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Editorial Reviews
Amazon.com
A funny thing happened to Sherrill Milnes along his way to becoming one of the best American Verdi baritones of the 1960s and '70s. In fact, dozens of funny things happened; he took careful note of them and poured them into an autobiography that will appeal to his many fans and anyone who relishes backstage opera gossip. The anecdotes are the best part of this book: they are abundant, sometimes mildly malicious, and often very funny--at least to those readers who are familiar with operatic plots, personalities, and music. For casual readers, Milnes explains why the story is funny--for example, why a tenor should have been executed after making a mistake in Puccini's Turandot. Milnes must be read skeptically when he calls himself shy--his ego is healthier than his voice--but he writes well of the anxieties of an opera star's life, particularly in discussing the vocal problems that hit him in the 1980s and that (whatever he may think) were never entirely cured. He is indignant about the Metropolitan Opera's failure to renew his contract in 1997. They could have been more sensitive, but he should have known that he had stopped singing reliably at the Metropolitan Opera level years before. The book has a useful discography and a list of his most notable performances. --Joe McLellan
From Publishers Weekly
In this unassuming autobiography, Milnes tells of his childhood on a small dairy farm near Chicago, his early musical education in public schools and a career that advanced smoothly from the Chicago Symphony Orchestra Chorus to Boris Goldovsky's workshop at Tanglewood, performance tours, lucrative voice-over jobs, the New York City Opera, a successful debut at the Metropolitan Opera in 1965 and subsequent rise to fame as one of opera's great baritones. The book is replete with anecdotes about singers, conductors, directors, audiences, accompanists, critics and the pitfalls of performing in operaAdangerous sword fights, falling sets, fires on stage, getting locked in a bathroom just before an entrance. But these and even accounts of his three marriages are all a bit bland, perhaps because Milnes, who comes across as unusually modest for an opera star, seems to try to avoid offending anyone. The final chapters are the most effective, for in them he movingly describes "a decade of panic," when broken capillaries in his vocal cords made each performance a nightmare of uncertainty and ended his career at the Met, which unceremoniously phased him out after 32 years as one of its leading lights. A chronology of key dates in Milnes's career, a summary of his performances at the Met, a discography and more than 50 b&w photos are included.
Copyright 1998 Reed Business Information, Inc.
See all Editorial Reviews
A funny thing happened to Sherrill Milnes along his way to becoming one of the best American Verdi baritones of the 1960s and '70s. In fact, dozens of funny things happened; he took careful note of them and poured them into an autobiography that will appeal to his many fans and anyone who relishes backstage opera gossip. The anecdotes are the best part of this book: they are abundant, sometimes mildly malicious, and often very funny--at least to those readers who are familiar with operatic plots, personalities, and music. For casual readers, Milnes explains why the story is funny--for example, why a tenor should have been executed after making a mistake in Puccini's Turandot. Milnes must be read skeptically when he calls himself shy--his ego is healthier than his voice--but he writes well of the anxieties of an opera star's life, particularly in discussing the vocal problems that hit him in the 1980s and that (whatever he may think) were never entirely cured. He is indignant about the Metropolitan Opera's failure to renew his contract in 1997. They could have been more sensitive, but he should have known that he had stopped singing reliably at the Metropolitan Opera level years before. The book has a useful discography and a list of his most notable performances. --Joe McLellan
From Publishers Weekly
In this unassuming autobiography, Milnes tells of his childhood on a small dairy farm near Chicago, his early musical education in public schools and a career that advanced smoothly from the Chicago Symphony Orchestra Chorus to Boris Goldovsky's workshop at Tanglewood, performance tours, lucrative voice-over jobs, the New York City Opera, a successful debut at the Metropolitan Opera in 1965 and subsequent rise to fame as one of opera's great baritones. The book is replete with anecdotes about singers, conductors, directors, audiences, accompanists, critics and the pitfalls of performing in operaAdangerous sword fights, falling sets, fires on stage, getting locked in a bathroom just before an entrance. But these and even accounts of his three marriages are all a bit bland, perhaps because Milnes, who comes across as unusually modest for an opera star, seems to try to avoid offending anyone. The final chapters are the most effective, for in them he movingly describes "a decade of panic," when broken capillaries in his vocal cords made each performance a nightmare of uncertainty and ended his career at the Met, which unceremoniously phased him out after 32 years as one of its leading lights. A chronology of key dates in Milnes's career, a summary of his performances at the Met, a discography and more than 50 b&w photos are included.
Copyright 1998 Reed Business Information, Inc.
See all Editorial Reviews
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