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The Greatest.

 

The beauty of Dad’s storied history was all in the mystery. None of us could connect so much as a finger to any of it. The people, we never knew; the places, we’d never been. And, the experiences, well, nobody else could touch.

He talked often of his life as a young ward in the state of Massachusetts, living so briefly in the foster home of Mrs. Bracchi somewhere near Boston. While there, he’d be challenged to fight her big, redheaded sons. The winner would get a hot meal; the loser, a nickel – or, maybe it was the other way around. All Dad knew was, being the runt of a lost litter, he had to muster up some chops in short order.

And, this, apparently, led to some training in boxing.

He’d said he was, what, a welter weight? Only five foot three and a half, without shoes, he had to rely on quickness and agility, and we knew him to have these in abundance. Like a bird on a wire, his would be the very first head to turn at a sound or a sudden move in any room. And, when he’d raise his hand to anyone in defense, his tongue would curl under and get bitten down by his teeth. That’s how we’d know he was serious.

As father to myself and two brothers, he’d listen to the fights on the radio or watch them on the Tv in his barbershop. After Mum died, he’d view them alone, at the house, until well past his 90th birthday. And, while he enjoyed every fight he could find, his all time favorite, the best boxer he’d ever seen, was Cassius Clay. By the time the rest of the world caught on, they called him Muhammad Ali.

Dad, having the charm of a whole cast of clowns all wrapped up in one wiry little body, was captivated by Ali. He loved the quickness, and the moves, and reveled in the sassy, self confident challenge that always burst from Ali’s belly as soon as the mouth guard found its way out. He’d hoot with joy every time the man said anything.

But, Dad’s time stopping moment would come heading south on Ash Street, right before dusk, driving the Catalina home from just another day at the shop making long hair short. Always sharp of eye, he’d noticed a figure emerging from a parked car and looked twice, recognizing both the head and the cut. There, standing on the sidewalk right across from the Polish Falcons, was Muhammad Ali himself.

Ali had been brought in, for a charity event, perhaps to speak at the Sportsmen’s Club or be the special guest at an athletic awards ceremony. Those in attendance select VIP, the rest of our small city would gain its collective satisfaction just knowing the Great One was in town.

But, not Dad. He swerved the car to the curb, jumped out, scrambled for his wallet, selected a tiny, faded scrap of paper, fumbled into his pocket protector for a pen and, unabashedly, bounded right toward his hero.

I don’t remember what was said. Neither, as time passed, would Dad. He’d only known that Ali was gracious and kind, and signed his autograph to that little scrap of paper.

What I do remember was the moment when Dad tore through the back door, rushing the kitchen in exclaiming triumph: ” You’ll NEVAH believe it! I cayun’t hahdly, myself! LOOK! Look what I have, hea-uh!” He was trembling.

After Dad died, his little zippered pouch that carried only his precious things remained in the drawer in my bedroom. In it, he’d kept a handful of silver dollars, a couple rings, and his flat, smooth tan leather wallet. I haven’t looked in that wallet, but I’d bet a shave and a haircut that Muhammad Ali’s autograph is still there. After all, the Greatest, they know their own.

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© Ruth Ann Scanzillo   6/5/16    All rights, in whole, part, participle, and letter, those of the author, whose story it is, and whose name appears above this line. Thank you for your respect.

littlebarefeetblog.com

 

 

 

 

 

The Opera Wars.

 

 

*AUTHOR’S NOTE:  Periodic Update:  All rights to these pieces at littlebarefeetblog.com, in whole and in part are, unless otherwise specified, strictly those of the author. Thank you for your respect.

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Possibly the most profound gift from the universe to humanity on this earth is the singing voice.

After last night’s presentation of Rachmaninoff’s All-Night Vigil Vespers, offered by the combined choirs of Mercyhurst University, the Erie Renaissance Singers, Chautauqua Chamber Singers, and Church of Christ Savior –  masterfully directed by Rebecca Ryan, Andrija Andelic, and Vladimir Gidenko with soloists  Ainsley Ryan and Brandon Miller, any witness concluding otherwise would have to be missing either a cerebral lobe, or a soul.

Rachmaninoff captured the depth of an entire nation’s reverence for its God and Christ, and set as sacrament voices, alone – in polyphonic unisons, in woven harmonies, in unique tonal rhythms and rapturous resolutions – that would forever mark his masterpiece in ironic, final testament to a people who would soon be stripped of their right to worship at all. The result was repeatedly, and increasingly, breathtaking.

A work, of this magnitude, begged a mass choir. And, the many voices came, from four distinct ensembles, so willing to collaborate to make this music a reality.

Morning reflection took me back to the early ’90s and a graduate course in Baroque music, taught by Associate Professor Jeremy L. Smith at SUNY Fredonia.

Now, a good historian will address such a broad topic by constructing a course around highlights that were in some sense pivotal to the development of the style of the period. Smith, in his rich academic wisdom, chose to cover Bach/Vivaldi; castrati; and, the infamous opera house wars.

I was remembering, on this morning, the latter.

If you search the internet, you won’t find anything substantial about the Baroque opera house wars. But, Jeremy L. Smith had his sources. There were two major theaters in Europe during the Baroque era, and they so bitterly competed for pre-eminence that many underhanded and spiteful attempts were made to squelch the other, including paid infiltrators who would make raucous, vulgar and berating sounds throughout their competitors’ productions. One house was even successfully shut down by its opposition! Easy to wonder if the current American political system of “smear” campaigns takes its lesson from this regrettable chapter in history.

In the West, large metropolitan areas have a distinct advantage; should rifts occur within any performance discipline, those alienated by its effects can just move across town, birth new entities, and watch them rise from the rubble. Entire neighborhoods welcome the new asset, their audiences ready, eagerly awaiting. In fact, following the model of organic cell division, this could actually be considered a healthy evolution, one more likely to ultimately preserve the art as life form.

But, small towns have a problem.

If any one inadvertently, unwittingly, or otherwise unintentionally offends, there might very well be no place to go. The gossips, made up of the variously frustrated, powerless, or mediocre, are equally eager, and the news of the offense is their fodder.

Becoming the topic of public conversation only serves to inflate the value of any disagreement or misunderstanding. Before long, alliances form – usually against the hapless ones who managed to bring the insult. But, because proximity is the issue, the decision to leave the group is far from liberating; rather, those who do merely find themselves outsiders, maligned in their own locale. Any who choose to remain endure the negative energy which imposes upon their efforts.

It is with no small wonder, therefore, that those who use their voices in combined song commit to the enterprise without rancor. In reality, singing well requires a mind in congruence with the body which bears it; animosity in the heart can only produce a shrill and ego-driven outcome.

This is not what anyone heard coming from the combined choirs on Sunday night. The one hundred twenty voices were one strong, students of music, adult amateurs and professionals, people of all persuasions unified by purpose, melded by Rachmaninoff’s masterwork, mobilized by the devoted heart and determined spirit of Rebecca Ryan. In such a place of communing unity, a true chorale emerges – the singular voice of the created, manifesting its Creator’s song.

In such a place, no war of any kind is possible.

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© Ruth Ann Scanzillo  5/16/16   All rights those of the author, whose name appears above this line. Thank you for your respect.

littlebarefeetblog.com