Tuesday, August 02, 2016

And Flo, She Don't Know (Part II): Special Meryl Streep is God Edition

[I originally posted this back in early 2014; I'm re-posting it now for reasons that will be obvious downstairs when you watch the trailer for the forthcoming movie with Meryl Streep and Hugh Grant. -- S.S.]

From a privately issued recording from 1938, please enjoy amusingly bonkers NYC socialite Florence Foster Jenkins and her inimitable version of the "Queen of the Night" aria from Mozart's The Magic Flute.




Florence Foster Jenkins was a novelty in the history of music, an operatic coloratura who had all of the requisite charms and trappings worthy of a diva, minus the voice. Married to a wealthy industrialist and well entrenched in upper-crust New York society by 1912, "Madame" Jenkins obtained a divorce that year. The resulting settlement was handsome enough to set Jenkins up in style and to pursue her extensive charitable interests. She had already been studying voice for some time, and her charity fundraisers included such gala events as "The Ball of the Silver Skylarks," involving special costumes made at her request, and usually culminating in a sample of her singing. Jenkins' voice was high, scrawny, and seemed to have a mind of its own, warbling its way through difficult coloratura arias with the grace and control of an upright piano pushed down a spiral staircase. Well-heeled society types would attend Jenkins' recitals and patiently endure her auditory assault, along with enjoying a well-concealed chuckle or two at her expense. Jenkins' annual gala would remain a popular fixture in New York society for decades.

In 1938, Jenkins made her only recordings at the Melotone studio in New York, which were pressed up and sold privately. On this occasion, and most others by this time, Jenkins employed the services of accompanist Cosme McMoon, a flamboyant and eccentric character well known in New York's underground gay community. McMoon proved an excellent foil for Jenkins, waiting for her entrances at key points in arias and writing special material to best show off her vocal "assets." At age 76, Jenkins finally achieved her lifelong dream of performing at Carnegie Hall's Recital Hall on October 25, 1944, but this may have backfired, as rumor has it that afterward she discovered what her audiences really thought about her music making. Jenkins collapsed and died a month later in Schirmer's Music Store, her last words allegedly being "It must've been the creamed chicken."

I should add that RCA Victor actually issued this stuff on a couple of LPs in the late 60s, apparently on the theory that Florence could become a sort of cult hepster camp figure like Mrs. Miller.

I also love the fact that her accompanist/Svengali was named Cosme McMoon. I'll betcha he was a lot of fun at parties, if you know what I mean.

Oh -- and here's that trailer I mentioned up top.



The movie premieres August 12. I'll be there for opening day, I'll tell you that for free.

12 comments:

buzzbabyjesus said...
This comment has been removed by the author.
buzzbabyjesus said...

I'm guessing Susan Alexander, Charles Foster Kane's second wife, and her opera performance, were somewhat inspired by Florence Foster Jenkins.

Gummo said...

Never thought of that, buzzbabyjesus (why would I, I never heard of Jenkins until the movie ads started), but it makes sense.

But pinning all that on Marion Davies was a shitty thing to do, even for Welles. Doesn't stop me from loving Kaine, though.

steve simels said...

It was really mean of Welles -- Marion Davies was extremely talented and by all accounts a very cool gal.

buzzbabyjesus said...

I'm not sure Susan was in fact based on Marion Davies at all. Kane is fiction loosely based.

steve simels said...

If Kane was Hearst, Susan had to be Marion Davies.

Mark said...

Marguerite, a French comedy that was … ahem … based on the life of Jenkins, and was directed by Xavier Giannoli, made a brief appearance in NYC earlier this year. My wife and I saw the Marguerite trailer (see https://www.youtube.com/watch?v=8V2OPBvfosM) at the lovely and talented Kew Gardens Cinemas in Queens. It looked GREAT. But Marguerite departed in two weeks, and we missed seeing the film, though it is already available on Netflix. This Hugh Grant and Meryl Streep version looks a bit broader, but who doesn't like Hugh Grant, and Meryl Streep is good in every film she's in.

Anonymous said...

I'm with BBJ on the Susan/Marion Davies question. I believe Welles said so himself.

VR

Anonymous said...

BTW, you think the film will top Ricki and the Flash?

VR

BG in Q said...

lovely and talented Kew Gardens Cinemas in Queens

Our very favorite!

pete said...

We had that FFJ record when I was a child, although we didn't listen to it much. Dad said it would ruin our voices.

buzzbabyjesus said...

Kane was a composite. I believe there is a fair amount of Howard Hughes in him as well.