Hola a todos. Feel like some Brahms? If so, either of these performances below should help lower your blood pressure. Below are two superb performances of Brahms’s Schicksalslied from the Alte Oper Frankfurt and my favourite the hr-Sinfonieorchester/Frankfurt Radio Symphony.
The performance date for their more recent performance of this work is: 8. Februar 2019 (8 February 2019). This performance causes tears to come to my eyes in places — such as during principal flautist Sebastian Wittiber’s lovely flute solo. That begins shortly after 14.20 in the first video below. Andrés, the conductor, looked very moved as well. How could you not be the way Sebastian played that? Absolutely beautiful playing with the consistently stellar performance results from the hr-Sinfonieorchester, and its guest Chorus.
The hr-Sinfonieorchester do not have their own Symphony Chorus. I presume by choice. There are quite a few orchestras without their own Chorus. Some that readily come to mind: The Baltimore Symphony Orchestra. Baltimore disband their Symphony Chorus years ago citing that they weren’t that good, not up to the Orchestra’s standards and they started inviting the superb University of Maryland Chorus to perform with them. The Kennedy Center’s resident Orchestra, the National Symphony Orchestra, does not have its own Symphony Chorus. The NSO usually invites the Choral Arts Society of Washington, The Washington Chorus or the University of Maryland Concert Choir to perform with them. There are other orchestras without their own Chorus. Then there’s one Orchestra that comes to mind that does have their own Chorus but might wish they didn’t if it weren’t for James Burton to work his wonders with them: The Boston Symphony Orchestra is currently having their Chorus Director, excellent James Burton originally from the UK (Hallé Choir/Choral Director of the Hallé Orchestra in Manchester), overhaul their Official Chorus, the Tanglewood Festival Chorus, which has been lagging in choral excellence for sometime and many people have finally noticed.
As for this Brahms’s Schicksalslied performance, listen to around 15.16 in the first video with the strings. Exquisite. The tears that come to my eyes while listening to/watching these two performances below are, in part, from knowing the years and years of training, practise, devotion, discipline and high-skill level required to produce such stellar results. And with the hr-Sinfonieorchester, they do so consistently, often playing some of the most difficult repertoire such as Béla Bartók’s tour de force Der wunderbare Mandarin, op. 19, which was on the same programme as the Brahms.
Also assisting in the first Brahms performance below — as well as the Bartók — was the Chorus, Vocalconsort Berlin. I was curious how they got to Frankfurt from the Deutschland capital. Unless they flew, they likely had a 4.5-hour train ride to Frankfurt. Well it was well worth it as they sang superbly, their voices blended perfectly. And I’m sure it was an honour for them to perform with this outstandingly stellar Orchestra.
For those who don’t know, the hr-Sinfonieorchester is the Symphony Orchestra of the Hessischer Rundfunk, German Public Radio of Hesse, one of the states of Deutschland/Germany, centrally located within Deutschland with Frankfurt being Hesse’s largest city. We have nothing like this in the States, here in the so-called “greatest country” and all that. But don’t let me get started on the ugly nationalistic mythology that many USians have been brainwashed with where they have to keep telling themselves and reassuring themselves what a (supposedly) “great country” this is, as I heard someone do while writing this which is partly why I’m bringing it up. (Related: Why does there have to be a “greatest country ?”) Nevertheless, there is no npr or PBS Orchestra, and I suspect you won’t see one.
The superb Vocalconsort Berlin was prepared by Chorus Director, (Einstudierung) Christoph Siebert. He’s also Chorus Director for the Collegium Vocale Gent, the Chorus in the second video performance below. One of Christoph’s teachers was John Eliot Gardiner of The Monteverdi Choir. The Vocalconsort Berlin sang with a lovely straight (and darker) tone which gave them perfect intonation in all sections – SATB.
I was also pleased to see that Andrés acknowledged the Chorus Director at the end of the performance and had him take his bows and to have his Chorus stand to be acknowledged. I say that because sometime orchestral conductors don’t bring the Chorus Director out for bows for some odd reasons. Well, to some the Chorus Director is considered unimportant — don’t get me started on that; I fail to understand that thinking — and all the credit for the Chorus Director preparing the Chorus is misplaced by unfortunately giving that credit to the orchestral conductor who really had nothing to do with it. The only time the orchestral conductor works with the Chorus and makes any minor adjustments to how they have been prepared by the Chorus Director is usually in the one-and-only orchestral rehearsal on stage. Usually, the Chorus Director and the performance conductor go over the score before the Chorus Director prepares the Chorus according to the conductor’s wishes. So there is usually not much that the conductor has to say to the Chorus, including all final consonants being in their correct place. On occasion, a conductor might change his (or her) mind after hearing the Orchestra and Chorus together in the one and only rehearsal, and tell the Chorus to make a minor change here and there in how they had been prepared (such as: “Chorus, forget what I told your excellent Chorus Director over the phone when we first spoke. I have an idea, let’s do it this way instead…”). That was my experience having been in three major Orchestra Choruses in the US (see here, here, and the San Francisco Symphony Chorus in Davies Symphony Hall).
Andrés is not one to give himself much credit for the performances he conducts. He makes it about all the other musicians, and that is so good to see. I think he would be a pleasure to work with. He’s so respectful of the musicians he conducts and smiles at them in approval at their lovely playing throughout the performance as if to say, “You’re playing splendidly and this is so much fun for me, and I have the privilege of conducting you.”
I also like how the Men of the Chorus were dressed. I’m not usually hot on all-black, but it certainly looks better than that traditional black and white tux rut worn by choral ensembles for decades — and still being worn by some — with stuffy bow ties for what seems to be centuries. I’ve seen this new all-black performance “look”/choral attire for sometime in the EU. From what I’ve seen, the choral ensembles performing for the BBC Proms wear all-black, although without jackets. That’s true for both genders, not just the guys. Some of the choral ensembles from the Nederlands feature the Men of the Chorus wearing long ties, each guy wearing a different coloured tie. I like that. That looks very pretty and adds a nice touch of colour to the stage.
Here’s the most recent performance from February 2019:
As I said, the hr-Sinfonieorchester have performed this piece at least once before awhile back (see video below). In that performance, they invited Philippe Herreweghe and the excellent Collegium Vocale Gent from Belgium to perform with Philippe conducting. I wrote about that here. In that performance, hr-Sinfonieorchester principal flautist Clara Andrada de la Calle played the lovely flute solo (beginning a little after 14.00 in the video below). Clara is also a flautist with the Chamber Orchestra of Europe.
I liked the way both Sebastian and Clara played it — they alternate as principals, and I think they have a third principal flautist — each played it a little differently in a phrasing sense.
Here’s the performance with the hr-Sinfonieorchester and the Collegium Vocale Gent:
Schicksalslied, Op. 54:
Some people say that the Schicksalslied is sort of a small Brahms’s Ein deutsches Requiem. (Related: Here’s a superb performance of that from a choral and orchestral perspective: From Copenhagen: Brahms – Ein Deutches Requiem – DRSO & KoncertKoret). Or they say that if they don’t have the time at the moment to listen to the Requiem, they listen to the Schicksalslied instead to get their cravings for Brahms.
Mi amigo/My friend commented on this performance from February 2019 saying he enjoyed it. Then he said, “Is there anything that those strings can’t play? In places they seem to come out of nowhere and so flawlessly, and they blend beautifully.” I do so agree. Their string section and their volume control is unsurpassed and rather amazing. Perfection. He also noticed how the people in Frankfurt (the audience) and the Chorus from Berlin looked more natural, less artificial, like real people including the women “not all dolled up,” and not trying to hide their age with hair-colourings and loads of needless cosmetics the way the “You must always look young” sheeple do here in the States having been brainwashed by the US corporate media that one must always look “young” regardless of one’s age.
Also, one of the choristers in the Vocalconsort Berlin is (or was) a chorister in the Collegium Vocale Gent — you’ll see him on the back row in the tenor section in both videos — when they performed this work in Frankfurt. He’s a superb tenor. I recognised him, so he has performed this piece at least twice in this venue.
Andrés is extremely good at working with a Chorus from watching him. That cannot be said about all orchestral conductors from my experience. Some orchestral conductors pretty much just ignore the Chorus. “You’re on your own” seems to be their thinking. With this unspoken, “I’m only concerned about or here for my Orchestra” which shows a lack of respect for the Chorus. (Related: The Second Class Musicians). But not with Andrés. He’s very respectful of the Chorus as well as all the other musicians on stage. He’s now one of my favourite conductors, and frankly you could count my list of “favourite conductors” on one hand. I’m not usually into conductors, per se, I’m more into the Orchestra and Chorus and or instrumental soloists. It depends upon the situation, the piece and the performing forces. I agree with Classical Music Violinist Nigel Kennedy who said, “Conductors are completely over-rated.” Finally, someone said it! Long overdue. (Related: Dudamel does it best! No, Bernstein! No, Solti! No, Karajan!)
Andrés Orozco-Estrada was born in Colombia but trained in Vienna where he lives. He’s also conductor of the Houston Symphony Orchestra. A bit of Latin culture education: Orozco is his father’s last name and Estrada is his mother’s last name.
In this more recent performance, I would have preferred more space of silence at the end between the last chord and the applause. There must have been somebody there in the audience from the US or its poodle colony the UK — I’m specifically thinking of the audiences at the BBC Proms and their over-enthusiastic applause usually started by some screaming guy(s) — who doesn’t understand that you don’t have to jump in on the last note/chord with applause almost as if it’s written in the score. A respectful amount of silence is a good thing, especially after a piece like the Brahms. The same goes for Ein deutsches Requiem. That’s what Andrés was trying to do and signal to the audience. Watch his hands and arms, people. Allow Andrés to lower his arms completely. Then breathe. Then you can applaud. This reminds me of some classical music stations these days who leave no space at all between the last notes/chord of a piece and their jumping in and interrupting the mood by urgently telling the audience what they had just heard. Why the rush? I suppose they would say, “Oh because of the short attention span of the sheeple today, you can’t have any silence otherwise you will lose them.” You lose me when you don’t allow any silence. I find a lack of silence tacky. What’s the rush? And we’re talking about the classical music audience, not the short-attention span US pop culture audience who can’t remember 5 seconds ago. The classical music audience presumably has a long(er) attention span otherwise they wouldn’t be able to sit through lengthy musical compositions and major symphonic works and enjoy them. “But our marketing research tells us…” Isn’t your “marketing research” geared to US pop culture? (roll eyes)
Someone usually asks me: Have you performed this piece? Yes I did with the San Francisco Symphony Chorus under superb Chorus Director Vance George, a protégé of the late Margaret Hillis, Founder and Director of the Chicago Symphony Chorus. Vance was very enjoyable to work with. Very down-to-Earth, good people skills, a really nice guy and he produced excellent results with the Symphony Chorus. He’s a stickler for good choral diction and that’s a good thing. And as Dr Paul Traver of the renowned University of Maryland Chorus said when they were around, “If you can’t sound good, you can at least have good diction.” (lol) That is so true, and the UMD Chorus was known for their excellent diction. But I have a lot of respect for Vance George.
Anyway, enjoy these two beautiful performances from Frankfurt. We are so fortunate that they make their outstandingly superb performances available to the world. Chau.—el barrio rosa
(Note: A correction has been made to this article, which also affected the comments).
Hola a todos. What a marvelous and thoroughly enjoyable performance. You may have heard Franz Schubert’s Symphony No. 9 in C, D 944, (known as the Great Symphony) but I suspect you’ve not seen it played by being inside the Orchestra which takes a performance to a whole new level, which you can do by watching this HD video from my favourite, the hr-Sinfonieorchester/Frankfurt Radio Symphony.
This is the Symphony Orchestra of the Hessischer Rundfunk, German Public Radio of Hesse, one of the states of Deutschland/Germany, centrally located within Deutschland with Frankfurt being Hesse’s largest city. We have nothing like this in the States. There is no npr or PBS Orchestra, and I doubt there ever will be!
When watching this performance, if at one point near the end you think you’re hearing part of Beethoven’s Symphony No. 9, you are correct. Schubert briefly “quoted” from part of the Beethoven (one occurrence of that you can hear beginning at 45.28 in the video. It appears at two different places in the score). I don’t know that Schubert could get away with that today due to copyright nonsense.
The hr-Sinfonieorchester have an excellent camera crew and record in HD. Their stage in the Alte Oper Frankfurt — if this building could think, I imagine it appreciates not being an opera house anymore and not having to listen to screaming, heavy-vibrato opera divas — is a recording set with microphones all over the place and with the winds, brass and percussion sections of the Orchestra elevated for camera views. It’s extremely well done. And these musicians are consistently stellar. I wish most Orchestra Choruses would produce such consistently splendid results, starting with singing with a straight-tone — no noticeable vibrato — guaranteeing perfect intonation in all sections (SATB). And notice the young age (he’s currently 35; I thought he was in his 20s until I researched him) of the Second Concertmaster, Florin Silviu Iliescu. Perhaps he was a child prodigy. Well, he did start studying the violin at the age of 5. (I started playing the piano at the age of 5 but didn’t start formal piano instruction until the age of 8). In one performance I watched, Florin was First Concertmaster and Maximilian Junghanns had been moved to Second Concertmaster. He usually plays in either third or fifth chair in the performances we’ve watch, if I’m remembering correctly. They have at least two principal flautists: Clara Andrada de la Calle and Sebastian Wittiber. They alternate as principals. Although in this performance, the principal flautist is a woman I’ve not seen before. When she stood to take her bow with the wind section, she looked very humble and modest with a nice smile, like the other splendid musicians of this Orchestra.
Mi amigo/My friend and I have watched this performance a few times so far. One of our favourite parts of this work is the last movement especially at the gallops. The violas (they’re over on the right side of the stage when you’re facing the stage) play the galloping figure initially. The violas ultimately accompany the oboist who plays one of those lovely melodies of the last movement. That whole section we found most interesting to watch with the bowing action from the violas, basses and violins especially when they play the groups of 4 octaves in a row. Also, there for a couple of measures it took some rather super-human arm/hand movements to play that part on the viola that the camera showed up. I suspect they drilled that rather well to play it so flawlessly.
I think the competition is rather fierce to be in this Orchestra. The first year is a trial year and one does not become a regular member of the Orchestra until one’s second year. I read that they’re particularly known for their wind section (which is superb), but as far as I’m concerned they should be known for the perfection of every section, including their absolutely gorgeous string section. It doesn’t get any better than this.
Final movement begins: after 41.17 in the video
Quite showy Bowing: at 52.00 with the violas, then the double basses, then the violins
Sometimes after listening to a hr-Sinfonieorchester performance, I’ll be curious to hear how another Orchestra plays the same work, so I’ll check out another Orchestra, usually in the EU. Even though I will enjoy other performances by other orchestras, we always end up coming back to the first performance we heard which was with the hr-Sinfonieorchester. There’s just something about them. It’s hard to put into words, other than to say their sound, consistently high quality level and also I’m very familiar with many of their musicians from seeing them so many times. It’s also interesting to see how their musicians move around within the Orchestra, particularly in the string section.
And as usual, Andrés Orozco-Estrada, the conductor, whom I like very much remains as humble and modest as always, the sign of a true artist not stuck on oneself — not even a hint of arrogance despite all of his accomplishments — giving the credit for this superb performance not to himself but to these outstanding musicians who played the work. These are among the finest musicians on the planet. Perfection. I really can’t say enough superlatives about them. It’s almost as if Andrés is thinking, “I’m just the conductor; I didn’t play a note,” which is true. Conductors don’t play a note unless they’re conducting from a keyboard, something that the Classical Music Snots (those self-appointed, know-it-all, nit-picking armchair critics often with no musical training at all probably) seem to have never considered as they engage in their conductor worshipping routine with their silly and juvenile arguing over who is the best. (Related: Dudamel does it best! No, Bernstein! No, Solti! No, Karajan!). In some pieces, the conductor is rather critical to the overall interpretation of the performance one just heard. In other pieces, conductors really don’t make that much difference. Brahms’s Ein Deutsches Requiem (one of my favourite symphonic choral works and that’s a superb performance at that link) is an example of that. That pretty much sounds the same no matter who conducts it, assuming the Symphony Chorus is superb, well-trained and singing with a lovely straight tone. It really depends upon what it is. And unlike some of the Classical Music Snots, I’m not into conductor-worshipping and dropping the names of internationally-known/celebrity conductors.
Andrés seems to have a very special rapport with the hr-Sinfonieorchester and they all seem to like him, as I do. Like some of the finest orchestras, I think this Orchestra could easily play perfectly without a conductor. I’ve seen several performances like that with other orchestras. By the way, Andrés is originally from Colombia but trained in Vienna and lives there. And for those who don’t know, his last name (Orozco-Estrada) is a combination of his father’s last name (Orozco) hyphenated with his mother’s last name (Estrada) which is common in Latin culture. Unlike other cultures where only the father’s name is used. Andrés is also conductor of the Houston Symphony Orchestra. That’s quite a commute from Vienna/Frankfurt to Houston. Enjoy this absolutely splendid performance. It doesn’t get any better than this. Chau.—el barrio rosa
The organ playing from Cathedral Organist Thomas Sheehan in the recessional hymn, “Hark, the Herald Angel’s Sing” was glorious, especially his High Anglican organ improvisation interludes. Very moving, close to tear-inducing (at least for me) while watching the recessional complete with thurifer/incense and the well-trained acolytes and vergers in the procession. His superb playing made me smile because this is the way the music in an Anglican cathedral is supposed to sound. It reminded me of the brilliant former Cathedral Organist, Benjamin Straley, when he first arrived at WNC.
Hola a todos. Washington National Cathedral (WNC) in the District of Columbia has a new organist, Thomas Sheehan, although he doesn’t officially start until Summer of 2019, but he played for the 2018 Christmas Eve Mass at WNC. His playing was excellent. I found him most enjoyable. Rather High Church and I’m a High Church person, so muchas gracias for that, Thomas, should he ever read this. Hopefully he will be allowed to keep his playing High Church and not be asked to “tone it down” to boring and dull Low Church with the excuse being “because we’re not High Church here at WNC. We like to cater to the tourists who are only here once and who are more accustomed to the podunk/redneck(?) ‘praise bands’ genre.” Groan. Who wants to hear Low Church playing in an Anglican cathedral? I suppose someone does; somebody with no taste in music!
A little bit about Thomas’s background: He’s currently the Associate University Organist and Choirmaster at the Memorial Church at Harvard University. He’s a graduate of the Curtis Institute of Music where he earned diplomas in organ and harpsichord. He also trained at Westminster Choir College where he earned his Master of Music and Bachelor of Music (BM) degrees. (The BM degree is a performance degree, for those who don’t know). “Clearly the boy is well trained” as they would say. He is indeed well trained and very talented. And it takes talent to improvise as expertly as Thomas does.
When I saw Thomas at the organ console, I thought that perhaps he was auditioning to replace Benjamin Straley who left WNC earlier in 2018 to pursue his ultimate goal — despite his superb organ skills — of being an Anglican priest (which he is now) at a small parish in Essex, Connecticut. I would think Benjamin would have access to the parish organ for keeping up his skills. It would be a shame for them to become “rusty” from lack of use. Of course his skills are always there, he would just have to retrieve them and depending upon how long it’s been since he last played, the “retrieving” time would vary.
About Benjamin and his move to the US state of CT (Connecticut): When I heard about that I was thinking that it would be quite a culture shock for him in a couple of ways. Having lived in the District of Columbia which is a major US city, it’s not part of any state because it’s the Federal District and the capital of the US, I can tell you that fortunately living in the District is much different than living in a small town. And a large cathedral is much different than a small parish. Personally, I’m a cathedral person and a city person. Benjamin lived in DC for about 6 years, which is quite awhile to then up and move to a small town. I couldn’t do that being a city person. Although one can get burned out on the political atmosphere in the District. I know I did, and I wasn’t even paying that close attention to politics at that time. DC is a very transient political City and when I lived there it was said that the average stay was about 2 years. But perhaps Benjamin felt he needed a major change, as this most assuredly would be. But anyway, Thomas was hired shortly after or around the same time that Our Benjamin left WNC. I was wondering if Thomas was run through three auditions like Benjamin said he had at WNC? Can you imagine anyone giving Benjamin three auditions with his talent, skills and musical abilities? Oh good lawd. I know one needs to be careful and very selective about the musicians one hires especially for the position of organist in a cathedral church, but really, I should think two auditions would have been sufficient for Benjamin, don’t you? Despite his maturity, maybe it was his “youthful” appearance and young age at the time that led to three auditions.
Some people who feel that Our Benjamin was the finest organist WNC ever had are asking: Is Thomas the next “Benjamin Straley?” Well, he very well may be. But in my opinion, it’s much too early to tell and it really may not have anything to do with Thomas and his organ skills, but I’ll get to that in a bit.
Personally, I wouldn’t go by just one Liturgy that Thomas played and especially a Liturgy that is usually or supposed to be more High Church anyway (Christmas Eve Mass) to make any determinations about him. I would have to hear Thomas over months to determine if he’s another Benjamin, or better. Is that possible? I mean no disrespect whatsoever to Thomas, but it would be hard to top the original very High Church Benjamin Straley who first showed up at WNC in his early days after being hired in 2012? I remember saying about him: He’s one of the finest organists I’ve ever heard. And I may have said he’s the best organist they’ve ever hired, although I don’t know that I would have said that not having heard most of all the previous organists at WNC. But anyway, Benjamin was superb/brilliant in his early days at WNC. The reader may be asking, “What do you mean by in his early days?” Well I’ll get to that in a moment. And Benjamin always seemed to be a most humble and modest guy despite his extraordinary talents and skills from what I could tell from the videos. He had not let his success go to his head which is one of the signs of a true artist and mature human being, to not be stuck on himself. Very down-to-Earth. He was certainly better than his predecessor who for my taste was too Low Church.
Thomas has excellent improvisational skills which are critical in an Anglican Liturgy. I’m thinking of High Church now. Upon reflection, does one need any improvisational skills in Low Church? lol. I. Don’t. Think. So. Or not too many. Podunk Low Church congregations seem to be just fine with hearing what amounts to Southern Baptist hymns such as “Bringing in the Sheaves” or “Revive Us Again” (roll eyes) played “by the book” where one would otherwise be improvising. In fact, I’ve occasionally wondered by Low Church people don’t just come out of the closet and be Southern Baptists since they pretty much act just like them in their worship manner and style. I can hear them now: “Genuflect to the reserved sacrament before entering the pew? What’s that? We don’t do that in Low Church. Bow to the processional crosses? Oh good gracious no, wouldn’t dream of it! We don’t do that in Low Church. That’s for those High Church people whom we avoid.” I see. And I avoid Low Church people. They annoy me. I mean, would it really put you out to bow to the processional cross, or genuflect at the side of the pew? Consider it a little bit of exercise. Or are you opposed to that too?
Mi amigo/My friend said Thomas’s playing style particularly in the recessional hymn is what one expects to hear for Her Majesty Queen Elizabeth II, the Supreme Governor of the Church of England — and expects in an Anglican cathedral. “It doesn’t get any better than this!” mi amigo said. It was deeply moving, close to tear-inducing (at least for me) while watching the recessional with the thurifer/incense and the well-trained acolytes and vergers, all of whom looked like they completely ignored the fake-Christian orange despot parked on the front pew. Thomas’s superb playing made me smile because this is the way the music in an Anglican cathedral is supposed to sound in my opinion. It reminded me of the brilliant former Cathedral Organist, Benjamin Straley, when he first arrived at WNC. Mi amigo asked: How long will Thomas be allowed to play like this at WNC? Exactamente. That’s my point too. They at WNC seem to try to stifle High Anglican superb playing like this. It seems that they think that High Anglican organ playing will “scare away the tourists” rather than realising that’s what they came to hear and expect to hear in a grand cathedral church. I forget where I read it, but I read online that some of the resident congregation at WNC who are referred to as “the liberals in Upper Northwest” — meaning the Upper NW quadrant of the District where the cathedral is located — resent the cathedral catering to the tourists because each tourist is only there once, or at the most twice, so why cater to them? That’s the same thing I’ve asked. Grace Cathedral (Anglican Communion) in San Francisco has tourists as well since San Francisco is a tourist City, and from my experience at Grace they don’t cater to the tourists. Grace tries to be as “British” as possible. I’ve heard locals say about Grace, “They put on a good show up there” (the cathedral is on Nob Hill).
Back to what I said earlier: Our Benjamin was High Church when he arrived at WNC, and it was surprising to me that they had hired someone like him. I wrote about it at the time. I asked, “Does WNC plan to become more High Church?” Then I was surprised when they started implementing some High Church features into their Sunday morning Liturgy. I had wondered whether they had been suggestions from Benjamin. If they were his suggestions, they didn’t last long. I remember complaining about the priests nearly jogging around the free-standing altar in the Sanctuary area with the incense where virtually no smoke was coming out of the thurible. The thurible hadn’t been properly prepared. Either that, or they just wanted to give the appearance that they were using incense without actually using any, or very little to show faint smoke. It was if the more Low Church priests — especially that Dean at the time (was he asked to leave WNC abruptly by the Bishop?) — were not comfortable using incense. Just before he left WNC, during the Sequence Hymn/Gospel Hymn one saw him carrying The Gospel under his arm as if it were a library book. (roll eyes) They also started chanting the responses before and after The Gospel. I didn’t like the chants they were using — who chose those boring things? — because they were rather dull, but at least they were chanting the responses. You have to take what you can get, I guess. By comparison, the chants used before and after The Gospel at St Thomas Church Fifth Avenue in Manhattan were/are far superior. Why didn’t they use those, or are they not familiar with them? Just listen to their Sunday morning Liturgies and one will hear them. I think they’re still using them. Especially the chant after The Gospel where the superb trebles at St Thomas soar on “Praise to you, Lord Christ.” That sounds glorious depending upon the key used by the organist — the higher the better for soaring boys’ voices — and the key used was based on the key of the Sequence Hymn before the chant. But unfortunately, none of these High Church changes stuck at WNC. They were only temporary. I suspect that disappointed Benjamin if these suggestions to make the Liturgy more High Church had come from him. Not that they ever read it, but I had suggested in an article that they chant The Nicene Creed with Our Benjamin quietly playing improvised chords underneath the congregation (scratch that because they don’t sing) and choristers who would be chanting the Creed on a single tone. They did this at Grace Cathedral at one time and it was beautiful and far better than reciting it and gives a Higher Church feel to the Liturgy. But that suggestion never took off at WNC. Chanting the Nicene Creed with the Cathedral Organ playing quietly underneath the Chant and with appropriate crescendi at places in the Creed, such as in this section:
“On the third day he rose again in accordance with the Scriptures;
he ascended into heaven and is seated at the right hand of the Father.”
That section on the organ would be played more gloriously creating a uniquely more medieval, High Church feel to the Liturgy.
But anyway, Thomas’s improvisational skills do somewhat remind me of Benjamin’s. At one point — I think it was during the recessional hymn (“Hark, the Herald…”) — it looked like Thomas was playing too fast flying up one of the manuals improvising for the action of the organ to keep up with him. And didn’t I hear him using the 64′ in the processional hymn (“Adeste Fideles”)? “Let ‘er rip, Thomas!” I’m all for using the full resources of the organ when appropriate.
A brief detour to another topic but somewhat related: That’s one of my problems with one or more of the three Organist Titulaire at La cathédrale Notre-Dame de Paris, whose Liturgies I no longer watch out of frustration. They have probably the finest grande orgue in the world up there in the back of the Nave (roughly up on what would be the third story of the building, I think) and yet too often their organists “doddle” on it, rarely using the full resources during the Liturgy. They might use close to the full resources in the improvisation leading into the processional hymn and maybe for the improvisation organ voluntary during the recessional which viewers never hear in its entirety because KTO-TV which records the Messe/Mass consistently shuts the camera off in the middle of the organ improvisation! These are world-renowned concert organists (such as Olivier Latry) and that’s the level of disrespect they receive from KTO-TV. I had sensed this for years from having some experience in Catholic churches on the odd occasion, but I learned from watching Notre-Dame de Paris that it seems that most Catholics have very little respect for their own music. To them, it’s all about “the spoken word.” As far as they are concerned with their utter disrespect for the music, the Messe ended with the priest’s Blessing. At Notre-Dame, during the Offertory/censing of the altar, one mostly hears (what I call) “doodling.” One does not hear an anthem sung by a choral ensemble as one hears in Anglican Liturgies. One does not hear anything resembling “grand and glorious” during the Offertory as one often does in Anglican Liturgies. I’ve often thought to myself: Here you have this grande orgue, probably the finest in the world, and that’s all you’re doing with it?! Incredible. What a waste. And they have a Choir School at Notre-Dame but you wouldn’t know it because they rarely feature any Choir. I gave up trying to figure that out. Every church or cathedral church with a Choir School that I’m aware of in the Anglican Communion, the Choir School serves the parish (St Thomas Church Fifth Avenue in Manhattan, for example), or the cathedral church (Washington National Cathedral, for example) and prepares a choral ensemble for the Liturgies in the Cathedral. Not at Notre-Dame. Oddly, that’s not the way it works at Notre-Dame de Paris. When they do have a Choir on the odd occasion, the Children’s Choir is the best. They sing with perfect intonation. No noticeable vibrato. But it’s usually a quartet (four voices) leading the service music with one or more of them too often singing with annoying vibrato — even in Renaissance music, which is unheard of! — so their voices don’t blend. They don’t sing with perfect intonation. It’s almost as if they’ve never heard the term, “perfect intonation” at Notre-Dame de Paris. I found this surprising for such a world-renowned cathedral church. In the comments under KTO-TV’s videos, one of the choristers responded. He was a bit thick. He said that the choristers have different vocal priorities and how they are trained in the Choir School. Some are there to focus on operatic training, for example. Well fine, but that’s not what we’re talking about, Mr Chorister. In the cathedral setting, we’re talking about ensemble singing in a choral ensemble. We’re not talking about vocal soloist singing in this context. So it doesn’t matter how one is trained as a soloist in the Choir School. When one sings in an ensemble in the cathedral, one needs to turn off their fluttering and wobbling operatic vibrato and sing with a straight tone so that the choral ensemble one is singing with sings with perfect intonation or the perfect blending of voices, which noticeable vibrato prevents. It was also pointed out to him that they sing with noticeable vibrato in Renaissance music. He admitted that they should not be doing that. Then, what did we hear the next Sunday? We heard singing with vibrato in Renaissance music, and they continued to do so thereafter until I stopped listening, having become fed up with the inconsistent quality and caliber of the music programme at Notre-Dame de Paris. One gets the impression that it’s almost as if nobody there cares about top-notch choral excellence even in a Choir School. An example of the way things should be done: I saw a performance by the Orchestra and Chorus of Les Arts Florissants (Paris). William Christie had all the musicians perform an encore. So, the vocal soloist who had sung with a bit of noticeable vibrato, although not offensive joined the Chorus for the encore. It was a choral-orchestral encore. The vocal soloists astutely knew to turn off their vibrato and sing with a straight tone. Therefore, one heard no noticeable vibrato from the Chorus even with the vocal soloists from the performance singing with them. That’s what I’m talking about here. All of the esteemed vocal soloists for Les Arts Florissants knew to use their “choral voice” (ensemble voice) and not their “soloist voice” when singing with the straight-tone Chorus. This is something that some don’t seem to grasp at Notre-Dame de Paris.
But back to Benjamin for a moment: When Benjamin was Organist, I sensed that he had been told by someone to “tone it down.” I wrote about my suspicions about this. Because when Benjamin first arrived at WNC, he was a very High Church organist. I was delighted they had hired him. He was a perfect choice. But at one point something changed in his playing style in his service music. It was as if he had been reprimanded, as if someone said to him, “Benjamin we need to talk with you for a moment. We enjoy your playing — yeah right, that’s why we want you to change it! — but we are not High Church here, so maybe you could tone things down a bit?” I don’t know that anyone said that to him but that’s the impression I and others got because his playing style rather abruptly changed to a more Low Church style. After that, I no longer found his playing that interesting to hear to be honest. And I kept watching the Liturgies waiting to hear the original Benjamin play again. Some of his occasional organ improvisations he played for the Organ Voluntary at the end of the Liturgy reminded me of the original Benjamin, but that was it. I remember asking, “What’s happened to our High Church Benjamin? Is he bored with the job and no longer has the enthusiasm he originally had?” Even his improvisations during the Liturgy changed. They were no longer the grand and glorious High Church improvisations he came there with. I remember that his improvisations especially after the reading of The Gospel consistently became more subdued, quiet organ playing and what I called “meditative,” and then he seemed to be stuck in that style. Week after week, I kept waiting for grand and glorious High Church Benjamin to return. But it didn’t happen. I didn’t hear it. Well, the same thing could happen to Thomas, and it won’t surprise me if it does. So I feel a certain reserve is necessary in coming to any conclusions too early about Thomas. And again, this would have nothing to do with Thomas, but rather who he is responsible to at the cathedral (the Choirmaster Michael, the Dean or even the Bishop) telling him what playing style they want to hear in WNC, “to cater to the tourist.” Ugh.
For the Christmas Eve Mass, the descant on the recessional hymn was excellent and that was sung from the back of the Nave. I enjoyed that. One could hear it soaring above the hymn as it should and Thomas’s High Church interludes were very moving for me. High Church, Yes! The way it should be. Not that one can’t have High Church in a parish as they do all the time at St Thomas Church Fifth Avenue in Manhattan. Even though many people think St Thomas is a cathedral because of its exterior appearance, it’s a parish church. It’s not the seat of the Bishop. That’s the Cathedral Church of St John the Divine in Manhattan.
I would also like to praise the acolytes and thurifer. They were very well trained and with Thomas’s superb playing it gave the Liturgy a rather High Church feel. I very much appreciated it. Muchas gracias.
Someone (Owen) sent me a nice email you might enjoy reading:
“I recently began reading your series of articles on Washington National Cathedral, especially with respect to Our Benjamin. I know that you haven’t been following them for a while, but I just wanted to say that I totally agree with most of what you say about his playing.
The purpose of this email is to inform you that music at WNC seems to have gotten better this year, especially at the Christmas Eve Holy Eucharist. Descants on every song that had one, and much better hymn playing(though still choppy). However, I mainly wanted share with you some very high church organ playing from someone not named Benjamin Straley.
As you may or may not be aware, Our Benjamin left the Cathedral in July of 2018 to become an Episcopal priest. His replacement, Thomas Sheehan of Harvard University, was announced that month as well. Christmas Eve saw his first service at the Cathedral, although he will not begin his full-time work until July of 2019.
I was initially very skeptical that anyone would be able to replace Benjamin. Any concerns I had, however, were instantly gone when I heard Sheehan’s playing. Sheehan’s organ skills are incredible, especial with respect to his improvisational abilities. I would even argue that he may be more High Church than Our Benjamin.
Even though you don’t follow WNC anymore, I want you to view this year’s Christmas Eve Service. What do you think of Sheehan’s playing? Do you think he is a worthy successor to Our Benjamin?
Here are the timings:
25:08 – O Come, All Ye Faithful
51:45 – Improvisation when Gospel is brought back to Altar
1:48:45 – Long communion improvisation into Silent Night; no stained glass!
1:57:00 – Hark the Herald Angels Sing with two VERY High Church interludes
Here is the video of the entire service:
On a side note, I may have some input on why hymns are played in a staccato manner at WNC. In an article you wrote, you mentioned how St. Paul’s Cathedral has a longer echo than WNC, yet they play hymns with full value notes. This is certainly true.
However, you have to understand the organ at WNC. They suffer from a problem known as “organ placement.” While the organ sounds like it fills the space completely, it in fact has great trouble doing so. If you are sitting out in the nave, it is very difficult to follow along with the organ. This is due to the fact that much of the organ’s mechanical components pipes are poorly placed in the building. The direction that the mechanical components and pipes faces determines the determines the direction that the sound made by the pipes travel. At WNC, many of the pipes face in a direction where they speak cause the majority of the sound to hit wall before Nave. This makes it difficult for the organ to lead hymns properly because the congregation out in the Nave is hearing an echo and not the organ itself. If the organist plays all the notes full value, the sound becomes very muddy and difficult to follow.
If you are in the front half of the Nave when the organ plays hymns in a staccato manner, you get about one or two beats behind the organ itself. If you are in the back of the nave, this delay increases to about three beats. If the organist plays the hymns full value, you can expect to get three beats behind in the front half of the Nave, and worse if you are in the rear half. You get farther and farther behind when the hymns are played fully because the sound is muddy and difficult to follow along if you are not used to doing so. In order to overcome the problem, the organist plays the hymns in a staccato manner so that you can sing the hymns and not get really far behind.
BTW, they were playing hymns in a staccato manner before Michael McCarthy got there, so don’t blame this on him.”
My response: Muchas gracias for your nice email, Owen. I appreciate it. I’m not disputing anything you wrote about the placement of the organ, and I wasn’t aware of all that.
Regarding the hymn playing, when Our Benjamin was hired he played the hymns legato with full note values, as he had been trained. I distinctly remember that. And that seemed to work just fine, in part, because the congregation at WNC is not a singing congregation. (An update to this paragraph: After I published this article, I went back to hear Benjamin play Jehan Alain’s Litanies, see link at bottom of page. For the recessional hymn “Guide Me, O Thou Great Redeemer” before that he played the hymn with full note values, in other words legato and that was in 2016 and as usual the congregation was not singing). As I remember writing, they are a “stand and mumble” congregation, as one observed on the very familiar Christian hymn “Silent Night” in this Liturgy. I only heard the choristers, clergy and Cathedral Organ. The congregation was standing, the Nave was packed with 4,000+ people staring down at their service leaflets or staring straight ahead as some people were doing in the Quire area, and not singing at all or at a whisper-level mumble-singing. Just moving their lips to the words. Considering that, it really doesn’t matter how the hymns are played. So, in my opinion, the organist should play the hymns legato, as the organist was trained. If WNC had a singing congregation, then I would agree that because of the problems with the organ placement, then yes, play the hymns in a more detached manner. But why should the organist cater to a non-singing congregation by playing staccato — which is not how well-trained organists at respected Conservatories and Schools of Music are trained to play hymns — when they’re not going to sing no matter how the organist plays? Has Michael not noticed despite all his head turns backwards towards the congregation that the congregation does not sing no matter how the hymn are played? By the way, I had suggested that Michael install a mirror on his music stand so he could look behind him more easily as he frequently does for some unknown reason, even though he doesn’t need to see behind him. Benjamin didn’t do that when he served as Choirmaster on occasion. He wasn’t looking all around, and the Organist controls the necessary music improvisations during the processions from his monitor above the organ console music rack. I should also point out that congregations are notorious for dragging hymns whether they can hear the organ well or not, which is in part, why organists are trained to “lead the hymns with the organ” otherwise the hymn will come to a stand-still. In other words, the organ for hymn playing should be played loudly and dominant the way Thomas (and Benjamin before him) played it, with registration variations on each verse of course, usually. That’s what one expects to hear in a grand cathedral church as well as a parish. Staccato playing is helpful when the congregation is dragging. That’s the only time I ever used it when I was Organist/Choirmaster in Anglican parishes. It helps to pick them back up to the original tempo of the hymn, assuming they were singing to begin with. But at WNC, most people are just not big on singing. There’s the small resident congregation. They don’t sing either or at least loud enough to be heard. Then there’s the tourists which some members of the resident congregation resent the cathedral catering to. The tourists don’t sing. When the cameras show them they’re staring straight ahead with arms folded not following any Anglican worship protocol (such as bowing to the processional crosses), or they’re looking around as if they think they’re in a museum. Not to be repetitive, but in the Nave on Christmas Eve, I saw people just staring down at their service leaflets and others standing and staring straight ahead. These people were not singing even the most familiar of well-known hymns that, I think, all Christian churches use in the US during the Twelve Days of Christmas.
A congregational rehearsal might be useful for them:
My personal experience: One of the Anglican parishes (it was Anglo-Catholic/High Church) I was Organist-Choirmaster for would occasionally rehearse the congregation before the Mass began. We rehearsed the service music as well as the hymns. I remember the Rector asking the congregation to “Sing out, sing loudly. Don’t be afraid, make a joyful sound. I want to hear you, the congregation, and not just the Choir up in the back Gallery at the organ console.”
The rehearsals did help, at least for that Mass because it was fresh in people’s minds. A congregational rehearsal; however, can intrude on the organist’s time s/he has for their organ voluntary/prelude at the beginning of the Mass. So, having a rehearsal every Sunday wouldn’t be a good idea although that’s really what’s needed here for consistency.
Contrast the congregational “singing” or rather mumble-singing at WNC with a real-singing congregation that can be heard at St Thomas Church Fifth Avenue in Manhattan. They sing rather loudly and almost sound rehearsed, although they’re not. Perhaps they sing so well because some members of the congregation — and it’s usually women’s voices I hear — think, “We’re supposed to sing well here at St Thomas because, 1) I have a boy in the renowned Choir of Men and Boys, 2) we have this superb Choir of Men and Boys with its residential Choir School (the only one in the US) and 3) we’re here among many of the finest music schools and musicians with The Juilliard School in Lincoln Center, the Manhattan School of Music, the Mannes School of Music and others.”
Here’s a scenario: As I mentioned earlier, WNC seats about 4,000-plus. When at capacity as it was for this Liturgy, think of it as a “Chorus of 4,000 voices” in other words. Of course I don’t at all expect the congregation for this Liturgy of 4,000 voices to sound like a polished Symphony Chorus such as the Choral Arts Society of Washington or the now-retired University of Maryland Chorus, each having 150-200 voices. But my point is that if either of those two Orchestra Choruses were performing in WNC, their sound would fill the Nave and there would be no doubt that they were singing. And that’s just with 150-200 voices. Yet here for this Liturgy, you have a “Chorus of 4,000 voices,” and you can barely hear them because, again, they’re not singing. If they were truly singing as they should be regardless of their vocal quality, they would likely be heard out on Wisconsin Avenue outside the cathedral. I saw the faces of the people there in the congregation on Christmas Eve and many of them looked as if they were thinking that “Singing is corny or old-fashioned.” Might this be because there’s little to no music in the US public schools anymore? There’s no money for it, they claim. There’s only billions for the bottomless pit known as the Military Industrial Complex Killing Machine: On March 16, 2017 the current White House resident submitted his request to the US Congress for $639 billion in military spending ($54 billion) which represents a 10% increase, for FY 2018 as well as $30 billion for FY2017, which ends in September. Insanity.
For example, below is the video of when the Choral Arts Society of Washington (CASW) performed for Norman Scribner’s memorial at WNC. Norman was the Founder and former Music Director of the Choral Arts Society, one of the major Orchestra Choruses in the District. They continue to have guest appearances with the National Symphony Orchestra in the Kennedy Center Concert Hall. Listen to their piece from Brahms’s Ein Deutsches Requiem, Op. 45 (at 54.45 in the video below) and later the Sergei Rachmaninov pieces with Our Benjamin accompanying the Choral Arts Society Chorus for the Brahms. Their sound would easily fill the Nave. Yet when the Cathedral has 4,000-plus people/voices in it, the volume level is the opposite of the sound level of only 150-200 voices of the Choral Arts Society who were seated in the Quire area.
Another brief detour from the topic: During “Silent Night” the WNC camera crew showed us a shot of the international bully/orange despot — Mr Fake-Christian who has lived his life the exact opposite of that of Jesus and whose despicable policies are also the exact opposite of what Jesus taught and how he lived his life — who was parked on the front pew with that wife of his. You know, it must be written somewhere in the White House that if one is going to be a resident there that one must pretend to be a Christian to dupe one’s gullible base — since they all do it, both D and R — because the orange despot had no interest in Christianity before he took up residency there. And any other time, his church is a golf course on Sundays. But why did WNC feel the need to show us this Christian fraud? Was it to show the hypocrisy? This Liturgy was about the birth of Jesus, not about a white supremacist, anti-gay, “pussy-grabbing,” narcissistic insane bullying man-child politician. I know this is The Establishment’s church, but this Liturgy was not about political basura.
On another topic and something I’ve never understood about WNC, I see that Michael McCarthy is still using that — what looks like — Southern Baptist Choir seating arrangement (that’s what I call it) rather than having the Cathedral Choir in the Quire stalls where they are supposed to be. That’s the purpose of Quire stalls. For the Cathedral Choir to sit there. So I do not understand why he seats the Cathedral Choir in the Sanctuary area. I have never seen that done in any Anglican cathedral or parish church anywhere before. Only at WNC. Where did he get that idea? It looks so “Protestant” to me, and we High Church people don’t consider ourselves “Protestant.” Does having the Cathedral Choir in the Sanctuary area right behind the priests have anything to do with the organ placement problem perhaps that Owen wrote about? I would find that a little hard to believe that it does because the Cathedral Choir has only been moved a few feet away from where they are supposed to be sitting in the Quire stalls. Does a few feet make that much difference in the sound? And isn’t he blocking the Sanctuary1 somehow, even though the Choir is split so one can sort of still see the High Altar and the acolytes can still pass through? I’m just asking because I’ve never understood why Michael does that. But for Choral Evensong (which is supposed to be a more intimate setting), the Cathedral Choir of Men and Girls/Boys sits in the Quire stalls where they’re supposed to be.
Finally, looking at a recent service leaflet on WNC’s site, they’ve never fixed a mistake they have. They referred to “the Girls Cathedral Choir.” I didn’t know that the girls had a cathedral — did you? — which that implies. I think they mean the Girls of the Cathedral Choir. “The Girls Cathedral Choir” is a sloppy and strange way to write that. In a sort of twisted way after you think about it, it sort of makes sense. Damn odd. I remember writing about that when I was writing about WNC. So they’re still using that language even though it doesn’t make any sense. Just like they were writing “The Men’s Cathedral Choir” and “The Boy’s Cathedral Choir.” The way I’ve seen it written traditionally throughout the Anglican Communion is: “The Men of the Cathedral Choir” and “The Boys of the Cathedral Choir,” since the Cathedral Choir consists of Men, Boys and Girls.
They do so have it together there at WNC, don’t they! [sarcasm intended] Maybe that’s one of the reasons Benjamin left.
Again, gracias to Owen for his nice email. Chau.—el barrio rosa
——————– 1 For those who don’t know and who come from other Christian denominations, when I refer to the Sanctuary I’m not referring to the entire room as some other Christian denominations do. In Anglican cathedrals, the Sanctuary is the area around the free-standing altar and only that. It’s not the entire room where the congregation sits. That’s called the Nave.
Hola a todos. I wanted to make mention of the unexpected death of the brilliant Fernando Gaitán, responsible for (in my opinion) the best telenovela-comedy ever created, “Yo soy, Betty la Fea (BLF).” Gaitán died suddenly of a heart attack on el 29 de enero de 2019/29 January 2019 in Bogotá, Colombia. So sorry to hear this. Rather shocking really. He was only 58. The only person connected with BLF that I know of who has died as of this writing is Doña Catalina Ángel. She was one of my favourites from BLF and she (Celmira Luzardo) in the telenovela helped and supported Betty in so many ways while some others were making fun of her. The last I had heard about Fernando Gaitán, he was head of the major television and radio network, Canal/Channel RCN de Bogotá and the network that produced “Yo Soy, Betty, la Fea.”
If you’re never seen the original Colombiano “Betty la Fea,” you missed something in your life. Other than “I Love Lucy” I can’t think of anything that continues to be praised, loved and so respected approximately 20 years after it was first shown. How el hombre/the man, Fernando Gaitán created that piece of art is beyond me. Well, he said it was in part based on his experience in offices and with the moda/fashion industry, as I recall. If I remember correctly, there are 169 capítulos/chapters for the original BLF.
And the ending of the original BLF was excellente and brought tears to the eyes, but one would have to watch the novela from the beginning to the end to fully understand the ending. And I learned a lot about Bogotá — a sprawling Los Ángeles-type megalopolis of a City (see the view from Monserrate here) — from watching Betty. From my understanding, a lot of Betty was filmed in La Candelaria, considered Bogotá’s most beautiful and historic barrio/neighbourhood as well as Chapinero. Spoiler alert: Does everyone remember when Don Armando was required to go to the gay bar with Don Hugo and all the Drag Queens? LOL. That was quite a night!
One of the most attractive parts of Betty for me and others was the incidental music used throughout the telenovela. It was perfectly chosen and mood-setting and even though these various melodies and arrangements repeated themselves throughout, one never got tired of them because they always set a specific mood, such as the music used for the cartel/the executive secretarial pool in Eco Moda, the moda/fashion firm and the setting for BLF. One always knew something was up when that music started playing! Oh here we with Bertha and her eating addiction or Patricia, or Sandra, or Mariana or Sophia, or someone. Spoiler Alert: Off to the bathroom which was the cartel’s conference room where they held their important meetings, and would occasionally go to pee as well. LOL.
Because so many Latin countries subsequently did their own version of the original BLF for their own country, I had the impression that Gaitán was comfortable with the original being on U-toob. (I saw part of the México version of BLF although it wasn’t called that. They changed the name but I found it to be dumbed-down and silly, unlike the original.) At one point U-toob pretty much scrubbed it all so there was no where to watch it. I tried to watch a BLF video while writing this and was not allowed to due to a “copyright” warning coming up saying that Canal RCN blocked this is my country due to copyright. BLF (produced in 2000-2001) was being shown about every-other-year or so on one Latin network or another and shown in 30 minute segments and ran for about 9 months. But too often the novela was disrespected by the networks making cuts in it — to put in more commercial$? — to the point where the story line didn’t make sense if one were watching it for the first time. And because telenovelas are dying from what I’ve heard, I read sometime ago that Televisa de México — who produces most or all of the telenovelas for Univisión, had a new rule that no telenovela could be longer than 3-months, which is quite a major change. For those who don’t know, Latin novelas don’t run for decades the way “soap operas” do on the US English networks. The Latin telenovelas have a finite number of capítulos/chapters. And even though BLF originally aired about 19 years ago — I read that activity in Colombia shut down when BLF was on; that’s how popular it was — there’s nothing in it that’s dated today. It’s still very current, as if Gaitán made sure it would not date itself too soon.
I’m not a “Rest in Peace” type person — I mean, when you’re dead how else can you rest but “in peace?” I suppose — so I’ll just wish Fernando a good trip wherever he is, which is the same wish that Jorge Enrique Abello (JEA, who played “Don Armando” in BLF) wished for Celmira Luzardo/Doña Catalina when she died. I would suspect that Jorge is rather devastated by this because Fernando Gaitán was a very special person in his life. He gave Jorge many roles in telenovelas. Gaitán’s funeral was the day following his death which was rather soon. I know that Don Armando (JEA), Doña Marcela and Sandra were at his funeral. I imagine other BLF cast members were there too but they were the three I saw interviewed.
Also, for those who don’t know, “Don” for males and “Doña” for females are terms of respect. They’re not people’s names, in case you’re wondering. So for example, many of the females regardless of their age were referred to in BLF as “Doña” as in Doña Marcela or Doña Catalina. On the male side, there was Don Armando (Betty’s boss) and Don Hermes (Betty’s father). I thought I’d throw in that little bit of Latin education for readers who may be unfamiliar with the terms. But BLF was produced in Colombia and I’ve talked with Latinas from other Latin countries where apparently Doña, for example, is only used in their country for senior women, so a younger mujer/woman can be offended by calling her Doña (name). I once did that to a younger female I know and she said, “Doña makes me feel old” even though she’s a grandmother but you’d never know it by looking at her. So I didn’t call her that again. I didn’t mean to offend her. As I recall, she was from Guatemala. So there are these regional differences in word usage and in some instances in pronunciation. And also in BLF, the executives of Ecomoda were referred to as “Doctor” (male) or “Doctora” (female) whether they had a Doctorate degree or not. Again, it was another term of respect used in Colombia. Betty referred to Don Armando as “Doctor” and to Doña Marcela as both “Doña Marcela” and “Doctora” for example. Of course our favourite Patricia Fernández and her signature hair flips was just called “Patricia.” Spoiler alert: Does everyone remember when Armando was over at her desk and, having had enough of her, grabbed her hair and pulled it? That caused Sandra over at her desk to stand in shock. I don’t remember seeing Patricia doing any hair flips immediately after that. The script was well-written and well-thought out. We all remember how Patricia — always trying to “keep up appearances of being elitist” — tried to impress others by telling everyone she knew (and people she didn’t know as well) about her, “seis/six semesters studying finances at San Marino Universidad/University.” LOL. At one point, the cartel (the executive secretarial pool along with Inés who worked for Don Hugo, the fashion designer of Eco Moda, having heard about San Marino umpteen times, recited it along with Patricia when she was telling someone else about San Marino. LOL.
Mi amigo/My friend and I watched part of BLF again as I was writing this article. He said something which we often said when watching it before: “There’s so much going on in the foreground or the background or somewhere that if one watches BLF once or twice and then watches it again, you’ll always see something new. So true. Chau.—el barrio rosa