Singers From New York City

"[Backstage] she was wonderful; she was marvelous. She was easy-going and a worker. Oh my goodness! She rehearsed and rehearsed; always full-voice, never pushing the sound, but she would work till she got what was wanted. And of course had very poor eyesight. She used to pace out how many steps she would go, and there were steps and different levels on stage, as they were, in Norma. And she knew how many paces she could take before she had to take a step, because she was blind as a bat. She had terrible eyesight and, of course, couldn’t wear contact lenses at the stage. She did later."

"[Working with Callas was] like nothing else. Compared to nothing. I would say singers are reproductive artists, but she was a creative artist. She was in the role so much, it was fabulous, fabulous. She was very modest, very easy. But I think she saw red when she saw a journalist. But I could discuss a breath or anything with her. She didn't really have an ego when it came to the work. Her curse was that she was so musical, so intelligent, that she could take on roles that her voice couldn't handle. But what she did was always wonderful. There's a good example of what I mean. Callas — artist. Tebaldi — wonderful singer."

"This rivality was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don’t know why they put this kind of rivality, because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria. The most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!"

"To work with her, you had to really understand how she saw your role, not how you saw it. She had a very clear-cut understanding of her role, and you had to fit into that interpretation. She was so great, [yet] she could not distance herself from a role. It was actually quite terrifying — she would at times actually cry while singing! You must only portray the emotions, not become personally involved. But Maria always became the role. She was such a servant of the text and the composer, she would tear her voice to ribbons to accomplish it!"

"I did it to serve Callas, for one must serve a Callas."

"The last great artist. When you think this woman was nearly blind, and often sang standing a good 150 feet from the podium. But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect. ... For over thirty years, I was Arturo Toscanini's assistant, and from the very first rehearsal, he demanded every nuance from the orchestra, just as if it were a full performance. The piano, the forte, the staccato, the legato — all from the start. And Callas did this too. ... She was not just a singer, but a complete artist. It's foolish to discuss her as a voice. She must be viewed totally — as a complex of music, drama, movement. There is no one like her today. She was an esthetic phenomenon."

"About Maria Callas, I am honestly practically devoid of words. And that must be the case when one comes up against a phenomenon that one simply can't explain, but whom one appreciates. Indeed, as far as I'm concerned, I've been in love with her for years. She is, I think without any doubt at all, (and I don't mind what letters come to me tomorrow) the greatest theatrical, musical artist of our time.... She has an enormous feeling for music. She has an enormous feeling for words. She has an enormous feeling for the dramatic situation. She can convey all those things to an audience in a way that practically no other artist alive today can do."

"The magic of a Callas is a quality few artists have, something special, something different. There are many very good artists, but very few who have that sixth sense, the additional, the plus quality. It is something which lifts them from the ground: they become like semi-gods. She had it. Nureyev has it, [Laurence] Olivier. But Olivier is also a case of an extremely rich knowledge of everything. He is completely coherent in his life, onstage. Whatever he does is part of a complete personality. Maria is a common girl behind the wings, but when she goes onstage, or even when she talks about her work or begins to hum a tune, she immediately assumes this additional quality. For me, Maria is always a miracle. you cannot understand or explain her. You can explain everything Olivier does because it is all part of a professional genius. But Maria can switch from nothing to everything, from earth to heaven. What is it this woman has? I don't know, but when that miracle happens, she is a new soul, a new entity."

"The first time I was in the South was in 1961. I was on a regular concert tour, and was barely aware of the civil rights movement, probably because I hadn't yet made the transition from Michael to the real world. I did discover, however, that no blacks were at any of my concerts, and would not have been allowed in if they had come. The following summer I wrote into the contract that I wouldn't sing unless blacks were admitted into the hall."

"There was a new popular music of protest. Pete Seeger had been singing protest songs since the forties, but now he came into his own, his audiences much larger. Bob Dylan and Joan Baez, singing not only protest songs, but songs reflecting the new abandon, the new culture, became popular idols..."

"She was something else, almost too much to take. Her voice was like that of a siren from off some Greek island. Just the sound of it could put you into a spell. She was an enchantress. You'd have to get yourself strapped to the mast like Odysseus and plug up your ears so you wouldn't hear her. She'd make you forget who you were."

"Oh, and I'd be remiss if I didn't mention Joan Baez. She was the queen of folk music then and now. She took a liking to my songs and brought me with her to play concerts, where she had crowds of thousands of people enthralled with her beauty and voice. People would say, "What are you doing with that ragtag scrubby little waif?" And she'd tell everybody in no uncertain terms, "Now you better be quiet and listen to the songs." We even played a few of them together. Joan Baez is as tough-minded as they come. Love. And she's a free, independent spirit. Nobody can tell her what to do if she doesn't want to do it. I learned a lot of things from her. A woman with devastating honesty. And for her kind of love and devotion, I could never pay that back."

"Women’s liberation was not on our radar, although I do remember noting to myself that women were basically running the office of the Boston draft resistance group behind the scenes. I was deeply involved because I had a draft resister boyfriend. That’s how most of us were involved (“Girls say yes to boys who say no,” as Joan Baez said"

"All of us alive are survivors, but how many of us transcend survival? (p. 322)"

"there really is no normal, and the things that I do change: study Aikido, take photos, take a dance course, get back cooking, illustrate a songbook, take on a human rights project-write a book. But there are some friends who have remained constant"

"I am thinking that Ronald Reagan is the same age as my father. They have some things in common. They are both young in spirit, buoyant, well-preserved, and optimistic. Beyond that, I can find only outstanding differences. The President is either ignorant of, or unconcerned by the ills of the world about which my father and I have been speaking. He is particularly immune to any part America may have in engendering these ills, as he dislikes the inconvenience of thinking beyond his own definitions of good-guys/bad-guys, and also doesn't like to be depressed. His pleasant, bumbling demeanor is preferable to the murderous efficiency of Kissinger and Kirkpatrick, but on the other hand, he is involved in the same dark and bloody deeds, all done under the same vast, all-encompassing and convenient banner of anticommunism. He feels that God is on his side, and that he really can do no wrong. What piques me is how this man and his followers can write off someone like my father. Because of my father's protestations about the raping of the Amazon forests, the pollution of our rivers, the misuse and depletion of natural energy, and the poisoning our children's air, people like my father are explained away with the flick of a wrist as a doomsayer, a depressive, a pessimistic liberal."

""Never close the door, you may need this person someday," is one of her favorite expressions. In 1983, at Newsweek's fiftieth anniversary celebration, I was seated across from Mary McCarthy at the head table. The big feature of the evening was a videotaped speech by Henry Kissinger. When he appeared on the big screen I stuffed my stockinged feet into their high heels and left the table, and stood in the lobby until it was finished. My moderation and diplomacy end where Henry's nose begins."

"Although I later fell in love with France, and now consider it my second home, the first country to win my young heart and seduce me with its language and beauty and fashion and flowers and intellect and men was Italy."

"I learned to love the Japanese bow, and I use it to this day in concert to thank people for having come to hear me."

"Al Capp, creator of the "L'il Abner" comic strip, launched the most imaginative of the negative attacks, introducing a character into his strip called Joanie Phoanie...I asked for a retraction but did not get one."

"I quit reading what the papers said about me because either they portrayed me as more self-sacrificing than I was, or they didn't like me and said, in a variety of ways, that I was a fake."

"There was a great deal of profound joy in my life, but there was practically no fun. I didn't know much about having fun. I felt too guilty, as though I wasn't supposed to start having fun until everyone in the world was fed and clothed."

"one day I told Ira that I did not want to remain an ignoramus forever and asked if he would consider tutoring me more formally. Ira claims that I suggested the next idea, and I think that he did, but the discussion evolved into a proposition that we form a school called the Institute for the Study of Nonviolence."

"What I have to say is this: I do not believe in war. I do not believe in the weapons of war...I am not going yo volunteer 60% of my year's income tax that goes to armaments... Maybe the line should have been drawn when the bow and arrow were invented, maybe the gun, the cannon, maybe. Because now it is all wrong, all impractical, and all stupid. So all I can do is draw my own line now. I am no longer supporting my portion of the arms race . . ."

"Seeing that nothing could come of our presence in Vietnam except disaster, I had a quiet revelation and decided to refuse to pay my military taxes."

"I have never been involved in the campaign of any major political candidate, preferring to work entirely outside of the party structure. Occasionally I have slipped a check and a note of encouragement to some brave congressperson who has defied everybody and risked his or her return to office because of principles."

"Of the many photographs I have of myself and famous people, there is one which I had framed and have never forgotten. It is of King and me at the head of that line of schoolchildren in Grenada, Mississippi. Ira is in back of me, and Andy, and then a long string of kids, all black."

"There was a revolution going on all around us, and if a white businessman and his family wanted to hear me sing "Fair and Tender Maidens," they had to come and sit in this boiling hot room and integrate an audience."

"Martin Luther King, Jr., more than any other public figure helped to solidify my ideas and inspired me to act upon them."

"I was born gifted. I can speak of my gifts with little or no modesty, but with tremendous gratitude, precisely because they are gifts, and not things which I created, or actions about which I might be proud. My greatest gift, given to me by forces which confound genetics, environment, race, or ambition, is a singing voice. My second greatest gift, without which I would be an entirely different person with an entirely different story to tell, is a desire to share that voice, and the bounties it has heaped upon me, with others. From that combination of gifts has developed an immeasurable wealth-a wealth of adventures, of friendships, and of plain joys. Over a period of nearly three decades I have sung from hundreds of concert stages, all over the world: Eastern and Western Europe, Japan, Australia, Northern Africa, South, Central, and North America, Canada, the Middle East, the Far East. I sang in the bomb shelters of Hanoi during the Vietnam War; in the Laotian refugee camps in Thailand; in the makeshift settlements of the boat people in Malaysia. I have had the privilege of meeting some extraordinary citizens of the world, both renowned and unsung: Andrei Sakharov and Elena Bonner; The Mothers of the Disappeared in Argentina, Mairead Corrigan in Belfast, Bertrand Russell, Cezar Chavez, Orlando Letelier; Bishop Tutu, Lech Walesa; Presidents Corazon Aquino, François Mitterrand, Jimmy Carter, and Giscard d'Estaing; the King of Sweden. Through Amnesty International I have met political prisoners who have endured repression and tortures under both right- and left-wing governments and who have astounded me with their humor, good cheer, and courage."

"We are the warriors of the sun The golden boys and the golden girls For a better world"

"Some of us may offer a surprise Recently have you looked in our eyes Maybe we're your conscience in disguise"

"We're the children of the 80's, haven't we grown We're tender as a lotus and we're tougher than stone And the age of our innocence is somewhere in the garden"

"Perhaps he's just a vehicle To bear us to the hills of Truth That's Truth spelled with a great big T And peddled in the mystic's booth There are oh so many miracles That the western sky exposes Why go looking for lilacs When you're lying in a bed of roses?"

"True he was a vocal miracle But that's only secondary It's the soul of the monarch butterfly That I find a little bit scary"

"With the precision of a hummingbird's heart Was the lord of the monarch butterflies One-time ruler of the world of art"

"Miracles bowl me over And often will they do so Now I think I was asleep till I heard The voice of the great CarusoBring infinity home Let me embrace it one more time Make it the lilies of the field Or Caruso in his prime"

"Now you're telling me You're not nostalgic Then give me another word for it You who are so good with words And at keeping things vague Because I need some of that vagueness now It's all come back too clearly Yes I loved you dearly And if you're offering me diamonds and rust I've already paid"

"Well you burst on the scene Already a legend The unwashed phenomenon The original vagabond You strayed into my arms And there you stayed Temporarily lost at sea The Madonna was yours for free Yes the girl on the half-shell Would keep you unharmed"

"We both know what memories can bring They bring diamonds and rust"

"Here's to you, Nicola and Bart Rest forever here in our hearts The last and final moment is yours That agony is your triumph"

"Yes, your father and Bartolo They have fallen And yesterday they fought and fell But in the quest for joy and freedom And in the struggle of this life you'll find That there is love and sometimes more Yes, in the struggle you will find That you can love and be loved alsoForgive me all who are my friends I am with you I beg of you, do not cry"

"Rebellion, revolution don't need dollars They need this instead Imagination, suffering, light and love And care for every human being You never steal, you never kill You are a part of hope and life The revolution goes from man to man And heart to heart And I sense when I look at the stars That we are children of life Death is small"

"Against us is the law With its immensity of strength and power Against us is the law! Police know how to make a man A guilty or an innocent Against us is the power of police! The shameless lies that men have told Will ever more be paid in gold Against us is the power of the gold! Against us is racial hatred And the simple fact that we are poorMy father dear, I am a prisoner Don't be ashamed to tell my crime The crime of love and brotherhood And only silence is shame"

"Blessed are the persecuted And blessed are the pure in heart Blessed are the merciful And blessed are the ones who mourn"

"I tend more towards Buddhist and Native American thought. For me, the spirits are quite real."

"(If you could speak to your younger self, what would you tell her?) Take it easy. Take a break. Relax a little."

"I just sing when I feel like singing, feels sort of like exploding."

"We are left in the dust right now and I don’t know if disappointed is the word. I’d say “overwhelmed” because nobody back in the 1960s or 1970s could have imagined anything this fuckin’ awful."

"I’ve never taken much time to do nothing, which I think is pretty important, especially at my age, and sort of contemplating what is coming. In this culture, we spend most of our time trying to avoid it. I would like to have more of a Buddhist approach."