composerolga thomasthe best piano performers evgeny kissin. i was very lucky to study piano under...
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Composer
Olga Thomas
“I was born in Moscow into a family
rich in musical history. A family who
throughout the generations were
prolific musicians and inventors,”
Olga Thomas tells us. The composer
is known to the public primarily for
her ‘musical gifts’ to the royal family
that have been heard topping the
classical charts.
She shares more about her family
saying, “My mother, who was a
musician and costume designer, was
my first and greatest inspiration. I
was very lucky to have both musical
multi-subjects, such as piano,
composition, musicology, history etc
and the normal academic curriculum
in the same school, the famous
Gnessin school which gave us one of
the best piano performers Evgeny
Kissin. I was very lucky to study piano
under the same teacher as Evgeny
Kissin.”
Olga’s training continued at the
Moscow Tchaikovsky Conservatoire
where she met the “wonderful”
composer Edison Denissov. “[He]
was was equally great as a classical
composer and a film composer.”
Soon, she was learning from the man
himself. “He suggested that I should
stay the way I am, he did not wish to
affect my creativity and make me a
cliché composer as he described it.
He encouraged me just to be myself.
Instead of teaching me we spent our
lessons playing wonderful piano duets
by the great composers. It was
absolutely amazing.”
She is grateful for his mentorship and
belief in her “unique” style. For Olga,
composing has always been a part of
her life. “I have a permanent
‘background application’ in my brain
which constantly composes.
Situations, images, stories inspire me
all the time.”
Inspiration can come from reading a
great novel or even a trip to the
grocery store! “When I was having
my driving lessons, I drove my poor
instructor mad because every
interesting situation was leading
to a composition.” Her ‘Roundabout
Waltz’ was based on some driving
frustrations she experienced on, what
else, a roundabout! The piece came to
the attention of Peter Falk (of
Colombo fame), in fact, he liked it so
much that Olga transformed it into
‘Just One More Thing’ in his honor.
“He later invited me to his beautiful
house in LA, showed me his drawings
and asked me to compose ten more
pieces!”
One tune that would feature on the
West End production of the Cheery
Orchard was composed at the age of
5! “Obviously, I didn’t tell anyone
that I composed it when I was 5!”
If you are a fan of classical crossover
you are sure to enjoy the music Olga
creates. More specifically she
describes her style as, “very
cinematic…. It has catchy tunes and
can bring visual images when you
hear it.” While that is her personal
style she of course accommodates and
adapts to the various projects she is
involved in. She writes in a unique
way: “My compositions come to me
entirely, the whole piece and I just
tidy them up. I jokingly compare it to
Athena emerging complete from the
head of Zeus.”
Olga’s uncanny ability to find
inspiration in everyday moments has
led to success in television and film.
“I always knew that it is what I was
going to do. Interestingly it was the
film project what brought me together
with the famous Hollywood dynasty,
the Douglas Family, and since then
we have been friends for very many
years.”
Of course, the process varies. “The
way I compose for any drama
depends on particular projects. The
Douglases, for instance, gave me the
script. When I compose for the BBC
drama I also usually have the
scripts.”
When it came to the film Chernobyl
Olga was presented with the
unfinished film footage. “I saw the
visual part and absorbed the mood of
the film.”
Olga’s musical gifts for the royal
family have blossomed out of
“lifelong admiration” for the Royal
Family. “My first piece related to the
Royal Family, “Themes of Life and
Glory,” was written as a tribute to
The Queen Mother soon after she
died. I wrote it to celebrate her life
and express my great admiration. To
be honest, I could never imagine that
one day, years later it will be
presented to HM!”
It was through her friend Carroll
Froth that Olga became involved in
the Cruse Bereavement Care charity a
cause which she holds close to her
heart. It just so happened that the
Queen was a Royal patron of the
same. “It was decided by the Cruse
trustees to give Her Majesty a gift of
music, my piece, Themes of Life and
Glory. I had the immense honor to
present this composition to HM in St
James’s Palace.”
Another touching moment came when
Olga heard her own music being
played. “When I entered the Palace
and heard my music played there I
had tears in
my eyes.”
Olga is
now the
resident
composer
for the
charity.
“Since
2009 I
wrote
several compositions as my private
musical gifts on behalf of the charity,
to commemorate the most important
events in the life of the Royal Family,
all of them were presented to The
Queen.”
Generously 100% of the profits from
these compositions is donated to
charity.
Her album, ‘Jubilation’ is a collection
of these themed compositions and was
recorded with the Royal Marines.
“The album was released to celebrate
Her Majesty The Queen’s 90th
Birthday year and to commemorate
the longest reign of any monarch in
British history. All proceeds from
sales of the album were split between
Cruse Bereavement Care and Royal
Navy and Royal Marines Charity.”
Olga composed ‘Royal Platinum Love
Song’ in a “very cinematic” style.
The song reached No.1 on the
classical charts and featured the
vocals of
Joanna Forest
and Daniel
Koek with
producer Robert
Emery. She
wrote carefully
for the singer,
“I had in mind
their voices,
their vocal
reach and
capabilities, I took in mind their tone
and wrote the songs to suit their
beautiful, rich vocal offerings.”
‘Royal Hollywood Love Song’ was
originally written for Joel Douglas on
the occasion of his wedding. “I
composed it in the majestic setting of
Clark Gable's house. It was then
played for Her Majesty the Queen at
her Golden Jubilee reception on
behalf of Cruse Bereavement Care, a
charity for which the Queen is a
patron.”
When Olga heard about Prince
Harry’s engagement to Meghan
Markle she was inspired to re-imagine
the song for them. “I went into Angel
studios with a 72-piece orchestra and
recorded the song in the most
spectacular cinematic Hollywood way
possible.” She believes that “Love is
universal… This piece is about love, it
is emotional, epic, romantic, grand
and very cinematic. All these
characteristics are there. It has the
feel of the State Music, related to our
Royalty, it has the quality of the film
music of Hollywood and it conveys
love from the beginning to the end.”
Although Olga is partial to the piano,
she also enjoys writing for the violin.
“I have a soft spot for that instrument,
one of my ancestors who immigrated
to the USA was the founding
professor of violin when the Eastman
School of Music was opened in
September 1921. He was
Concertmaster in the London
Philharmonic, then the Rochester
Philharmonic and then from 1933 till
1964 with Boston Symphony
Orchestra.” She often pairs violin,
with oboe and piano. “When we did
the album ‘Jubilation’ it was Royal
Marines Band, as I jokingly call it,
‘no strings attached’ arrangement.
Though in real life I am very strongly
attached to the Royal Marines and
always greatly enjoy collaborating
with them.”
In addition to composing, Olga
enjoys teaching private lessons. “I try
to be an inspiration for my students. I
have always had a great respect for
the teaching profession and was very
lucky myself to have great teachers.”
She believes teaching is meant to be a
passion and not simply something
someone does when a performance
career doesn’t pan out as planned.
“Quite the contrary, one has to be
very successful in order to share
experience, knowledge etc. with
others through teaching. The teacher
has to be a source of inspiration. I
continue to be creative in my teaching
as well. Like with my compositions my
style is ‘tailored’ to fit specific
individual students.”
This tailoring was especially
beneficial in one of Olga’s student
with Parkinson’s disease. Because of
the nature of her illness, the student
only had limited capacity in her left
hand. Olga says she “created a special
way” and was very proud that she
passed her music exams. “The
examiner commented on a good
coordination between her hands. It
was such a great achievement for
both of us. There even was a special
BBC program about it.”
She continues to work for the future
saying, “I would love to perform for
Her Majesty The Queen in person, it
would be a lifelong dream fulfilled. I
will also release a Christmas themed
EP ‘A Royal Christmas with Olga
Thomas’, which will feature my latest
releases as well as Anno Domini. And
once again Joanna Forest and Daniel
Koek will feature on a brand new
track recorded with the 72 piece
orchestra titled ‘This Is His Song’
which will be released as my next
single along with the EP at the end of
November.”
For the latest information about Olga Thomas visit:
olgathomascomposer.com
Voice Divine
Katie Marshall
Teenage soprano Katie Marshall’s
love for music began early: “I first
fell in love with classical music and
asked to have Classical singing
lessons at 6 years of age.” She was
nurtured in a musical family and
enjoys singing in different languages
including Italian, Latin, German and
French.
Her new EP “Voice Divine” shows
new-found maturity. In Katie’s words:
“I am very excited to have recorded
an album of songs that have been a
part of my life for so many years.”
The album features the Kent Sinfonia
Orchestra “who I performed with a
few years ago at a charity concert
held at Rochester Cathedral.” It is
produced by VOCES8 musical
director who also recorded Katie’s
debut EP. It was mastered at Abbey
Road Studios by Simon Gibson.
Katie’s lovely clear high notes are one
of the highlights of the album which
opens with “O Mio Babbino Caro.”
The second track, “Art Thou
Troubled” by Handel is beautifully
accompanied and presented, perhaps
for the first time to the crossover
audience. Early Music fits Katie’s
voice like a glove and it’s easy to
picture her following in the steps of
Elin Manahan Thomas. Her takes of
Caccini’s “Ave Maria” and Mozart’s
“Laudate Dominum” are especially
lovely.
Katie’s dedication to vocal health is
promising. “Looking after my voice is
very important as I want to be singing
for many more years to come. I have
many exercises that I do to keep my
voice healthy. Alongside learning new
repertoire and languages, I work on
my voice every day and want to
inspire more young people to learn
classical singing.”
Katie plans to continue her studies at
a music college in the future, but for
now, is “enjoying all the
opportunities I have to perform.” She
was recently honored with a
nomination for a Classic Brit Award
in the Sound of Classical Poll. Katie
can also be heard on the Downtown
Abbey Christmas CD in a duet with
Julian Ovenden.
She also supports many charities
including ‘Born Free’ for whom she is
an ambassador. “I am performing for
‘Abigail’s Footsteps’ at their ‘Queen’
Concert in October at Rochester
Cathedral and will be duetting with
Jonathan Ansell on some classic
Queen songs that Freddie Mercury
sang with Montserrat Caballé.
I am also supporting and performing
again this year for Battersea Dogs
and Cats Home and Nichols Spinal
Research at their Christmas Concerts
in London.”
In addition to singing Katie enjoys
“dance, drama, yoga, swimming,
cooking and walks in the
countryside.”
To purchase the EP visit Katie’s website:
katiemarshallmusic.com
Down Under With
Josh Piterman
Jokingly referred to as the ‘bad boy of
Australian musical theatre’ while
promoting the musical ‘Twisted’ Josh
Piterman is, in fact, a charming tenor
whose career has balanced the worlds
of classical crossover and Broadway.
His lyrical voice combines the best of
both worlds.
In his younger years, Josh’s greatest
passion was for sports but music
found a way of taking over his life.
“Like most guys, I started in High
School. My first musical was ‘Fame’
when I was 16. I wasn't very good,”
he says modestly but admits, “I liked
being front and center so I was
certainly on the right track.”
Josh refined his skills while studying
at The University of Ballarat Arts
Academy. “My family wasn't very
musical but they were certainly
supportive of all my musical and
theatrical endeavors. Getting a break
though definitely came down to hard
work.”
He made his professional debut in
‘The Drowsy Chaperone.’ “I got the
pleasure of performing alongside
some of the most well-known and
revered actors in the Australian
Industry, including Geoffrey Rush. It
was an incredible show and an
amazing learning experience.”
Josh has since performed several roles
including Edward in Blood Brothers,
Corny Collins in Hairspray, Ramon
Gutierrez in An Officer and a
Gentlemen among others.
“Currently I’m playing Gerry Goffin,
(Carole Kings first husband and
writing partner) in Beautiful: The
Carole King Musical, which is
touring across Australia. We recently
brought up our 300th show. It has
definitely been the most challenging
and rewarding role to play. Gerry
was such a troubled genius. A
complex man with his own mental
demons, but a beautiful romantic man
at the same time. Transforming into
him 8 times a week is something very
special.”
His love for sport once again crossed
paths and Josh was given the
opportunity to sing the Australian
national anthem for the NRL State of
Origin game at the Brisbane Suncorp
stadium. The event was broadcast live
in 90 countries! The passion for sport
and fitness also led Josh to become
certified as a personal trainer and
open his business PITFIT. He aims to
assist musical theater performers to
train their bodies in a way that is
uniquely specialized for their
profession.
What helps to set Josh apart as a
singer is his commitment to the
character. “I think it’s always an
emotional connection,” he tells us
that draws him to a song. “Whether
that be melodically, lyrically or just
feel. I love to listen to someone really
feel. That doesn't mean they have to
be painful or melancholy, but I always
want to hear someone delivering their
truth.”
He advises young singers to focus
first and foremost on the character
and emotion when auditioning. “I
guess Brian Cranston says it best
when he talks about the trap most
young actors fall into when
auditioning. We generally go into an
audition looking to get a job/role
when really, we should be going in to
convey the most compelling version of
whatever character we’ve been asked
to audition for. It’s that simple.
There’s power in that. There’s focus
in that. There’s less pressure in that
and more often than not the quality of
the work is far better when we
approach things from that angle.”
Josh was part of the group ‘The Ten
Tenors’ in 2008 and tells us that
“Classical crossover has always been
at the core of me. It’s the style I most
love to sing in and is most natural for
me.”
He’s had to make “minor adjustments
in placement and tone when doing
musicals” in comparison to his
crossover sound. “In each show, I try
to make the vocal choices character
based so there will always be a
natural shift away from my true
authentic sound, however, I do believe
the root/core of any singer’s sound
should always remain intact because
that’s what keeps everything together.
Having performed roles in ‘West Side
Story’, ‘Hairspray’, ‘Blood Brothers’,
‘Cat’s, ‘The Last Five’ years etc, I
have always relied on my ability to be
versatile, otherwise, I’d probably
have worked a lot less.”
His self-titled debut was released
under Fanfare Records (distributed
through Sony) and featured the City
of Prague Philharmonic Orchestra.
The album was a hit in Australia and
Josh tells us, “There was never a
moment of doubt” when it came to
choosing the classical crossover genre
for the record. The collaboration with
his record company also seemed like
a perfect fit. “It really came about
through my work in musicals. Sony
has a lot to do with Beautiful so the
connection there was pretty strong
and very natural.”
The album features; “Unchained
Melody,” “Wicked Game,” “Creep”
“Hallelujah” “A thousand years”
(Por Mil Anos Mas) and seven others.
Josh’s bucket list includes playing the
title role in ‘Phantom of the Opera’
and he also thinks ‘The Notebook’
would make an interesting musical.
“What a love story that would be
onstage!” We can also expect to hear
more crossover music from Josh in
the future. “I want to tour this album
first, but I already have loads of ideas
for [album] number two!” The
concert stage will allow Josh to
authentically show himself “as much
as possible” which is a complete shift
from his transformation into the
various roles he plays on stage. Josh
hopes to share the album
internationally and to “spend a lot
more time sharing my love for
crossover music with the world.” Josh
recently shared the stage with another
Australian classical crossover artist,
Mirusia Louwerse.
One song he is especially looking
forward to performing from the album
is ‘Say Something’ originally by A
Great Big World and Christina
Aguilera. “There’s an emotional level
to it that just gets me every time. I
have yet to perform it live but I have a
feeling it will be extra special in a live
setting. But I always love singing ‘The
Prayer’ live. It’s about as good as
classical/crossover gets for me.”
joshpiterman.com.au
5 Questions with flautist
Christopher Leigh
1. At what age did you begin playing the flute?
I started playing the flute when I was about 12 years old. I was going into junior
high & had to pick an elective. It was either drama, speech or band. I was painfully
shy, so the first two were definitely not going to happen, & I had already been
playing the piano, so band was the easy choice. My piano teacher just happened to
play the flute, so that’s really how I came to play it at all.
2. Tell us about your most recent release. How did the inspiration come
about?
I would say the inspiration for this album started way back when I was around
11 years old or so, & I heard Vanessa Mae playing Bach’s Tocatta & Fugue on an
electric violin. It really just blew my mind. I didn’t know that A. electric violins
were a thing, or B. that you could take such a well-known piece of classical music
& totally rock it out! Shortly after hearing Vanessa Mae, I found Bond, & they
were taking even more classical tunes I was familiar with & putting this pop/rock
spin on them. I was totally hooked on it & knew that’s what I wanted to do
someday.
3. Most memorable performance to date?
Right before my album came out, I was asked to perform on tv. I was
interviewed about my upcoming album, & I played Infrared from the album. It was
such a fun experience, & it was really cool to have my music broadcast across the
entire state. I’d love to do it again!
4. Who are you currently listening to (for enjoyment or inspiration)?
I listen to a wide variety of music, but I really have an affinity for older rock.
I’m writing this as I sit here in a Pink Floyd t-shirt. I’ve always got my radio tuned
to Classic Vinyl. Some of my favorites are David Bowie, Prince, Led Zeppelin,
Allman Brothers, & really too many more to name. But I also still listen to the
people who got me interested in playing this style of music. I still find inspiration
from groups like Bond & Vanessa Mae, & I listen to a lot of Lindsey Sterling as
well. I often cover her songs on my YouTube channel. She even shared one of
them last year!
5. Favorite piece of classical music you play?
I think probably my favorite piece is the version of the Devil’s Trill by
Giuseppe Tartini. It’s the last track on my album, & probably the one that took me
the most time to learn & record. It was originally written for violin, but I’ve always
loved it & was determined to play it. There are always challenges when adapting a
piece not meant for a wind instrument, the biggest being where to breathe! That,
along with it being relatively fast in tempo, really made that piece a challenge for
me, but enjoy it.
Follow Christopher at christopherleighmusic.com
Question and Answer with
Emili rackemann By Chantelle Constable Emili Rackemann is a virtuoso pianist with seven albums and over 140
compositions to her name. Her ancestors Professor Frederic Rackemann and
brother Ludwig of Germany consorted with Felix Mendelssohn and Clara
Schumann during the mid-nineteenth century. As a child in the Australian outback,
by day she patrolled the land and checked watering points in an old Land Rover
and by night she wrote short stories and played the piano for her family, serenading
them into another day. Here, in an exclusive interview with Classical Crossover
Magazine, Emili talks about her inspirations and creative habits, her passion for
electronic music, and vision for women in the arts.
How did growing up in the outback
inspire you musically?
Given I was immersed within the
rural environment, it wasn’t until our
family sold the cattle station was
when I realized how much the
outback taught me resilience; to never
give up nor think that anything was
impossible.
When I have writer’s block, I
frequently visit my inner child, the
young girl who felt inspired to dream
big, write stories in her father’s old
brown diary and create simple
melodies while daydreaming about
horses. I will often ‘go home’ and
upon reflecting on a simple memory
of my childhood, I re-enter the present
moment with a name or story I never
would have thought to write about.
The outback will always inspire me to
stretch the limits of sound and story-
telling. It is a place where I can
always refresh my creativity and dig
deeper into many worlds.
Tell me about your quest to bring
women composers into the
limelight.
My quest is to share our beautiful raw
‘womanhood’ culture in a man’s
world; to educate women that by
embracing their essence, we also
guide society into redefining what it
means to be equal but also different.
Rather than crying out for acceptance,
we need to rest our desperate plea to
be noticed and instead, focus on being
the feminine creators that we are.
‘Into the limelight’ I believe will
appear when we have learned to let go
of our personal subconscious
struggles surrounding equality.
Who are some of your female
heroes -- from any career/field?
1. Bjork, female singer/songwriter -
for her artistry and exploration as both
artist and human being.
2. Lyn White, Animals Australia - for
shining the spotlight on animal abuse
both in Australia and abroad.
3. Jane Goodall, primatologist and
anthropologist - for her extensive
work on conservation and animal
welfare issues.
What is the most unusual source
from which you have received
inspiration?
Some years ago, my father told me a
story about Kuru disease (laughing
sickness), an incurable
neurodegenerative disorder that was
common among the Fore people of
Papua New Guinea where he resided
as a boy. After researching photos and
footage of this terrifying illness, I
later sat at the piano and composed
what I would call ‘melodic turmoil’,
signifying the horror these
communities both witnessed and
experienced. Within minutes, the
confronting melodic frequencies
brought about nauseousness, so I
never recorded nor released it given
its confronting tapestry of sound.
This creative experience did,
however, consolidate my belief’s
surrounding the power of sound and
the incredible influence it has on the
human mind/body.
What are your earliest memories of
music?
My earliest memories of music are
attending weekly singing lessons with
my parents before we moved north to
work on the station. I still remember
singing up and down the scales while
my parents were eagerly trying to
focus.
I also frequently tormented my
brothers while they practiced the
piano, although little did I know this
would lead me into a world of
curiosity.
At age five, my parents decided to
take me to weekly piano lessons, and
by age eleven I composed my first
composition titled, “Wars of
Europe.”
What are some of your other
creative outlets? Do you still write
short stories?
Short stories and composition for me
always work in unison. Without one I
feel the creative process is lacking;
although I’ve recently embraced a
hidden passion for drawing. I use
bright metallic pens and create
different patterns which interlock and
somehow seem to tell a story of its
own. I call it ‘journey art’ as I assume
it is reflective of what the
subconscious mind wishes to express.
What is your practice regimen like?
Any particular rituals, when
practicing or before performing?
Leading up to a show I categorize a
group of works for each practice
session, and at approximately six
weeks out, I like to rehearse the entire
program at a slow tempo and without
any sustain pedal. This exposes any
technical errors which I would then
single out ready for the next session.
My only ritual when practicing is
having a chai latte beside the piano
and ensuring my little pug, Gloria is
tucked in bed and ready to lap up an
afternoon of piano music. Life
wouldn’t be the same without
animals. She is my constant reminder
that life is meant to be simple.
How would you define “classical
crossover” as it applies to your
music?
Although I consider my work as an
aural tapestry of sound rather than one
specific genre, I also feel “classical
crossover” best describes the majority
of my work, given my equal love for
various genres. If one listens to
Queens English followed by Van
Vent Gogh or my upcoming release
Elysian, “classical crossover” would
be best describe my creative journey
to its present. Not only does “classical
crossover” reflect my music, it also
has given me the opportunity to
express myself visually in different
ways.
At what age did you know you
wanted to be a professional
musician? Did you ever consider
any other career?
Upon completing my first few
compositions, my parents contacted
the department of music at one of the
local high schools, asking if we could
look at their notating software. I
remember walking into a room full of
brand-new IBM Aptiva computers
and MIDI keyboards and being
overwhelmed by the fact I would soon
be able to notate my music.
The lovely man who was head of the
department asked what I wanted to do
when I left school. My immediate
response was ‘a composer. I want to
write for film’. Although I toiled with
the idea of practicing alternative
medicine and becoming a professional
horse trainer which, I equally
committed to during and after music
studies, music composition carved its
way back into the front seat. It wasn’t
until my mid 20’s is when I knew my
childhood love for composing was a
large part of my life purpose.
What music did you listen to while
growing up; who are some of your
biggest influences?
Country and classical music were the
two most prominent genres I listened
to when I was a child. Country music
I naturally gravitated to because of
my environment and those who
surrounded me, although my parents
loved classical music. I was always
listening to Mum’s Pavarotti and
Marina Prior tapes playing in the
background. My parents always
encouraged me to listen to and attend
various concerts and musicals during
my mid to late teens.
During my early adulthood, I was
busy exploring the intricacies of
music technology, having bought my
first digital audio workstation at 18.
During the day I attended lectures and
spent a minimum of three hours
locked away in a practice studio;
while of an evening I would throw on
my headphones and explore the
ambient sounds of my Roland
synthesizer, trying to capture that
same feeling of freeness I felt when
listening to eight-minute dance tracks.
Today I enjoy a mixed playlist,
ranging from classical with
composers such as Erik Satie, Sergie
Rachmaninoff, Clara Schumann, and
Prokofiev, although my love of dance
and electronic music is still part of my
daily mantra. Groups such as Hybrid,
Massive Attack, Phaelah, Bjork,
Trifonic and yes, Underworld and a
Cafe Del Mar’s Volume No. 5 still get
a look in.
Are you still an outdoorsy person?
What are some of your non-musical
hobbies?
Living in the Australian Alpine
Region, I am accessible to an
abundance of outdoor activities
including skiing, mountain bike
riding, kayaking, paragliding, hiking
and of course running; however, in
early 2017, a friend invited to me
attend our local Shotokan Karate
Dojo. Upon observing instruction, I
was immediately drawn to this
incredible art form and now train
three times a week with my father.
My connection with horses has also
played a vital role in my life. Having
trained competitively in the field of
dressage throughout my child and
young adulthood, any opportunity I
have to be with horses I jump at.
What are some difficulties, if any,
you’ve encountered as a female
musician and composer?
To be honest, I think the only
difficulty is being in a world
surrounded by subconscious religious
conditioning. So much of classical
music was written by men and for
religious purposes and while the great
field of secular classical has
developed in its own right, it seems to
be the core contributor towards
division between male and female in a
traditional classical sense. We have
been conditioned to listen to classical
music for thousands of years. I
attribute a deeper understanding of
classical music in more recent history
to classical crossover, as the genre has
helped define the undefinable for a
much wider international audience.
This has also led to a gradual
transition where more women
composers are being recognized.
Classical crossover means many
things to many people, but I really
connect with the idea of “out”, like in
free jazz. From a structural
standpoint, I know traditional forms
of classical composition and
everything outside that range or ideas
considered experimental.
As a female classical crossover artist,
I use sound collage and nonlinear
themes in my compositions. I love
testing the realms of structure. The
classical canon for me is incredible,
but I create using it both as a
launching pad and something to be
challenged.
What advice would you give to
young ladies (or young people in
general) wanting to pursue music as
a career?
Never let your past circumstances
define your present reality. As Alan
Watts describes, ‘You are under
obligation to be the same person you
were five minutes ago’.
Since hearing these words from such
an incredible teacher, I have been
more mindful about changing my past
paradigms surrounding the stigma
towards women in music.
Does playing a synthesizer /
electronic music help you
communicate in a different fashion
than playing traditional piano?
Yes absolutely. Since my mid-teens, I
have equally loved electronic music. I
am fortunate to have a digital audio
workstation where I compose both
piano and more cinematic
compositions. My husband and I also
write electronic music together,
therefore I often feel inspired by what
we do. I think the two genres dovetail
beautifully.
Describe your creative process.
About how long does it take you to
finish composing a song?
The duration varies. Sometimes I
compose a work within minutes.
Other compositions require more
technical detail; therefore, it can take
up to a week.
My creative process tends to vary
quite a lot. If I am inspired by a story
I have read or a documentary I have
watched, within minutes I will go to
the piano and start composing.
Lately, my entire mind and body have
almost become entranced in a
meditative experience. At present I’m
gravitating to Middle Eastern music,
therefore my whole experience on the
piano turns into a melodic mediation.
That said I’m sure next week I will be
drawn to another musical genre, story
or culture, and again my music will
take another turn or tell another story.
Who would you like to collaborate
with, and why?
Hans Zimmer - for his adaptability
and penchant for collaboration. It is
difficult to characterize his style with
a single example, hence why I would
be honored to share my work with
such a humble character.
Bjork - for her ability to constantly
push herself into unknown territory. If
there is one woman who knows how
to embrace womanhood, it would be
Bjork.
Hybrid Soundsystem - I have always
loved this group. They are true
pioneers of the electronic genre,
although have also mastered the art of
orchestral sound with their cinematic
approach to production.
Nils Frahm - When it comes to
emotion, this stunning
composer/performer truly captivates
one's soul. I would love to work on an
album with Nils. Working with
someone who understands simplicity
is the most powerful tool, would be a
beautiful and humbling experience.
How did you discover your musical
style, and how has it evolved over
the years?
I think having the opportunity of
living both in the outback and in cities
has led me to where I am in terms of
musical style. I find when I discover
another layer about myself, my
musical style tends to embrace
another fragment of what is never-
ending. I remember a student asking
me, ‘did you create the music or did
the music create you?’ Still, I keep
asking myself that question.
What message or vibe do you hope
people take away from your music?
There are many messages I would like
to translate to my audiences, although
most importantly I wish to give
listeners an opportunity to visit
different worlds, perspectives,
emotions and most of all, experience a
moment where they can reflect on
their own journey. Music is a
powerful conduit for communication
between individuals, so if I can take a
small role in leading humanity
towards their true identity, I am
fulfilled.
Have you released all of your
albums as an independent artist?
What are some of the lessons you
have learned in that process?
Yes, I have, and it has come with
quite a few valuable lessons.
Resilience and patience are the two
words which best reflect my personal
growth throughout this process.
Leading up to my first album release,
I paid a large sum of money to a
graphic designer who was going to do
a website for me. Unfortunately, it
was not what I was expected, nor did I
like not having the opportunity to
share in the artistic design.
After throwing away a few thousand
dollars with nothing in return, I
decided to throw myself in completely
and take full reins of the project -
from web design to posters, CD
artwork, bookings, marketing plans,
recordings, and mastering, I managed
to be the one stop shop in service to
myself.
It hasn’t been an easy process,
although it certainly has been
rewarding. Knowing I can always rely
on myself at any given time gives
much comfort.
Have you had a favorite teacher?
What was some advice they gave
you that you still cherish?
There are many teachers who have
directed me along the way, some of
which aren’t related to music as such,
although in all each person has given
me a gift - either to learn by
someone’s frailties or become the
frailty itself.
What value do you believe music
has for the world in 2018 and
beyond?
Despite mainstream media’s
fear-based motives, I believe we live
in a world full where there is
incredible beauty, creativity, and
abundance. In my opinion, I feel
music has been and will continue to
be the ingredient which people
gravitate to for a sense of belonging
and validation. Where all else fails,
music won’t.
Would you like to share anything
about your upcoming project,
Elysian?
Elysian has been a special part of my
musical journey. Inspired by the
Elysian Fields of ancient Greek
mythology, my love for all things
beautiful is captured within this
album. From the depths of ancient
Egypt and Greek mythology to the
beautiful landscapes of Mongolia and
Africa, Elysian reflects the ‘beauty of
all things beautiful’.
Follow Emili at emilirackemann.com
Bella Parsons By Chantelle Constable
As a child in Poland, Bella Parsons
began studying music at the age of
six, passing her entry exam to piano
and beginning instead on the violin,
moving on to voice, guitar, and
further piano later on.
“I have loved classical music from my
very first lessons… ...I was always
inspired to push forward and to
express myself through music. It was
also a lot of work, but I have never
had a moment when I wanted to stop
learning music. I was also part of
choirs and orchestras and that was a
lot of fun to sing or play with others.”
She came to the United States at age
fifteen. She studied at Eastman
School of Music in Rochester, NY for
a year than in Wilmington School of
Music in Wilmington, DE, both on a
full scholarship. Bella received further
scholarships to study Arts
Management & Music at Shenandoah
University and receive her Master's in
Music at Azusa Pacific University,
California.
With her sisters Aleksandra and
Monika -- the three are identical
triplets -- Bella is part of world pop
group “Alizma.” Their first album
“Tell Me How To Love You” features
all original songs in English and
Polish with a message dedicated to
love and hope. According to their
website, “The intention behind our
music and lyrics is to convey positive
and inspirational messages to our
audiences around the themes of
‘staying true to who you are’ and
choosing to ‘walk the path of life in
truth and love.’”
Bella says, “It is always fun to
play/sing with others, especially if
they happen to be your siblings. When
I perform solo, I focus more on what I
as Bella Parsons wants to say and
express through music and what my
heart is truly saying. I don't
necessarily do it for the sake of money
or even trying to impress anyone but
for the sake of the gift which is
music.”
Bella also collaborates with her
husband Timothy under the name
Timbella (timbella.com), in fact,
Tim’s ability to “compose heavenly
music” is one of the things that first
attracted her to him.
“I can write music in many different
ways. I often just sing what is in my
heart and record it on my phone or a
computer and then add piano chords
or sing it to someone
who is able to play the
piano well and compose.
Or I'll sit at the piano
and play and sing
together, or that can be
also with a guitar. I also
love to compose on the
violin with someone
playing the piano with
me. My favorite way,
however, is to simply
sing out any melody that
is in my heart and have
my husband Timothy
improvise on the
keyboard or a piano. I
believe I have created my
best music so far through
that particular process. I don't think I
have met anyone more gifted in
regards to composing music and
being able to feel the music the way
that he does.”
Bella began composing music in
college; drawing inspiration from
romantic relationships and her faith,
she was motivated by the creative
atmosphere of school “...and being
around many creative students who
were always composing music and
sharing it with friends either on the
grass in front of dorms or in practice
rooms.”
She believes in casting your net wide
for musical inspiration, saying, “A
painter can paint the Eiffel Tower in
Paris but he can also paint the ocean
or a city view. I
believe us
musicians-
composers are
the same in that
regard. We can
paint with notes
and with lyrics.
We can
musically paint
a moment in
time and
capture it on
the recording.”
As with
Alizma, the
message that
Bella hopes her
listeners derive from her solo music is
one of transparency and personal
truth, regardless of what may be
popular or better understood by the
masses. “If it's in your heart and if it's
true then you should express it and
that is what I did. Also, I truly wanted
to express my passion for the Word of
God and my love for Him or rather
His Love for me!”
As a hard-working performer, Bella
likes to unwind by seeing movies,
running, swimming, and getting her
hair done. While she neither drinks
nor smokes, she admits to a penchant
for coffee. A former teacher, who had
a Wagnerian career, swore by sugar-
free Ricola cough drops and Bella
stands by her advice to this day. Of all
the places she has performed, which
include “Las Vegas (where I lived for
7 years), New York, Los Angeles,
Hollywood, Singapore, China, Hong
Kong, Brazil, Bahamas, Germany,
Poland, England, Italy, and most of
the states in America,” her favorite
place has been Hawaii. “I still have
many places I would like to visit. I
really love to perform anywhere and
everywhere in the world… Traveling
is one of my favorite things about
sharing the gift of music.” Her dream
duets include Josh Groban and
Andrea Bocelli.
While Bella is passionate about
traditional classical music, she values
the crowd appeal of classical
crossover and its lack of form and
boundaries. “I would love if my album
was remixed by a DJ. I would still
consider it a classical crossover
album, but re-mixed version - so even
wider audience could dance to it and
simply understand it.”
“Vita Aeterna” is an eleven-track
original sacred album sung
completely in Latin. It was largely
produced in Logic, a digital audio
workstation and MIDI sequencer for
the macOS platform, with the guest
appearance of flautist Vivien Hibbert
on some tracks. Fans of Enya and
Sarah Brightman will appreciate the
transportive, ethereal nature of the
album, while the sacred influence of
Bach is clearly divined. Bella’s
evocative soprano voice strikes just
the right balance between haunting
and passionate, handling the Latin
fluently and the high notes
effortlessly.
Here are some of Bella’s own words
about the process of making the
album: “For Vita Aeterna, I had the
album title first and also the title of
the main song. I knew exactly what I
wanted to sing about and it was even
more challenging because I wanted to
make an album all in Latin, which
happens to be one of my favorite
languages to sing in… ...I then told
my husband Timothy about it and he
caught on to the idea and we made
time to play/sing together and that's
how our first two songs of the album
came about "Vita Aeterna" (Life
Eternal) and "Verbum" (The Word)
were written just minutes apart. We
simply improvised and sang/played
our hearts out for a few minutes. I
taped it on my phone and picked my
favorite parts of the "jam" and then
re-recorded the piano parts first. I
then added the vocals and
transformed it into Latin lyrics that fit
the melody line... The whole album
was complete within four months.”
“This is the first time I created a
whole album, that was dedicated to
God or about God. My number one
inspiration for this Album was the
Bible and God's direct Word. I chose
to sing it in Latin because I really
think it sounds beautiful spoken/sang
in that language. Plus, my classical
background taught me to appreciate
sacred music and that's where I really
fell in love with it first… I consider
music to be a vessel, a gift and I
believe when I combine it with my
faith in God it grows beyond my
human capabilities because in some
unknown way it touches hearts and
souls in a way we cannot understand
but can be a part of.”
bellaparsons.com
Collaboration in music By Chris pinnella
Collaboration is key when you are
creating something whether it be a
new song, arrangement, album, or
concert. However, at times we as
artists can get into a certain headspace
that can feel extremely isolating.
From my own experiences as a singer,
songwriter to being on the road and
acting as a producer to a lot of my
own concerts in addition to
marketing, promoting, contracts,
riders, stage plots, payroll, taxes, etc. I
started to feel less like a musician and
more like a businessman. I was
collaborating but not on the creative
side of things. My only moments of
musical clarity were happening within
a 2-hour time frame that began when I
stepped out onto the stage for a
concert or performance.
I began talking with other musicians
and was hearing extremely similar
stories wherein there was a disconnect
leading up to or between shows and
projects as well as a lack of
collaboration and doing something
creative that didn’t have a paycheck
attached to it or a deadline to meet.
From there I decided to form The
Musicians Collective which allows
artists to join us at a specific location
and together we choose a song to
collaborate on that day. It can be a
cover song or that artist’s original
work or both. Genres don’t matter
because we are creating something
new that fits everyone involved. We
recently collaborated with a
singer/songwriter and we covered a
Bruce Springsteen song, turned it into
a duet, added a saxophone player and
some acoustic guitar. The week
before that it was The Beatles
‘Something’ with our guest pianist
being from a progressive metal band
and our trumpet player being a highly
skilled jazz player. We film the entire
creative process and I’m toying with
adding in an informal interview
segment as well. The result so far
after only three sessions has been
incredible. It’s allowing for open and
honest discussion about the industry,
creative ideas, and a ton of
inspiration. I’ve also found that the
more open I’ve been to musical
collaborations of any kind the more
rewarding it’s been for me on an
intellectual level.
Getting to create with musicians from
all different musical backgrounds has
pushed my musical parameters and
forced me to continuously strive to be
better.
There’s something to be said about
being on stage live with your
musicians whether it’s for 5 people or
15,000. You start a song and instantly
this connection is made between
everyone. That connection then
radiates out to the audience,
multiplies, and then is sent back to the
stage wherein an emotional
connection is then made between
audience, performer and song. That
collaborative process, while it relies
on the musician’s technical mastery
(of their instrument), is, more
importantly, a practice in giving and
receiving energy. That’s what we
crave about the creative process —
It’s the undeniable feeling you are
taking part in something that feels
spiritual, instinctual, raw, emotional, and perfectly imperfect.
Chris Pinnella is a talented singer, songwriter, and producer who began his career at
the age of sixteen. He graduated from Marymount Manhattan College and was
featured in “Simeon’s Gift” (co-written by Julie Andrews) in the title role. Chris has
also toured with the Trans-Siberian Orchestra and performed at such distinguished
venues as the Rainbow Room, Lincoln Center and Feinstein’s 54 Below.
To keep updated on Chris please visit: chrispinnella.com
Kathryn Grayson By Jennie Watters
Katie Grayson and her friend
scrambled over the fence at the St.
Louis Municipal Opera Amphitheater
to find the janitor. Earlier they had
been practicing an aria from an RCA
record at Katie's home. Although the
only person present at the theater in
Forest Park at this time of the day was
the fellow who was there mopping
floors, the little girls imagined they
were auditioning. After all, he got to
hear opera singers perform for real all
the time! They sang their little hearts
out. "Bravo!" the janitor applauded
when they were finished, "You're as
good as the singers who perform here
on stage! Perhaps one day you'll be
singing for an audience of
thousands." The girls beamed,
thanked him, then scampered away to
learn another song. The next one
would be even better! "We thought we
were pretty hot stuff," Grayson
reminisced as an adult. "That is until
we learned that the janitor was stone
deaf!" she laughed.
"Katie" had been born Zelma Kathryn
Elisabeth Hedrick on February 9,
1922. She came by her singing ability
quite naturally, since her two older
brothers and even her younger sister
had four-octave ranges.
"Sunday mornings, we all used to get
together for a 'sing-song.' We might,
for the time being, be living on
potatoes, but we never sold the
piano." Stories of how Kathryn first
started taking professional voice
lessons vary. A 1941 issue of
Hollywood magazine Screen Album
claims: "School life and home-taught
singing enlivened uneventful years
until Kathryn was fifteen, when the
finger of Fate pointed to Fame, via a
holiday trip to Texas. An accident, in
which Kathryn and her mother were
seriously injured, detoured them for
five months of medical care, after
which Papa Hedrick decided to join a
former partner's real estate business
in Hollywood...Arrived there, Mama
Hedrick decided that her talented
child should seriously study voice
while enrolled in the Manual Arts
High School."
If the old movie magazines are to be
believed, an MGM talent scout
discovered Grayson at a music
festival where she was performing.
She was asked to audition before Mr.
MGM himself, Louis B Mayer. For
two or three hours, she sang songs by
Deanna Durbin, Jeanette McDonald,
and Grace Moore. She was offered a
contract, but Kathryn had her doubts
about stardom. "I was too plain. One
glimpse in the glass at my turned-up
nose, my awkward shaped face,
convinced me that an audience would
never look at and listen to me." She
only signed once Mayer promised that
she wouldn't have to appear onscreen
until she was properly prepared. For a
year before her first screen test, she
was to take acting and singing
lessons, put on a diet and trained in
physical exercise. This, she was
assured, would transform her into an
ideal star. She agreed and her given
name became "Kathryn Grayson."
Mayer was as good as his word and
Kathryn started a rigorous schedule
that lasted for the year. Finally, the
big day arrived. After doing some
comedy bits, popular songs, and
dramatic singing, Kathryn went to
lunch. While she was eating
Katherine Hepburn came running
over, "I just saw your screen test, you
are the greatest young actress I have
ever seen," she gushed, impulsively
kissing her hand. At such praise,
Kathryn rushed to the executive
building, breathlessly hoping that she
was half as good as the great
Katherine Hepburn said she was. She
nearly cried when she saw herself
larger than life on the big screen. "I'm
not pretty. I can't act. I'm a failure,"
she thought. She immediately went to
L.B. Mayer's office and said, "Mr.
Mayer, you have been very kind and I
want to thank you very much, but I
can see I'm not the right person to be
in the pictures." Mr. Mayer tried to
calm the young actress down and
assured her that he'd heard nothing
but positive feedback about her screen
test. Her parents also urged her to
persevere, telling her it wouldn't be
fair to quit now, after all the time and
money the studio had invested. So she
moved forward, six months
later making her debut in Mickey
Rooney's movie "Andy Hardy's
Private Secretary" (in the part of his
teenage secretary.)
Audiences loved the young coloratura
soprano, whose voice, although
occasionally a tad shrill, was strong,
precise and angelic. One article
described her as "fresh as a hyacinth
and as sweet!" Fans did not realize
that this sweetheart also had a tough
streak. She rode a Harley-Davidson
motorcycle to and from work, against
the advice of studio executives. When
Kathryn felt she needed to advocate
for herself, she did. The Metropolitan
Opera House was interested in giving
her the leading role in Lucia di
Lammermoor, but Louis B. Mayer
told them she couldn't do it, which
infuriated Kathryn. "We had this
tremendous row," she said, "I loved
the opera and wanted to do it
desperately." Mayer insisted that if
she started this early in her career
taking leading roles in operas, it
would jeopardize her reputation as an
actress. "Kathryn," Mayer said,
"you're such a little rebel, I want you
to go to a mountaintop and yell 'Go to
hell!' and then I want you to listen to
the echo coming
back at you. I then
want you to yell,
'God bless you!'
and listen to that
echo." Mayer got
his way...this time.
Even Mickey
Rooney asked
Louis B. Mayer
for permission to
do certain things,
and he was known
as the "box office
king" from the late
30s to the early
40s. When Rooney
married his first wife Ava Gardner, he
paid his boss a special visit to get his
blessing. Mayer considered himself
the father of a large family, and he
often treated his employees like his
children. Kathryn Grayson by her
own admission liked L.B Mayer, but
she was not going to let him run her
life. When she fell in love with
divorcee John Shelton, she shocked
everyone by running away to Las
Vegas to elope! Her marriage to
Shelton proved to be a tempestuous
one which ended five years later after
several separations and attempts to
reconcile.
Kathryn had steady work at MGM,
most notably Anchors Aweigh, a film
that today is best remembered for the
scene where Gene Kelly dances with
the cartoon mouse (Jerry) from Tom
and Jerry. SIXTEEN
musical numbers are
scattered throughout
the two-and-a-half-
hour runtime, much
of it led by Spanish
conductor and
pianist Jose Iturbi.
Although not a
household name
today, Iturbi was
famous then and
hoped to use his
popularity to bring
classical music to
the masses. He and
Kathryn were close,
they would often go
to dinner or concerts together as
friends. Sadly, many serious
musicians shunned him as soon as he
got involved in Hollywood, accusing
him of "prostituting his art" by
appearing in movies. Kathryn stuck
up for him saying, "If he was
prostituting his art, then I'm grateful
he did it...we gave the world some
wonderful films!"
Although her movies were fun to
watch and financially successful,
Kathryn Grayson realized that they
were not going to be enduring
classics. Friends would ask "Why
can't you do great stories?" and she
wished she could but Mr. Mayer
would say "The public likes you the
way you are with the things you're
doing, you make them happy!" She
argued that the public would be even
happier if she was allowed to appear
in a movie with a better-developed
plot and
characters. She
always had to
play the part of
the sweet, likable
ingenue, which
went along with
the carefully
crafted reputation
the studio had
built for her.
Even Life
magazine called
her 1945 film,
Two Sisters from
Boston, "a
pleasantly silly
little musical."
Grayson's
character is a
barroom singer with aspirations for
the opera stage and "cuter than a
bug's ear" sister June Allyson
endeavors to keep her on the straight
and narrow. Even though she had top
billing and handled the role very well,
she yearned to do more.
Not much had changed by 1947 when
she married her second husband, radio
singer Jonnie Johnston. On October 7,
1948, Kathryn gave birth to her only
child, a daughter she named Patricia
Kathryn Johnston (nicknamed "Patty
Kate.") It wasn't long before the new
mother was back to work, co-starring
with Mario Lanza in the great tenor's
first movie at MGM. She was in two
mindless operatic musicals with
Lanza: The Midnight Kiss and The
Toast of New
Orleans. By the
time she was cast
Showboat, in
1951, her
marriage to
Jonnie was on the
rocks, and she
was able to get a
divorce granted
to her on the
grounds of
"mental cruelty."
Kathryn was
delighted to play
Magnolia Hawks
in Showboat, the
daughter of the
riverboat captain.
This was going to be an artistically
profound historical film, set around
the turn of the century, with glorious
music by Jerome Kern. The other
female lead was the character of Julie,
a biracial woman who performs along
the Mississippi River on the
"showboat" - a traveling theater
company. The part was written for a
light-skinned person of color since
Julie is perceived to be white but
when her lineage is revealed, she is
kicked off the boat. Lena Horne was
considered. Like Julie, she was
biracial, and she was also a skilled
singer. Horne had already performed
with Kathryn Grayson, in Till the
Clouds Roll By, during which she
sang one of
Showboat's most
iconic songs: "Can't
Help Lovin' That
Man." However, at
that time it was a
challenge for any
person of color to get
ahead in Hollywood,
no matter how
talented. If an
African American
performer was in a
movie in a non-
subservient role, their appearance was
kept brief so that their scenes could be
trimmed if theaters in certain parts of
the country decided they didn't want
to show them.
Today, we would refer to it as
"whitewashing," but not an eyelash
was batted in 1951 when it was
announced that Julie would be played
by white actress, Ava Gardner.
Another role for a woman of color
was significantly reduced in the
adaptation, that of the cook,
"Queenie," which had been originally
played by Hattie McDaniel in the
1936 Showboat movie. In MGM's
version, Frances E. Williams appears
with minimized dialogue and no
screen credit. If any of Showboat's
leads noticed how parts involving
black people were diminished, it
doesn't appear that anything was said
about it, which is a pity.
During the filming of Showboat, Ava
Gardener recalled how she
and Kathryn would ignore
"one of Metro's cardinal
rules," and between takes
"smuggle in enough tequila
to send us back home in the
best of humor." She and
Howard Keel also got
along extremely well. His
deep baritone laugh set
everyone at ease and they
became fast friends. One
thing that annoyed Keel
about Kathryn was how,
when they were dancing, she "moved
like a Mack truck." He later found out
it was because Kathryn felt self-
conscious dancing close to her male
co-stars and was trying to create
distance. Her bust was an ample 39
inches, which is why she tried to get
out of posing for pin-up photos. "I
don't want to be known as the
operatic Jane Russell," she would
say. Ava was more blunt, joking that
Kathryn "had the biggest boobs in
Hollywood...with her, they didn't need
3-D!"
In 1954, Kathryn Grayson WAS
filmed in 3-D. Television was viewed
as competition for the big studios, so
"[Mr. Mayer said] we should do great
films to get and to keep our
audience." They used the most
advanced method available:
stereoscopic 3D. Originally a
Broadway play, Kiss Me Kate is an
updated version of Shakespeare's
Taming of the Shrew - Grayson being
the "shrew." Not only is this Kathryn's
most dynamic role, it's arguably one
of the best
musicals of the
50s. The New
York Times called
it "magnificent,"
and it certainly has
a memorable Cole
Porter score, a
phenomenal cast
(including one of
Kathryn's best
friends - dancer
Ann Miller) eye-
popping
Technicolor and
lavish costumes.
Best of all the
music carries the
plot along,
enhancing the
emotion the
characters are
feeling. When
delivering her solo number "I Hate
Men," Kathryn practically spits out
every word, justifiably angry with her
ex-husband (Keel) who is acting like
"a louse!" When Howard Keel
mischievously connives to win her
back, it's hard not to root for him. In
real life, Keel and Katie had
acknowledged that they loved each
other, but they decided remaining
friends would be best. "We were mad
about each other, and there was no
way to stop it," Keel later disclosed,
"I'm amazed we didn't say to hell with
it and go someplace alone together,
but that would have hurt too many
people."
Kathryn never
remarried, but she
was rarely lonely. In
Santa Monica, she
owned a 5,381
square foot Tudor
mansion. Her aging
parents had one
wing to themselves,
another wing was set
aside for her singing
teacher, and there
was plenty of room
left over for herself
and her daughter, as
well as the many
nieces and nephews
who would
frequently visit. She
acknowledged that
"belonging to a big
family is the best
tonic, the best balance wheel, the
most effective sanity-keeper and
common-sense provider on earth."
Kathryn also extended her home to
anyone who needed a safe haven.
When her former co-star Mario Lanza
unexpectedly died of a massive heart
attack at the age of 38, Kathryn
invited his wife and four children to
live with her. They stayed with her for
several months until they felt ready to
get back on their feet.
By that time, Kathryn was done with
the movies. Her last movie (The
Vagabond King) was so embarrassing
that she admitted: "it should never
have been made." Kathryn finally
pursued the stage career that Louis B.
Mayer had kept her from years ago.
Few classical crossover singers go on
to sing full opera, but in 1959 she
fulfilled that dream, singing Puccini's
Madame Butterfly. Throughout the
60s she had roles in La Boheme and
La Traviata, as well as operettas like
Orpheus in the Underworld, Naughty
Marietta, and The Merry Widow.
Kathryn also reprised roles from her
movies Showboat and Kiss Me Kate,
and replaced Julie Andrews as
Guinevere in Camelot on Broadway.
Throughout the 70s and 80s, Kathryn
Grayson gave many concerts,
oftentimes with her old friend Howard
Keel. On television, she had a
recurring role on the hit show,
"Murder She Wrote," starring another
longtime friend Angela Lansbury. As
she grew older, she began to travel
less and started giving private singing
lessons out of her home. It is the same
Santa Monica mansion where she
ended up living for 65 years. She
passed away peacefully in her bed at
the age of 88. It's a shame that she
never finished writing the memoir she
started. She realized that it wouldn't
be the sensational tell-all publishers
wanted. "I'm a Pollyanna," she
confessed, "I love everything and I
was saying everyone was beautiful. I
just happen to think people are pretty
wonderful."