The Well-Tempered Ear

Classical music: Opera diva Deborah Voigt comes clean in her new memoir about her weight-loss surgery as well as her addictions to food, online dating and alcohol.

January 23, 2015
2 Comments

By Jacob Stockinger

Talk about living a life that sounds like an opera.

Take opera diva Deborah Voigt (below).

Deborah  Voigt

Voigt is supremely talented.

And now it turns out that the opera star is also supremely honest. And boy, does she have some great stories to tell — stories that don’t always reflect well on the opera world, let alone herself.

In her new memoir, “Call Me Debbie: True Confessions of a Down-to-Earth Diva,” the opera star talks about her childhood, her career, her gastric by-pass weight-loss surgery in 2004 and other problems including her abuse of alcohol, her dangerous relationships with men she met online and of course her relationships with food and music.

deborah voigt memoir book cover

Here is pre-surgery Fat Debbie:

Deborah Voigt fat in 2013

Here is post-surgery Thin Debbie, playing Brunnhilde in Richard Wagner‘s “Ring” cycle for the Metropolitan Opera:

Thin Deborah-Voigt as Brunnhilde

Voigt also comes off as a thoughtful woman who does not shun her own individual responsibility for her problems, but who sees them in a social and even sexist context, such as the double standard in opera for heavy men like the legendary and obese tenor Luciano Pavarotti (below) and heavy women like herself.

Luciano Pavarotti

The Ear offers you a roundup of reviews and interviews about the new book.

Here is an interview with Scott Simon on NPR or National Public Radio:

http://www.npr.org/2015/01/17/377503009/a-down-to-earth-diva-confronts-her-flaws-and-good-fortune

Here is a piece from The Wall Street Journal with a Q&A interview:

http://www.wsj.com/articles/opera-singer-deborah-voigt-an-anti-diva-bares-it-all-1421358335

Here is the take in the popular People magazine:

http://www.people.com/article/deborah-voigt-memoir-call-me-debbie-food-addiction

And here is a nitty-gritty account in The New York Post:

http://nypost.com/2015/01/11/too-fat-opera-singer-lost-the-weight-but-found-a-world-of-troubles/

But let’s not forget the talent and great voice that make all these other things noteworthy. So here is Deborah Voigt’s most popular video on YouTube:

 


Classical music: When the proverbial Fat Lady sings, is it rude and sexist to call her “fat”? The opera world continues to weigh in on critics who attacked a female mezzo for being too overweight.

June 8, 2014
5 Comments

By Jacob Stockinger

Perhaps you already know the simple facts of the controversy:

A number of critics lambasted a relatively unknown Irish mezzo-soprano Tara Erraught (below top) when she recently sang the role of the young, handsome and androgynous Octavian (below bottom on the left) in Richard Strauss’ extraordinarily popular and moving operaDer Rosenkavalier.”

tara erraught

tara erraught (left) as octavian

All agreed that she sang gorgeously. But being overweight, she was also criticized for short-changing the believability of the theatrical side of the opera. One critic who lauded her singing also described her as a “chubby bundle of puppy fat.”

True, The Ear can recall when superstar tenor Luciano Pavarotti (below) was criticized for being way too heavy — indeed, obese and not just overweight — and lumberingly awkward to play certain romantic leads with any creditability. But, oh, that voice!

Luciano Pavarotti

But these new critical remarks seem to cross those boundaries and veer off into gratuitous meanness and rudeness that had more than a smack of sexism and bias about them. Unless you are a top female diva, maybe women do indeed remain second-rate citizens of the opera world.

PX*2527755

Anyway, here are links to three stories that provide good summaries of the conflict and the kerfuffle.

Be sure to read the many reader and listener comments that greeted them. They give you a feeling for the state of the art when it comes to the public’s changing standards of physical fitness for playing the dramatic or theatrical sides of opera roles.

The first is the story that NPR aired on its excellent classical music blogDeceptive Cadence”:

http://www.npr.org/blogs/deceptivecadence/2014/05/20/314007632/in-2014-the-classical-world-still-cant-stop-fat-shaming-women

Then other voices in other media weighed in.

Here are responses from The New York Times chief critic Anthony Tommasini (below top) and his colleague Corinna da Fonseca-Wollheim (below bottom):

http://www.nytimes.com/2014/05/23/arts/music/new-york-times-critics-respond-to-glyndebourne-fat-reviews.html?_r=0

tommasini-190

Corinna da Fonseco-Wollheim

And here is another piece done by NPR that provides a kind of post-mortem following the two weeks of scandal and reactions:

http://www.npr.org/blogs/deceptivecadence/2014/06/03/318454668/what-weeks-of-debate-have-shown-us-about-women-in-classical-music

Plus in all fairness, you should also listen to the intelligence, charm and vivacious energy — to say nothing of her lovely voice in singing Rossini — that Tara Erraught projects in a Lincoln Center “spotlight” profile you will at the bottom in a YouTube video.

What do you think of the criticism of her size and weight?

Have TV and films made us more literal in what we expect in the way of realistic portrayals of characters in the theatrical side of opera versus the musical side?

If you find the critical remarks about physical weight inappropriate, how and why do you think so? Do you find them sexist or genuinely biased?

And am I the only person who thinks Tara Erraught — who I am sure felt hurt by the deeply personal nature of the criticism —  might well have the last laugh from all the publicity that has brought her to the world’s attention?

The Ear wants to hear.

 

 

 

 

 

 

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