Battle and I deeply regret that a weak-kneed Jim Levine did not come to her aid.
[I also note in reviewing Mr. Volpe's gossipy "memoir" that he also had nasty things to say about Jessye Norman, a frequent onstage collaborator (think of the great production of "Ariadne auf Naxos") with Kathleen Battle.]
Joseph Volpe made a colossal financial and artistic blunder for the MET.
12
Most of the posts I’ve read here are opinions by mean-spirited, hateful, hurtful people, who clearly think they’re OK, and Ms. Battle is not. Battle did not invent “Diva Behavior” and nor did it ceased because she was no longer at the MET. No one speaks of the beloved Freni who walked out of a dress rehearsal; Horne who insisted on dressing room #1 and Acted-out, Alexandria Marc who showed up late for a performance (with a bucket of KFC) – true! Pavarotti who replaced L. Mitchell with another sporano in Ernani. Battle is demanding of herself and her colleagues….just as Callas was. Ruth Ann Swenson had colleagues fired because she didn’t like them – but karma caught-up with her, didn’t it?! Many people felt Battle had no right to be a “diva” as she was considered a “seconda donna”. As far as Volpe is concerned – there’s a special place in Hell for him. He set-up Battle, so he could fire her… Elias (well, well, past her prime) was brought in as a nuisance to play the piano….. Bea Arthur turned bel cano comedy into cheap, vulgar vaudeville – replete with stopping the show and flirting with the conductor. Volpe did NOT bring Elias back or Bea (or that concept) when June Anderson assumed the role.. And why after 22 years would one still need to hate her? What’s that about? The facts are – she’s still beautiful and still has a clean, pure, beautiful voice. She has remained positive – and successfully so, in the face of venom. And success is ALWAYS the best revenge!
12
There are divas in all of show business and, as the bell captain in a good San Diego hotel in the 80's, I dealt with a lot of them. They are all truly bizarre and evidently have no idea, or don't care, what jerks they are.
The absolute worst was Sheri Lewis, the Lamb Chop ventriloquist who wasn't even much of a star by then. Carol Channing was the most eccentric and Elizabeth Ashley was evidently under the impression she was the world's greatest actress. An opinion shared by no-one else.
But taking the cake was Diana Ross whose three page list of demands was hilarious, including not paying anything for a two bedroom suite, no staff eye contact and having everyone, other guests included, exit any elevator she rode . After we stopped laughing, we declined.
The absolute worst was Sheri Lewis, the Lamb Chop ventriloquist who wasn't even much of a star by then. Carol Channing was the most eccentric and Elizabeth Ashley was evidently under the impression she was the world's greatest actress. An opinion shared by no-one else.
But taking the cake was Diana Ross whose three page list of demands was hilarious, including not paying anything for a two bedroom suite, no staff eye contact and having everyone, other guests included, exit any elevator she rode . After we stopped laughing, we declined.
13
WOW.... Interesting info Lou...
1
I am a longtime fan of Ms. Battle's. I have the fondest memories of seeing her Susanna in Mozart's "Figaro" at The Met in 1987 as well as her Cleopatra in Handel's "Julius Caesar" the following year. Both, to my ears, were perfection and her Susanna has not been bettered. I was saddened to see her leave The Met under a cloud of controversy and while I can't condone unprofessional behavior, I'm sure that the life of a prima donna is very stressful and hard to handle at times. I'm delighted that she has returned to The Met stage and I do hope that Mr Gelb will convince her to assay another stage role. Finally, I agree with a few other readers here that The Met needs to embrace the diva (and divo) again. The glamor, panache, and excitement that she brings to the experience of opera is fundamental to it's appeal and survival. Ms. Battle is a diva. Let's hope she is now a wiser one so that she may once again share her gift with us.
3
When I was a medical student 25 years ago in Boston, MA I had the pleasure of attending Ms. Battle's debut recital at Symphony Hall. Following the wonderful concert, I had the opportunity to sit backstage as a fan with her for at least 10 minutes and she was as down to earth as could be asking me all about medical school and complimenting me on my accomplishments. This started a mutual admiration society between us for all the years since. I have read all the comments about her being "diva-like" for the past quarter century but I can attest to the fact that the Kathleen Battle I know is a warm wonderful person and friend. It has been an absolute travesty that her voice was silenced at the Met and I am thrilled that this inspirational person with the magical voice is going to once again triumph on the stage where she belongs. I, for one, will be cheering the loudest!
10
During her heyday, Ms. Battle was as fine a singer (in a reasonably limited fach) as could be heard both at the Met and elsewhere. I know of nobody, even curmudgeonly types like myself and friends, whose listening experiences go all the way back to singers who performed in the 1870s, who did not think her a sterling artist as singer, interpreter and personality, and she gave us many magical moments. Unfortunately, from everything that can be gathered regarding her later years in opera, she became almost maniacally paranoid and demanding, and difficult to deal and work with, so her fall was of her own making, whatever 'demons' may have been at play. It is good to have her back on the Met stage, but one should not think of an evening of spirituals as anything like a 'return-all-is-forgiven' attitude on the part of the Met management, but more of a Gelb-inspired 'event'. At 67, it is doubtful that Ms. Battle could do justice to her reputation even in less vocally demanding roles like Zerlina or Blondchen, but one might expect her to still perform admirably in classical art song. but that is not in the cards. As for the seemingly obligatory nonsense about Maria Callas's final Met performances being 'legendary', they were anything but that, exhibiting nothing so much as extreme vocal decline. Ms. Battle at 67 will almost certainly exhibit a finer singing standard than Ms. Callas could muster up at 42! Question: Will Kathy favor us with "Nobody Knows the Trouble I've Caused"?
4
Joe: In February 2012 at UCLA's Royce Hall, Ms, Battle wowed age at 62. This was also her Spirituals and Underground Railroad concert which also featured Cyrus Chestnut as pianist and The Albert McNeill Jubilee Singers.
We are blessed that Ms. Battle is unique and different than other singers who....after 22 years....are not in the fine voice that their original legendary status earned them. Kathleen Battle-in 2012- and post VOLPE at Costa Mesa's Segestram Hall in a generous LiederAbend....was in marvelous voice. Joe, count on her being in marvelous voice in November. AND, pay no mind to "the naysayers". As in 1994 during and aftter "The Volpe Firing", they will be out in full force....in November 2016. AND still...Kathleen Battle will RISE [ala Maya Angelou]
We are blessed that Ms. Battle is unique and different than other singers who....after 22 years....are not in the fine voice that their original legendary status earned them. Kathleen Battle-in 2012- and post VOLPE at Costa Mesa's Segestram Hall in a generous LiederAbend....was in marvelous voice. Joe, count on her being in marvelous voice in November. AND, pay no mind to "the naysayers". As in 1994 during and aftter "The Volpe Firing", they will be out in full force....in November 2016. AND still...Kathleen Battle will RISE [ala Maya Angelou]
3
A lot of slavish and ignorant comments here. Ms. Battle's backstage misconduct was legendary for its ferocity. Forgive and forget? Not if you were at the receiving end or, luckily, just a witness to her bad behavior. And, as I recall, her notices in the Times were not all that complimentary, way back when.
8
when PBS aired "baroque duet" featuring ms. battle and Wynton Marsalis in 1992, i taped it, and i still keep a VHS player just so i can watch it. my mother, who was my concert-going partner, and i used to attend every performance of ms. battle's we heard about that was within a few hours' travel. we saw her impishly chastise a choirmaster during a performance. we saw her do other things that weren't quite so cute. we understood that the stories about her behavior were probably not made up or even embellished. we didn't care. her voice was sublime. and her presence was otherworldly. glad to see her make her way back home.
9
I hope that Kathleen Battle actually gained reflection after being fired from The Metropolitan Opera in 1994. She should treat this new opportunity to mend fences with the people she had alienated at the time.
8
Ah! You want to see her stay in her "place," I would imagine. Well, get over it. Those days are gone.
4
The Met is currently putting on the best productions it has ever done or are done literally anywhere else in the world. Yet, it is rapidly losing audience as well as not generating any excitment in the younger generationS. Diva, as was Ms Battle labeled created buzz, opinions, controversies, likes and dislikes as well as talks, excitement and debates. That was a good thing for opera. Now, in this aseptic, controlled atmosphere we have singers who come to NY, sing and go. Nothing happens. The human flaws and grandeurs we like to see on stage ripped off the discourse. How do you expect to fill the house? I think we need more Ms battle. At least a "return" is being written about and perhaps could we be so lucky as to have some buzz to go along the singing?
3
I first saw Ms Battle on a PBS special in 1991- A Carnegie Hall Christmas Concert, teamed with Frederica von Stade, Wynton Marsallis on Trumpet, and Andre Previn conducting and playing some jazzy piano in one segment. To this day I still believe it was the most glorious music I have ever heard. The two voices blended perfectly in harmony, brought tears to my eyes. It is now available on DVD, and well worth a listen. When I heard about her difficulties at the Met I was saddened, but let us not be too quick to judge. We all have our demons to deal with, and who's to say that the rarified atmosphere of stardom didn't contribute significantly to the growth of hers. I'm glad she is getting a second chance, and perhaps the years have softened her more difficult edges.
6
Kathleen Battle, for all her flaws, was one of my favorites - I ate up all her recordings and listened to them endlessly. I did attend that 2008 Carnegie Hall recital and one got a glimpse of the diva. They made an announcement that no photography was allowed. She stepped out onto the stage, got ready to sing, heard the click of a camera and then promptly walked off. Another announcement was made. We waited and waited. And then she was ready to come back out to sing. There were some stumbles and the voice wasn't what it was in her hey day, but still so beautiful. I can't wait until November!
4
The word "difficult" usually goes with the term "diva". Ms. would be one of the most talented among them; but she's absolutely right to express outrage at being referred to as "a black opera singer". And whether it's Jessie Norman, an international league of journalists or anyone else, what actually are people trying to say when they suggest someone that they are "black"? Must people of African descent be forever told to "stay in your place"? Must they be forever told that they are being judged outside of and parallel to what is suggested as the white standard?
12
I am a public school music teacher. The majority of my students are African American. Years ago, I played a recording of Kathleen Battle, (she is my favorite,) and the next day a little girl ran over to my CD player and said, "I want to hear the music the 'white people' sing! My heart was crushed! Marian Anderson, Leontyne Price, Jessye Norman, Kathleen Battle, Denyse Graves... Photos accompany the listening now!
1
At least that little girl was not an opinion-shaping journalist. Actually, we could say, "We want to hear the music that the white Kathleen Battles, the white Leontyne Prices, the white Jessye Normans and the white Wilhelmina Fernandez's sing".
Thank you, Mr. Gelb for you insight. I will be at The Met in November... for the gifting to us of the art of song, delivered to us by one of its greats. I really could care less about all the other gossipy, E-Television, pop culture stuff involving the artist. Some folks need to walk a block in the shoes of the folks, whom they seem to need to denigrate, before they expose their own weaknesses based on something they've read, or 'heard' about another person-- in this case, a performing artist.
4
Reading the comments, I'm reminded of the classic French notion of great artists as "sacred monsters," often less than likeable or considerate folk (think Picasso, Frank Lloyd Wright, Callas, Caravaggio) who because of their transcendent capabilities enjoy a license to which mere mortals can never aspire. I'm only peripherally familiar with Ms. Battle, but she sounds like one of those for who such slack is cut, no?
6
What memories this brings back. I don't think that the article emphasizes enough how popular Kathleen Battle was at the height of her fame. Before the firing at the Met, she was always at the top of the classical recording charts. To hear her voice is to love her. Try listening to her duet with Jessye Norman of "He's got the whole world in his hands" without getting goose bumps! Or her duet with Placido Domingo of Lehar's "Love Unspoken". Sheer bliss! Thank you New York Times for making this return newsworthy.
4
About 20 years ago, my wife and I attended a Kathleen Battle concert at Heinz Hall in Pittsburgh. It remains the best and most memorable concert for us, out of many hundreds. The main program consisted of songs by 16th century British composers, of whom we never heard. The program was a revelation in every sense of the word. Then the encores--oh, the encores!!! Those spirituals had her audience in tears of joy. Also, her audience was the most diverse I'd ever seen at Heinz Hall. Also also, she was SOO…..beautiful.
4
There is a straight line of African operatic singing royalty from Marian Anderson to Leontyne Price to Grace Bumbry to Wilhelmenia Fernandez to Jessye Norman to Kathleen Battle. From Bumbry to Battle I saw and heard them all perform. But for them performing, I would not have been there. Welcome back Miss Kathleen.
5
And the late Shirley Verrett too.
1
I recall hearing Ms. Battle sing Mozart's "Exsultate, jubilate" over thirty-five years ago in a small town in Montana with the Missoula Symphony Orchestra, of which I was a member. I was struck by her beautiful singing, but surprised by her unfriendly, curt behavior. It saddened me that someone with so much talent, so much to be grateful for, would be so miserably unhappy.
6
"Ms. Battle was a Grammy-winning soprano who had appeared with the Met 224 times in 1994 . . . "
It's a wonder she had any voice left having sung that many times in a year!
I had to re-read that three times before I understood you meant Ms. Battle had appeared with the Met 224 times BY 1994. Awkward.
It's a wonder she had any voice left having sung that many times in a year!
I had to re-read that three times before I understood you meant Ms. Battle had appeared with the Met 224 times BY 1994. Awkward.
7
The complaint prone prima donna who creates difficulties for her colleagues is nothing new in opera. Battle was an interesting case study for figuring out where the point of no return might be.
My impression is that it's now changed somewhat. Singers like Deborah Voigt seem to be renowned for their professionalism and down to earth attitude.
My impression is that it's now changed somewhat. Singers like Deborah Voigt seem to be renowned for their professionalism and down to earth attitude.
8
Yes, Buddy... Debbie is a lovely person - really! We studied with the same voice teacher in NYC....but the voice is shot and the career is over....no matter how nice she is... and she IS nice. This susie sunshine persona in opera doesn't work... there's real pressure to produce - you're only as good as your last high "C"... it's not easy, and when we give that false impression, we set-up unrealistic expectations......think Debbie in the "Red Dress" ROH for an idea of what I mean.
Interesting that The Met backed down too; very rare indeed...
Auguri a tutti....Next Jose Carreras !!!!
Auguri a tutti....Next Jose Carreras !!!!
1
Hemingway famously wrote that courage is grace under pressure - to which might be added the thought that genuine greatness is the demonstration of grace within greatness, the example of which stands above even the accomplishments which earned the accolades.
1
Kathleen Battle is one of my very favorite sopranos - and incredible voice used with great skill. In addition to opera, I particularly liked her collaborations with Winton Marsalis. Glad to hear she is making a comeback.
6
The Met is not the only opera house in the world. Sills had a career before her debut at the Met. Many singers have found homes in Milan, London or Berlin, etc. It seems as if Ms. Battle was never able to establish herself elsewhere. One has to ask why.
Ms. Battle had great beauty and agility in her voice however it was always a "small" voice lacking the power needed to project in more difficult or dramatic material. One’s ability and talent will take one just so far in a career. Couple demanding behavior with a limited repertoire and that is a recipe for a different kind of career in opera.
Perhaps her life on the recital stage has been the one best suited to her talent and temperament.
Ms. Battle had great beauty and agility in her voice however it was always a "small" voice lacking the power needed to project in more difficult or dramatic material. One’s ability and talent will take one just so far in a career. Couple demanding behavior with a limited repertoire and that is a recipe for a different kind of career in opera.
Perhaps her life on the recital stage has been the one best suited to her talent and temperament.
10
Steve, bigger is NOT always better...at least in opera. Battle was not the only successful soprano with a small (ish) voice...think...Ponds, Peters, Gruberova, Hendricks...and the list goes on and on.....
Now...what does all of those ladies have in common? They did not pushc their voice and they left the stage with VOICE.
Now...what does all of those ladies have in common? They did not pushc their voice and they left the stage with VOICE.
1
I agree with Mr. Brooks. Not to have a voice suitable for singing Isolde does not mean that a singer is unsuitable for opera. Vocal heft is but one of many possible impressive features to be found on the operatic stage. Another is focus. It is the ability to focus the voice that is the true deal-breaker, and Kathleen Battle, in performance after performance at the MET and in whatever size hall she was engaged to sing, produced, yes, to the back of the hall, one of the most beautifully focused voices one could ever hope to hear.
"Ms. Battle had great beauty and agility in her voice however it was always a 'small' voice lacking the power needed to project in more difficult or dramatic material."
Dramatic, yes. Difficult, no!
Dramatic, yes. Difficult, no!
Her firing was a disgrace.
And I fault James Levine for not coming to her aid at that time.
And I fault James Levine for not coming to her aid at that time.
4
It's rumored that James Levine himself distanced himself from Battle precisely because of her disruptive behavior. He's much too professional to say so publicly. Too bad she was fired....I loved her voice (in the right repetoire). Luckily for us there are many gifted artists who act professionally, llike Damrau, Dessay. Much has changed in the last 20 years. An acknowledgement of her past mistakes and a little humility would help her rehabilitation. I wish her well.
2
My, my, all of these qualifications. 'In the right repertoire,' indeed. If it wasn't right for her, Kathleen Battle didn't sing it.
With all due respect to talent, how about we hear an apology from Mrs. Battle about her past behaviour, or she denies it all? And about the Met's manager Gelb, it takes some nerve to present your predecessor as a fool.
11
She has a beautiful voice and her return is great news. Her behavior has reportedly been pretty bad though so maybe this won't work as well as hoped.
2
Is this called redemption? Perhaps she does deserve it but will she be welcomed by the Met audiences? At her prime, I got goose bumps when I heard the pureness of her voice and it deeply saddened me when she ruined it all by becoming a witch. The stories at the time confirmed it as does this article.
Just the same, I wish her well but also hope she doesn't act up. If she does, she needs to be turned away again.
Just the same, I wish her well but also hope she doesn't act up. If she does, she needs to be turned away again.
4
Steve, calling her a witch is a bit harsh. Yes, she may have been a diva, but she is a wonderful singer. I recently found out that two of the Beatles and Miles Davis used to beat their wives, should I never listen to any of their music ever again?
1
Mr. Cooper NY Times seems to be unable to distinguish between performing IN the Metropolitan Opera and singing WITH the Metropolitan Opera. If someone has sufficient financial backers they can sing in any room they want.....including the Metropolitan Opera which can be rented.
7
And it took only 22 years for her to learn to play nice in the playground. Seriously? Joe Volpe is a class act. Peter Gelb is sounding desperate.
6
Ms. Battle's CD "So Many Stars", released over twenty years ago, is still sublime.
4
I think it was after a contentious outing with the San Francisco Opera some years ago that those in the company donned T-shirts inscribed "I survived the Battle".
7
Yes, I was working with the company at that time and was well aware, occasionally first-hand, of how difficult she made the lives of everyone who dealt with her. However, she was also an absolutely mesmerizing artist...
1
While no opera connoisseur myself, I certainly know who Kathleen Battle is! I grew up listening to her PBS concerts and duets with the great Jessye Norman. Given the fact that I have read about the Met's struggles to diversify its audience and patrons, it sounds like the Met needs her.
2
I was able to witness both the glory and the demons within Miss Battle while I was an employee of the San Francisco Opera and she was starring in her last role with that company, Marie in Fille du Regiment, in the early 1990's. While the greatness of her talent cannot be challenged (although 'off the clock,' I never left the theatre during performances of Ariadne until hearing her sing Zerbinetta's great scena in Act II), her behavior seemed to indicate terrible internal struggles which resulted in the alienation of all those who had to deal with her on every level. Somewhere in my paperwork, I have a memo distributed before the final dress rehearsal of that SF Fille and circulated by the Artistic Administrator of the company at that time. In it, Miss Battle lays out all of the conditions which needed to be met before she would agree to having stage photographs taken at the end of that rehearsal; it seems to indicate a paranoia and persecution complex over which she, sadly, had little control.
11
Thank you for the credible insight. I have spent time around many talented artists in my life and some pay a very very heavy price for their talent. Kathleen Battle shows her extreme attention to detail in every note she sings, what a gift and what a burden. Bravo to the Met for ending the war.
1
SGH - well-said and thought through. You may have some very valid points. Some people manage fame quite well...others do not. We see what happened to Callas...... and Cosotto would antagonize colleagues right in rehearsals (conductors too)! Lots of opera singers have "issues"... some though are as generous as saints with colleagues....... Battle was lovely outside the opera house - I know from experience.
I saw a Cosi at the Met in the 80s with Levine, Battle, Ewing and Te Kanawa. It was the best thing I ever heard. Those were the days!
1
Wanting to thank the NYT for this very entertaining collection of comments..just read all 40. As a major fan and devotee of Met Opera in HD, as I no longer live a few subway stops from the Met, ( and when I did, for 30 years, I could never afford to see a live performance there), this has been like a charming Intermission feature...highly informative, amusing, interesting and very operatic! Again, Peter Gelb has my vote for wise decisions.
7
Brava Kathleen Battle! KATHLEEN BATTLE is one of the greatest Artists of Our Times. I had the pleasure of hearing her in 1984 in an exquisite performance of The Brahms Requiem with Carol Maria Giulini and The LA Philharmonic and then ...the many MET broadcasts which are now legendary. I also heard her post VOLPE firing three times over three years in ravishing Lieder recitals in Southern California...meeting her back stage each time. Each time she was gracious and generous in signing my cd copies of her luminous DGG Schubert Lieder Recital and what then was her newest cd: French Opera Arias. In 2012 at UCLA's Royce Hall, I again had the pleasure of hearing her and meeting her backstage in her Spirituals:Underground Railroad Concert . Thank you Ms. Battle for enduring...and ...triumphing
15
A lot happens in 32 years.
1
"I was not told by anyone at the Met about any unprofessional actions"
No, she was told by her manager, who was told by the Met.
No, she was told by her manager, who was told by the Met.
37
Yes, the unprofessional action was her firing.
2
If true, that's not professional on the part of the Met, then.
HER unprofessional action was the Met's act of firing her? I just have to ask, what do you mean by your comment?
Battle and I were at CCM at the same time, although she was a few years ahead of me. The first time I heard her was in the lead of a production of Menotti's (awful) opera "Help! Help! The Globolinks." The voice was already there. She auditioned for Maria in "West Side Story" and didn't get the part. But I do have a distinct memory of her as one of the dance hall girls in "Sweet Charity." I used to have a photo of her in costume for that production that she would be glad doesn't still exist. She seemed to be having a great time. I don't know when the change happened, but not too many years after, when I was touring in shows, every single house we played that she had sung in had horror stories. The bottom line, though, is that the voice was to die for, which is why, as several comments have noted, she got away with so much for so long. Hopefully she has learned.
36
Apparently, the Met has never worked with Anna Wintour.
32
Kathleen Battle is the reason I started to listen to opera, back in 1987. My mother was a licentiate of the Royal Schools of Music, London and piano students came to our house in Penang almost everyday. So I was born in the middle of classical piano music, hearing Beethoven, Haydn, Mozart, Schubert etc. We even had 78rpm HMV discs where the RSM examiners performed exam pieces!
But I never had a taste for opera. It was Beethoven's piano sonatas and symphonies, Bach, Bruch, Dvorak etc instrumental and orchestral music that mattered. Then one day in 1987, at Eastland Trading Co. on Circular Road in Kuala Lumpur(they sold Ampex tape recorders as well as the new-fangled CD's) something made me try out EMI's "Mozart Arias" sung by Ms Battle with Andre Previn conducting the Royal Philharmonic. From the first sound of KB singing "Vorrei spiergarvi, oh Dio!" I was smitten! I had never heard anything like her liquid coloratura soprano! And I never have in the next 28 years either. That CD has bitten the dust- they don't last. But I got a replacement. And everything that Ms Battle has sung that I could find.
I was shocked to learn today that she was fired 22 years ago.
Surely in a "battle" between a great artiste and a functionary (necessary as they may be) it is Art that must win? Joseph Volpe should have resigned for his failure to retain Ms Battle then. Imagine a deaf Beethoven being shouted at by some idiot publisher for some failing or other? Art trumps everything else!
But I never had a taste for opera. It was Beethoven's piano sonatas and symphonies, Bach, Bruch, Dvorak etc instrumental and orchestral music that mattered. Then one day in 1987, at Eastland Trading Co. on Circular Road in Kuala Lumpur(they sold Ampex tape recorders as well as the new-fangled CD's) something made me try out EMI's "Mozart Arias" sung by Ms Battle with Andre Previn conducting the Royal Philharmonic. From the first sound of KB singing "Vorrei spiergarvi, oh Dio!" I was smitten! I had never heard anything like her liquid coloratura soprano! And I never have in the next 28 years either. That CD has bitten the dust- they don't last. But I got a replacement. And everything that Ms Battle has sung that I could find.
I was shocked to learn today that she was fired 22 years ago.
Surely in a "battle" between a great artiste and a functionary (necessary as they may be) it is Art that must win? Joseph Volpe should have resigned for his failure to retain Ms Battle then. Imagine a deaf Beethoven being shouted at by some idiot publisher for some failing or other? Art trumps everything else!
21
Easy for you to say when you weren't one of the people she screamed at.
11
Ms Battle was not the only one making art. Unprofessionalism at rehearsals denigrates art and disrespects fellow artists.
19
I recall reading at the time that Mr. Volpe was showered with applause by the remaining cast members when he informed them of Ms. Battle's dismissal. Ms. Battle wasn't fired because of a run-in/feud with a Met "functionary". She was terminated because of her unprofessional, rude and increasingly bizarre behavior around fellow cast members and musicians during rehearsals. Opera is a collaborative art form; Ms. Battle's 24/7 diva act made her next to impossible to work with. Her voice was (and remains) beautiful. But perhaps it was for the best that she concentrated on recitals after this incident.
16
Miss Battle gave a performance of her spirituals concert in Rochester this season. She shared the stage with a local chorus, instrumentalists, and narrators. She sang beautifully, gracefully introduced other artists, and even led a sing-along with the audience (I sang with Kathleen Battle!). I'm sure the New York audience will love this.
19
I am excited to hear about this recital, Ms. Battle is a wonderful singer.
It definitely sounds like she was a major diva, but any diva-like behavior is always exaggerated when the diva is African-American or not white. (Similar in how when a male boss yells at his employees he's just being the boss, but when a female does the same.......)
It definitely sounds like she was a major diva, but any diva-like behavior is always exaggerated when the diva is African-American or not white. (Similar in how when a male boss yells at his employees he's just being the boss, but when a female does the same.......)
28
Sadly, I disagree with your male boss analogy. Having experienced both male and female bosses who are bullies, I have to say that the males seem to enjoy the humiliating, taunting and nasty behavior so much more.
15
Typically, I might agree with your argument. However, having been on the receiving end of her diva-ness at a luxury hotel years ago (which eventually lead to her being "uninvited" from the property by the GM personally), I can tell you now the article was being supremely diplomatic in its description of her past behavior. Looking back, it was almost as comical as it was frustrating. A number of her recorded performances remain all-time favorites and when I share them, a few anecdotes get thrown in for good measure. I'm excited to see she's back. The words Prima Donna and Diva have multiple definitions for a reason.
8
When a male boss yells at his employees he's just being the boss?
Maybe in the Mad Men era. Not now.
Now he's being a bully (or other words which I'm not allowed to post on the New York Times website).
Maybe in the Mad Men era. Not now.
Now he's being a bully (or other words which I'm not allowed to post on the New York Times website).
Eva Marton was also absent from the Met for a quite while--perhaps a difference of opinion over a broadcast. In any event, it happened, but what a joy it was to welcome her back when she sing a Tosca and A Turandot. To say anything other than that seeing and hearing her again in these roles was thrilling would by a huge understatement. She was about as good as it could ever be-- not just vocally, but she had the uncanny ability to overwhelm the audience the moment she appeared on stage, even before she sang her first note. We had to go to Washington for her Electra, and to Houston, Chicago, or Los Angeles for some extraordinary Wagner. Perhaps less temperamental than Ms. Battle, Ms. Marton nevertheless was absent from the Met, and so many of us lost chances to be awed and thrilled, to applaud, and to shout the occasional "brave."
9
I'm very sorry Ms. Battle's colleagues found her so difficult to get along with. And I am very glad I wasn't one of her colleagues, because I have had the pleasure of enjoying her exquisite instrument and artistry without blemish. Ms. Battle is how I fell in love with opera. I only got to see her perform live once--in recital over 25 years ago singing Mozart. One of the highlights of my life. I only wish I could see her return to the Met.
35
As interesting as the Volpe/Battle story is, Joe Volpe's personal story is even wilder. I went to Glen Cove High School with him and knew him when his father went broke and I helped the family move out of the home they lost to foreclosure and into his grandmother's small cottage in Bayville. He pumped gas, filled tires, cleaned windshields and changed oil. And, did I mention, he never finished high school. He then became a woodworker and built sets at The Met. He ended up General Manager, a climb that I say is the greatest success story since Napoleon became Emperor of France. An obvious hidden genius.
83
what an inspirational story. Thanks for sharing
15
I've saw Battle twice in recital in two different cities during the mid to late 90's (after her dismissal from the Met). She built a career as a concert soloist, and these performances go down for me as some of the most memorable of a solo artist. I am happy to see this for her. She is a genuine talent with remarkable presence and dedication to the art. I agree with Gelb "I think great artists should be on the stage of the Met...There aren't enough of them." Truth! Whatever her transgressions were back in the day, one should not be banned from performing for life because of them. To those who still want that, it is really on them at this point. Brava Kathleen!
22
I've replied to another comment by citing the NY Times article by Allan Koznin covering the "dismissal" of Kathleen Battle by the Met Opera in 1994.
However -
I had the opportunity to work on a few productions with Ms. Battle back in those days, and - while some of those issues were apparent - in my opinion - she had one of the most exquisitely beautiful and fluid soprano voices I've ever heard - still to this day -- and, in the end, I never heard her sing a bad note - not one...
She had flawless technique, a beautiful tone which remained even throughout the registers - and an almost stunning ability to make the most difficult passages seem effortless...
We love to toss around those romantic stories about legendary "difficult" artists and musicians - such as Rossini being forced to complete a commission from his jail cell - or Richard Wagner simultaneously selling the "exclusive rights" to his operas to three publishers -- but seem to have little patience or understanding for those who walk among us -
If Ms. Battle still retains half the vocal and musical capabilities which she demonstrated back in 1994 - it will be well worth the price of admission for the opportunity to hear her again today --
However -
I had the opportunity to work on a few productions with Ms. Battle back in those days, and - while some of those issues were apparent - in my opinion - she had one of the most exquisitely beautiful and fluid soprano voices I've ever heard - still to this day -- and, in the end, I never heard her sing a bad note - not one...
She had flawless technique, a beautiful tone which remained even throughout the registers - and an almost stunning ability to make the most difficult passages seem effortless...
We love to toss around those romantic stories about legendary "difficult" artists and musicians - such as Rossini being forced to complete a commission from his jail cell - or Richard Wagner simultaneously selling the "exclusive rights" to his operas to three publishers -- but seem to have little patience or understanding for those who walk among us -
If Ms. Battle still retains half the vocal and musical capabilities which she demonstrated back in 1994 - it will be well worth the price of admission for the opportunity to hear her again today --
44
Even one of the most high strung drama queens in the business deserves a second chance.
23
I remember a recording session of Poulenc with Ms Battle, the Boston Symphony Orchestra and the Tanglewood Festival Chorus back in the 1980's. Many of these problems were evident and by the end of the session none of the Boston musicians wanted anything further to do with her. BSO management concurred.
40
The BSO did work with her a few more times and she did not disappoint with her beautiful voice or in her awful behavior.
1
if indeed the met told other members battle was "fired"...she should have and should file a lawsuit for such a statement. that statement alone has cost her millions. someone has to pay!
7
Sue the Met for telling the truth? You shudda been her manager.
44
The Met Drops Kathleen Battle, Citing "Unprofessional Actions"
By ALLAN KOZINN
February 8, 1994 - New York Times
Kathleen Battle, the soprano who in recent years has been as famous for her fiery temperament as for the beauty of her voice, was dismissed yesterday from the Metropolitan Opera's production of Donizetti's "Fille du Regiment" for what the company called "unprofessional actions" during rehearsals.
Several people involved with the production said that Miss Battle had been difficult and uncooperative even after rehearsal schedules were changed to accommodate her demands, and that she had upset other members of the cast.
In effect, Miss Battle is being dropped from the Met roster: the production was the only one for which she was under contract, and Joseph Volpe, the Met's general manager, said in an interview that when he dismissed Miss Battle, he "canceled all offers that have been made for the future." 'Profoundly Detrimental'
In an extraordinary statement from an institution that usually maintains an air of patrician diplomacy, Mr. Volpe said:
"Kathleen Battle's unprofessional actions during rehearsals for the revival of 'La Fille du Regiment' were profoundly detrimental to the artistic collaboration among all the cast members, which is such an essential component of the rehearsal process..."
http://www.nytimes.com/1994/02/08/arts/the-met-drops-kathleen-battle-cit...
By ALLAN KOZINN
February 8, 1994 - New York Times
Kathleen Battle, the soprano who in recent years has been as famous for her fiery temperament as for the beauty of her voice, was dismissed yesterday from the Metropolitan Opera's production of Donizetti's "Fille du Regiment" for what the company called "unprofessional actions" during rehearsals.
Several people involved with the production said that Miss Battle had been difficult and uncooperative even after rehearsal schedules were changed to accommodate her demands, and that she had upset other members of the cast.
In effect, Miss Battle is being dropped from the Met roster: the production was the only one for which she was under contract, and Joseph Volpe, the Met's general manager, said in an interview that when he dismissed Miss Battle, he "canceled all offers that have been made for the future." 'Profoundly Detrimental'
In an extraordinary statement from an institution that usually maintains an air of patrician diplomacy, Mr. Volpe said:
"Kathleen Battle's unprofessional actions during rehearsals for the revival of 'La Fille du Regiment' were profoundly detrimental to the artistic collaboration among all the cast members, which is such an essential component of the rehearsal process..."
http://www.nytimes.com/1994/02/08/arts/the-met-drops-kathleen-battle-cit...
16
In the United States, at least, truth is an absolute defense against a libel charge. And there were dozens of people who would have taken the stand to testify about her behavior.
3
I do remember that Semele, though, and it was transcendent.
13
She reportedly held up the release of the recording of that Semele for about seven years because she refused to approve a photo for the cover.
2
I can't help but notice that the comments below seem a bit, ah, racist? How shocking. Not.
6
Racist? Please adjust your reading glasses, in the light.
28
Pretty much any negative comment that has even been made about Kathleen Battle has had nothing to do with racism. It is well-documented that she was unusually difficult to work with- see the link in the article to the 1994 NYT piece or just do an internet search. Quite frankly, if she wasn't so incredibly talented and popular with audiences, she probably would have been fired much, much sooner.
55
I have heard Ms. Battle perform and she does have an incredible voice. That being said, why should all of the others connected with a performance, good musicians in their own right, have to suffer through her incredibly immature antics. She is a version of the donald. It has nothing to do with race and everything to do with behavior.
10
Does anyone remember the delicious comment Jessye Norman is said to have made, after a London performance, prompted by the hissy fit Kathleen Battle was having over the headline on a glowing review. I'm probably getting it wrong, but it had something to do with Battle only just then realizing she was black. Sad Battle seems to have had so little self regard. Was it a torture for her to perform?
3
The famous (if highly unlikely) story has Ms Battle going on and on in some backstage common room (a commissary?) about a recent newspaper review. It's a review of herself (of course) and a positive one, but she's described as this great, young, beautiful, black soprano. She's livid, and reading it aloud for all to hear: 'Black, black,' she says. "Why do they always have to mention black in the reviews?' And she storms out of the room.
At which point, Jesse Norman looks at her tablemates and says (sotto voce), "Well, somebody had to tell her.'
Doubtful, but that's the story.
At which point, Jesse Norman looks at her tablemates and says (sotto voce), "Well, somebody had to tell her.'
Doubtful, but that's the story.
24
I agree, pretty doubtful. Except I can hear Norman drawling it out, bless her.
5
I think she had a point. It's the same with being a "woman" artist. Why the woman part? Why not just an artist? And why be a "black woman artist"? Why not just an artist? I don't think she was offended by her own blackness..it was the fact that she wanted to simply be described as a great soprano..after all, do we say that Pavorati was a great young handsome WHITE tenor?
22
This is hardly a unique Met assessment of Ms. Battle.
I quote the ChcagoReader:
"Kathleen Battle is the most universally despised individual in the world of classical music, transcending all lines of gender, ethnicity, and nationality. To know her is to loathe her, and virtually everyone whose professional life has intersected with hers, from the humblest dresser and elevator operator to the loftiest of opera stars and impresarios, has a horror story to tell."
I quote the ChcagoReader:
"Kathleen Battle is the most universally despised individual in the world of classical music, transcending all lines of gender, ethnicity, and nationality. To know her is to loathe her, and virtually everyone whose professional life has intersected with hers, from the humblest dresser and elevator operator to the loftiest of opera stars and impresarios, has a horror story to tell."
76
Wow! That's some statement.
3
I was a young opera singer in conservatory when Ms. Battle was at her height of fame. I heard stories about her from all walks of life-fellow divas who were on stage with her, costumers, backstage personnel and even someone from my hometown who had to arrange a driver for her for a local fundraiser. Unfortunately the bad stories are all true. Where there's smoke, there's usually fire. However I always loved her singing and I'm all for second chances. Toi toi toi Kathleen!
19
When I saw the headline on the front (web) page, the first thing that came to mind was The Sopranos. I'll refrain from even guessing why that happened!
3
To mention Callas and Battle in the same breath is preposterous. Another example of misguided, delusional Met management in the hands of Peter Gelb. Can't imagine how the Met board has failed to connect the dots. Empty seats indeed.
29
The house doesn't have to be full to make for a profitable event. The cast (singer, pianist and a church chorale) is small, many Afro-Americans who've never been at the Met will probably attend, and the concert is scheduled for a Sunday, when the house is usually dark. Why all this negativism?
10
Callas fans are like Apple Acolytes and Sanders Cult members. They become indignant if anyone dares to suggest that there might be anyone or anything out there that might compare with their chosen one and they feel that the only way to support their idol is to degrade all others. What they never seem to realize is that their rabid defensiveness just makes the object of their affection look ridiculous. I love Callas. I just can't stand her fans.
2
She is incredible. Thank goodness! I can't wait to see her!
20
What happens to otherwise sane individuals like Ms. Battle or Oprah Winfrey, when they become famous? Why do they have this overbearing sense of entitlement when they are beholden to many people for their success.
There is no need for anyone to act in this manner and when they do, they need to be taken down a notch or two!
There is no need for anyone to act in this manner and when they do, they need to be taken down a notch or two!
29
What does Oprah have to do with this?
37
Well, Ms. Battle did sing oprah at The Met.
42
Many artists act like this when they hit the top. Same for politicians, doctors. It just goes to their head.It is not a new story.
But if the person gives extraordinary gifts to the public in their work and makes the world a more interesting place to be in then bring them back if they have repented for bad behavior.
She lost 20 years at the Met. Perhaps the musicians can where police cams and upload daily to share the wealth.
But if the person gives extraordinary gifts to the public in their work and makes the world a more interesting place to be in then bring them back if they have repented for bad behavior.
She lost 20 years at the Met. Perhaps the musicians can where police cams and upload daily to share the wealth.
3
I wish her well and hope her return goes well, but it's amazing that she didn't have a clue she was difficult.
57
I worked at the Met in the mid 80s. One of my favorite stories about Battle is the one where she was riding in a limousine and she called her agent and asked him to call the driver to turn down the air conditioning.
59
Yes, angelo, that one is a classic.
1
Yes, I too heard the "stories" about Ms. Battle,yet; I recall her wonderful gowns, her beautiful face and figure, and when I got the chance to hear her at the Met, wondering where was this famous voice? Thin or slight rather; was an understatement! After reading all the praise, I am venturing down to my basement to try and find her cd's to take another gander!
Good Luck to Ms. Battle at the Met-again!
Good Luck to Ms. Battle at the Met-again!