Pictured: Richard with POG President Jutta Allen and the 2005 Portland Opera cast of Puccini’s Tosca.
One of the responsibilities of any real estate broker is to be engaged in the community, and therefore it is a pleasure to partner as an underwriter for broadcasts of All Classical 89.9’s Metropolitan Opera Saturday Matinees. Why do I love opera, you ask? Here’s the reason why . . .
I have always been surrounded by opera for one reason or another. One of my mother’s dearest friends was regional Opera Star Gloria Marinacci Cutsforth Allen with whom she sang with internationally. Through Gloria, I met Anna Moffo as a young boy being “held hostage” backstage while they were judging the Metropolitan Opera National Council [now Laffont] regional competition in Portland.
I was hooked on the artform while sitting alone in an empty concert hall in what is now known as the Mercedes Bass Grand Tier level during a tour of the Metropolitan Opera House at Lincoln Center at age eight after my father introduced me to Placido Domingo. The splendor of the setting was inspiring for someone constantly armed with a sketch pad to capture anything of note. He also told me about his friendship with Santa Fe Opera Founder John Crosby whom he had met at Bishop’s Lodge. John’s parents invited him to dinner at their home one evening where he explained his plans for building the “only outdoor theatre in America exclusively designed for opera” not far away on land that was acquired. That nearly-50-year friendship lasted mostly via correspondence until John’s death in 2002.
The first foray into opera performance was with my grandmother, who thought I should experience something in addition to the already-classical music household in which I was raised. Portland Opera had discounted tickets for seniors and students, so she jumped at the chance and we attended my first production when I was 12 and we were subscribers together until 1995. The most memorable productions being The Magic Flute sets that Portland Opera designed and a magnetic production of Carmen with a Broadway star in the leading role. A risky departure but highly effective!
My parents have always supported the arts and both sang and played the piano. Part of that commitment was giving back to community, and my father helped found Community Concerts in Portland. Together, all three of us would serve on the board of the organization over a 35-year timeframe. During my tenure, we planned to have Marilyn Horne in concert but she fell ill and called Frederica von Stade to fill in. It was my task to greet her at the airport and to chair a reception in her honor for donors and board members. So, I can say that I’ve had an opera star in my car! Kathleen Battle was a unexpected friendly persona to chat with at an Oregon Symphony Season Opening Ball she headlined.
Throughout the years, its been enjoyable to hear the stories of Portland Opera’s legendary Herbert Weiskopf from his wife and my parent’s friend, Wanda; fun times learning about the history of the company from Maestro Stefan Minde and his wife Edith; watching Robert Bailey and his acumen for engaging donors and mastery of marketing (the “Come enjoy civilized evenings of lust, greed, murder, love triangles and double-crossing. Anything but Stuffy” campaign), his appearance as The Emperor in Turandot, and utilizing personas like the hauntingly-fabulous Pauline Tinsley as Lady Macbeth while also championing acclaimed talent like Marcello Giordiani; Chris Mattaliano’s wonderful risk-taking chamber operas (The Spanish Hour!); and frequent journeys to Seattle Opera to witness the magic of Speight Jenkins‘ Wagner Ring Cycle, anything with Jane Eaglen, and a personal favorite, The Italian Girl in Algiers.
Upon joining the MAC, I met Jutta Allen who recruited me to join the Portland Opera Guild board in the early 2000s. Co-chairing three Opera Balls was an amazing experience, and I was asked to join the Board of the Portland Opera serving for three years with an absolutely amazing group of business leaders and philanthropists who were mentors to their youngest board member.
After concentrating on other non-profit priorities, here I am again on the board of the Portland Opera Guild. Safe to say, it’s a great place to be. Musical education in our schools is part of the basic fabric of a well-rounded development – please support the arts in a way you find meaningful to contribute.
Enjoy All Classical’s presentation on Saturdays at 10 am on 89.9 radio of the Metropolitan Opera’s broadcast. Launched in 1931, the Metropolitan Opera’s Saturday Matinee broadcasts are the longest-running continuous classical music program in radio history. Opera tells the grandest stories – and everyone has a unique one . . . I’d love to hear yours!
