#houston grand opera

[infinitelytheheartexpands]

in which the kasper holten don giovanni continues to inspire the worst takes alive,

[princesssarisa]

Last night I rewatched the DVD of the 1995 Houston Grand Opera production of La Cenerentola for the first time in several years.

It was so much fun, and interesting too, because it's so different from the 1981 Ponnelle film that tends to be my "go-to" Cenerentola.

Cecilia Bartoli's Angelina/Cenerentola shows how much power a performer has to reinterpret a role. Remember my post about the different types of Cinderella in adaptations? In that post, I wrote that Rossini's opera portrays her as "the Waif." I do think that's how she's written in the libretto, and Frederica von Stade and other mezzos play it straight. But Cecilia Bartoli probably couldn't play a delicate waif even if you tripled her salary for it! Her spunky, down-to-earth, playful characterization is much more of a cross between "the Girl Next Door" and "the Tomboy." The non-operatic Cinderella who probably matches her most closely is Aylin Tezel's Aschenputtel in Sechs auf einen Streich. And while I still think the opera's Cenerentola is written to be "the Waif," she makes it work.

[nonesuchrecords]

It was 35 years ago today: the first recording of John Adams’s groundbreaking opera Nixon in China, with a libretto by Alice Goodman, was released on Nonesuch. You can hear it again here.

The Grammy-winning recording of the piece—“a milestone in American operatic history” (Boston Globe)— performed by Orchestra of St. Luke’s led by Edo de Waart and starring James Maddalena as Richard Nixon, "has an eloquence not since matched," says Los Angeles Times’ Mark Swed. 

The premiere performances of Nixon in China, directed by Peter Sellars with choreography by Mark Morris, took place at Houston Grand Opera and Brooklyn Academy of Music in 1987, and the Kennedy Center and Netherlands Opera in 1988.

[vera-dauriac]

Look what dropped today!!!

[haute-lifestyle-com]

Houston Opera Announces its 2023-2024 Season; Includes Favorite's and New Work #janetwalker #hautelifestylecom #theentertainmentzonecom #Houstonopera #houstonfinearts #opera

https://www.haute-lifestyle.com/arts-culture/fine-arts-dance-symphony/6255-houston-grand-opera-announces-its-2023-24-season.html

[a-book-of-creatures]

Art by Maurice Sendak for the 1997 production of Engelbert Humperdinck’s Hansel and Gretel at the Houston Grand Opera. Sendak also did the set design for the production.

[post-hummus]

While I haven't posted much about it here, I'm part of a lil' theatre prop & puppetry studio in Houston🎭 and this is what we've been up to since the holidays:

12 rotating animal masks for “The Big Swim”, an upcoming Lunar New Year show in collaboration with Houston Grand Opera & Asia Society Texas Center! 🧧

Design by Afsaneh Aayani

Built by Corey Nance, Sasha Blaschka (that's me!), and Regine Gwyneth Templonuevo

It was really an honor to build such fun designs and I'm grateful to work alongside my amazing studio mates. We've invested many long, dedicated hours to this project, and I’m simply amazed at how much progress we’ve made working as a team.

It can be demanding work, but that deep-rooted sense of fulfillment & gratification always keeps us looking forward to the next project! 🙌

(I'll be posting behind-the-scenes photos over on my insta stories)

[three--rings]

One of the things I love about my husband is that he's really, really into music and mostly rock (and like these days doom metal) but he really really wanted to go to an opera because he'd never been.

So last fall I bought him tickets to Tosca which seemed like the best bet in the current season of Houston Grand Opera and we went tonight and he was SO EXCITED and had a total blast and is already talking about what we should get tickets to next season.

This was my third opera (in person) and I really enjoyed it, but maybe not quite as much. My first opera experience was also HGO doing Carmen and I was super bored (I was in high school). Then I went to see Don Giovanni at the Met in NYC when I was in college (with my french class) and that was great.

Tosca was pretty good and the two leads were excellent and the staging and costuming was good (two of the things I didn't like with Carmen, which was a modern staging).

Anyway, I may have been the only person in the building with purple hair which is also a weird/fun feeling.

Also apparently he likes opera MUCH more than musicals, and that may be entirely because of the subtitles. And yeah honestly musicals should have above the stage subtitles too cause auditory processing is difficult.

[lboogie1906]

Roberta Alexander (born March 3, 1949) is an operatic soprano. She began her career as a leading soprano in 1975 and spent the next three decades performing principal roles with opera houses internationally. She has performed secondary character roles on stage, including performances at the Grand Théâtre de Provence in 2013, La Scala in 2014, and La Monnaie in 2015. She performed the 5th maid in Strauss’s Elektra at the Metropolitan Opera in 2016 and Curra in Verdi’s La Forza del Destino at the Royal Opera House, Covent Garden, in 2019.

She studied music at Central State University, the University of Michigan at Ann Arbor, and the Royal Conservatory of The Hague.

She moved to the Netherlands at age 23. She made her debut at the Netherlands Opera in 1975 in La cambiale di matrimonio. She created the role of Bubikopf in the world premiere of Viktor Ullmann’s Der Kaiser von Atlantis.

In 1980 she made her American debut as Pamina in The Magic Flute with the Houston Grand Opera. She was an apprentice singer with Santa Fe Opera and made her feature role debut with Santa Fe Opera under conductor John Crosby in the title role of Strauss’ Daphne in 1981. Her Metropolitan Opera debut was in 1983 as Zerlina in Don Giovanni. In 1984 she made her debut at The Royal Opera, London, as Mimì in La bohème. In 1989 she gave a lauded portrayal of the title role in Jenůfa at the Glyndebourne Festival. She has recorded for the Dutch label Etcetera Records, in addition to selected recordings for such labels as Philips. #africanhistory365 #africanexcellence #womenhistorymonth

[starqueen87]

Contralto singer Carol Brice was born in Sedalia, North Carolina on April 16, 1918 into a musical family. Eventually she became one of the first African American classical singers with an extensive recording repertoire. Brice trained at Palmer Memorial Institute in Sedalia and then enrolled in Talladega College in Alabama, where she received her Bachelor of Music degree in 1939. She later attended Juilliard School of Music between 1939 and 1943 where she trained with Francis Rogers. In 1943 Brice became the first African American musician to win the prestigious Walter W. Naumburg Foundation Award.

Carol Brice first attracted public acclaim at the New York World’s Fair in 1939 when she performed in the opera, “The Hot Mikado.” Her next major public performance came in 1941, when she sang at a Washington concert honoring the third inauguration of President Franklin Delano Roosevelt. Her brother, the pianist Jonathan Brice, was frequently her accompanist at concerts and competitions.

Ms. Brice’s Broadway career accelerated after World War II when her talent for both opera and musical theatre became apparent. In 1946 she received her first recording contract from Columbia Records for Manuel de Falla’s El Amor Brujo, which was performed with the Pittsburgh Symphony Orchestra conducted by Fritz Reiner. She sang with the Pittsburgh Symphony for all of 1946 and later performed as Addie in the New York City Opera’s 1958 production of Marc Blitzstein’s Regina. Brice remained with the New York City Opera until 1963. She performed with Volksoper in Vienna, Austria from 1967 to 1971 and the Houston Grand Opera from 1976 to 1977. She played Maria in the Houston Grand Opera production of Porgy and Bess. The recording of that performance won a Grammy and the entire show moved to Broadway where it won a 1977 Tony Award for Most Innovative Production of a Musical Revival.

Brice also had a successful career on Broadway. She played Kakou in the original Broadway cast of Harold Arlen’s Saratoga (1958) and Maude in the 1960 revival of Finian’s Rainbow. During the 1960s her numerous roles included Catherine Creek in The Grass Harp, Harriett Tubman in Gentlemen, Be Seated, and Queenie in Showboat.

While performing in Vienna in 1968, she met her husband, the baritone Thomas Carey. The couple had two children. Mr. Carey returned to the U.S. in 1969 to teach at the University of Oklahoma in Norman, and Carol Brice joined him there after another stint on Broadway. Ms. Brice officially joined the University of Oklahoma faculty in 1974. One year later she and her husband founded the Church Circuit Opera Company in Norman, Oklahoma. The company was renamed the Cimarron Circuit Opera in 1981 and continued until Thomas Carey’s death in 2002.

Carol Brice died on February 14, 1985 in Norman, Oklahoma. She was 66.

Source: Black Wall Street, Facebook

[trashyinfernomusic]

The Big Texas Post

Y’know what’s funny? Explaining Texas culture to non-Texans.

People from Dallas: Dallasites. People from Houston: Houstonians. People from Austin: Weird.

Texas has two pro baseball teams, three pro basketball teams, two pro football teams, two pro soccer teams, and one pro hockey team (and tried to get a second in the Houston Aeros but that didn’t work out).

Most sports orgs are based in either Dallas or Houston, and the two cities have a rivalry that when left unchecked causes brawls in restaurants and bars (among other chaotic things). The general rule is that Houstonians hate Dallas, Dallasites hate Houston, everyone hates Austin, and San Antonio and El Paso are just the two kids in the corner trying to stay out of the fighting. However, if you’re from out-of-state and you hate on any of them, you’ll be the one on the receiving end of a beat-down because “no one messes with my little brother but me, damnit!”

Meanwhile, you have all the people who self-identify as being from one of the big cities even though they’re really from a suburb that’s about an hour away. Live in Spring, TX? “Oh, I’m from Houston.” Live in Arlington (which is where the Texas Rangers - largely considered a Dallas sports team - are located)? You’re considered from Dallas or the DFW area. We Texans don’t really care about the accuracy. We care more about whether or not you’re from the coast (Houston), the middle (Dallas/San Antonio), the weird (Keep Austin Weird was supposed to be a slogan that would promote mom-and-pop small businesses in the city. The rest of Texas leapt on the opportunity to make fun of it. Sorry, Austin), the border (El Paso, Texarkana), or somewhere out in the middle of nowhere. The state’s too big to get into the nitty gritty.

And don’t even get me started on college rivalries. You’ve got U of H, UT, A&M, SFA, and even more acronyms and mascots and history and - well, let’s just say it can all get out of hand. Actually, A&M and UT refuse to play each other anymore out of stubbornness - they hate each other that much. (Personally, I land on the Aggie side of things. Anyone who goes so far as to genetically engineer maroon bluebonnets to prank another school has earned my affection. Though UT can give as good as they get.)

Some other weird/fun things about Texas include: - Drive through margarita places - Kolaches (which are a Czech sweet pastry that we bastardized into a savory breakfast option) - The Battle for the Boot (I kid you not, two baseball teams compete against each other for a silver cowboy boot every once in a while. It’s the silliest and yet most Texan thing ever.) - Buck-ees - The second largest port in the US (the amount of people who don’t understand that yes, Houston is on the water, and yes, it has a booming transport industry is alarming) - Really good barbecue (ours is tomato based, which makes the sauce thick and sweet) - Strange laws including one where you’re not allowed to have pliers in the back pocket of your jeans (it’s a holdover from when cattle rustlers would use them to cut barbed-wire fences) - There’s a law where in the US, no state capital is allowed to be taller than the US capital. Texas built theirs on a hill - it’s not taller, it just happens to be... higher. - People argue over this one, but Texas DOES have the right to secede from the union. - Six Flags the theme park was named such because it stands for Six Flags Over Texas. Why? Texas has had six different flags flying over it: France, Spain, Republic of Texas, United States, Confederacy, and Mexico. Yes, you read that right: France. No, we were not acquired in the Louisiana Purchase. - Dry counties are a thing. No alcohol is allowed to be consumed or sold! That being said, a trailer park of 200 came together to create the town Mobile, TX so that they could sell and consume liquor in the 90s - In 1963, Janice Joplin was voted “Ugliest Man on Campus” at the University of Texas - The Houston Grand Opera is considered one of the best opera companies in the world!

[princesssarisa]

Opera on YouTube 5

Nabucco

Teatro alla Scala, 1987 (Renato Bruson, Ghena Dimitrova; conducted by Riccardo Muti; no subtitles)

Teatro di San Carlo, 1997 (Renato Bruson, Lauren Flanigan; conducted by Paolo Carognani; no subtitles)

Ankara State Opera, 2006 (Eralp Kıyıcı, Nilgün Akkerman; conducted by Sunay Muratov; no subtitles)

St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi; conducted by Ernst Märzendorfer; English subtitles)

Rome Opera, 2011 (Leo Nucci, Csilla Boross; conducted by Riccardo Muti; English and German subtitles)

Teatro Comunale di Bologna, 2013 (Vladimir Stoyanov, Anna Pirozzi; conducted by Michele Mariotti; Italian subtitles)

Rome Opera, 2013 (Luca Salsi, Tatiana Serjan; conducted by Riccardo Muti; no subtitles)

Gran Teatro Nacional, Perú, 2015 (Giuseppe Altomare, Rachele Stanisci; conducted by Fernando Valcárcel; Spanish subtitles)

Metropolitan Opera, 2017 (Plácido Domingo, Liudmyla Monastyrska; conducted by James Levine; Spanish subtitles)

Arena di Verona, 2017 (George Gagnidze, Susanna Branchini; conducted by Daniel Oren; English subtitles)

La Cenerentola (Cinderella)

Jean-Pierre Ponnelle studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo; conducted by Claudio Abbado; English subtitles)

Glyndebourne Festival Opera, 1983 (Kathleen Kuhlmann, Laurence Dale, Claudio Desderi; conducted by Donato Renzetti; no subtitles)

Salzburg Festival, 1988 (Ann Murray, Francisco Araiza, Walter Berry; conducted by Riccardo Chailly; English subtitles)

Tokyo Bunka Kaikan, 1991 (Lucia Valentini-Terrani, Toshiro Gorobe, Domenico Trimarchi; conducted by Antonello Allemandi; Japanese subtitles) – Act I, Act II

Houston Grand Opera, 1995 (Cecilia Bartoli, Raúl Giménez, Enzo Dara; conducted by Bruno Campanella; no subtitles)

Rossini Opera Festival, 2000 (Sonia Ganassi, Juan Diego Flórez, Bruno Praticó; conducted by Carlo Rizzi; Italian subtitles)

Gran Teatre del Liceu, 2008 (Joyce DiDonato, Juan Diego Flórez, Bruno de Simone; conducted by Patrick Summers; German subtitles)

Romeo Opera, 2015 (Serena Malfi, Juan Francisco Gatell, Alessandro Corbelli; conducted by Alejo Pérez; Italian and English subtitles)

Lille Opera, 2016 (Emily Fons, Taylor Stayton, Renato Girolami; conducted by Yves Parmentier; English subtitles)

Boboli Gardens, Florence, 2020 (Svetlina Stoyanova, Josh Lovell, Daniel Miroslaw; conducted by Sándor Károlyi; no subtitles)

Lucia di Lammermoor

Tokyo Bunka Kaikan, 1967 (Renata Scotto, Carlo Bergonzi; conducted by Bruno Bartoletti; English subtitles)

Mario Lanfranchi film, 1971 (Anna Moffo, Lajos Kosma; conducted by Carlo Felice Cillario; English subtitles)

Bregenz Festival, 1982 (Katia Ricciarelli, José Carreras; conducted by Lamberto Gardelli; no subtitles) – Part I, Part II

Opera Australia, 1986 (Joan Sutherland, Richard Greager; conducted by Richard Bonynge; English subtitles)

Teatro Carlo Felice, 2003 (Stefania Bonfadelli, Marcelo Álvarez; conducted by Patrick Fournillier; Japanese subtitles)

San Francisco Opera, 2009 (Natalie Dessay, Giuseppe Filianoti; conducted by Jean-Yves Ossonce; English subtitles)

Amarillo Opera, 2013 (Hanan Alattar, Eric Barry; conducted by Michael Ching; English subtitles)

Gran Teatre del Liceu, 2015 (Elena Mosuc, Juan Diego Flórez; conducted by Marco Armiliato; French subtitles)

Teatro Real de Madrid, 2018 (Lisette Oropesa, Javier Camerana; conducted by Daniel Oren; English subtitles)

Vienna State Opera, 2022 (Lisette Oropesa, Benjamin Bernheim; conducted by Evelino Pidó; English subtitles)

Il Trovatore

Claudio Fino studio film, 1957 (Mario del Monaco, Leyla Gencer, Fedora Barbieri, Ettore Bastianini; conducted by Fernando Previtali; English subtitles)

Wolfgang Nagel studio film, 1975 (Franco Bonisolli, Raina Kabaivanska, Viorica Cortez, Giorgio Zancanaro; conducted by Bruno Bartoletti; Japanese subtitles)

Vienna State Opera, 1978 (Plácido Domingo, Raina Kabaivanska, Fiorenza Cossotto, Piero Cappuccilli; conducted by Herbert von Karajan; no subtitles)

Opera Australia, 1983 (Kenneth Collins, Joan Sutherland, Lauris Elms, Jonathan Summers; conducted by Richard Bonynge, English subtitles)

Metropolitan Opera, 1988 (Luciano Pavarotti, Eva Marton, Dolora Zajick, Sherrill Milnes; conducted by James Levine; no subtitles)

Bavarian State Opera, 2013 (Jonas Kaufmann, Anja Harteros, Elena Manistinta, Alexey Markov; conducted by Paolo Carignani; English subtitles)

Temporada Lirica a Coruña, 2015 (Gregory Kunde, Angela Meade, Marianne Cornetti, Juan Jesús Rodriguez; conducted by Keri-Lynn Wilson; no subtitles)

Opéra Royal de Wallonie-Liége, 2018 (Fabio Sartori, Yolanda Auyanet, Violeta Urmana, Mario Cassi; conducted by Daniel Oren; French subtitles)

Arena di Verona, 2019 (Yusif Eyvazov, Anna Netrebko, Dolora Zajick, Luca Salsi; conducted by Pier Giorgio Morandi; German subtitles)

Teatro Verdi di Pisa, 2021 (Murat Karahan, Carolina López Moreno, Victória Pitts, Cesar Méndez; conducted by Marco Guidarini; no subtitles)

[vera-dauriac]

Yes, please and thank you.

[pianistterenceyung]

Pianist Terence Yung has been hailed as "a brilliant young artist" with "powerhouse virtuosity," "felt musicianship" and "a real gift for communication in performance." Mr. Yung has appeared throughout the United States as a recitalist, in chamber music concerts, as soloist with orchestras, including performances in New York City, Philadelphia, Seattle and Houston, as well as abroad in Spain and France. His international honors include top prizes at the Puigcerdà International Music Competition in Spain and the Bradshaw and Buono International Piano Competition in New York City.

Notable venues include Verizon Hall at the Kimmel Center of Performing Arts (Philadelphia), Benaroya Hall (Seattle), the Teatro d Puigcerdá, the Grand Opera House (Delaware), the Juilliard School (New York City), Steinway Hall, Yamaha Salon, the Kosciuszko Foundation, the Mount Sinai Hospital in New York, and the Museum of Fine Arts in Houston. In the United States and abroad, Mr. Yung has performed at music festivals including the International Keyboard Institute and Festival (New York City), the Puigcerdà International Music Festival (Spain), the International Piano Festival (Houston), and the Adirondack International Music Festival in upstate New York.

Terence, who grew up in the United States, studied privately with Eleanor Sokoloff of the Curtis Institute of Music before entering the Juilliard School's pre-college program in New York City at the age of thirteen, where he was a pupil of Frank Lévy and Martin Canin (the teaching assistant of Rosina Lhévinne).He continued his studies with Abbey Simon at the Moores School of Music in Houston, where he holds a Bachelor of Music and Bachelor of Arts in English Literature. He also holds a prestigious Diplôme from the Académie Internationale d'Eté de Nice, where he studied with Michel Béroff and Philippe Entremont, and he took lessons informally with Susan Starr, Lang Lang, Garrick Ohlsson, and Horacio Gutierrez.

Mr. Yung has been highly committed to the education and outreach of classical music. His work with outreach organizations has made a difference for the underprivileged children of inner-city Houston through the gift of music. He has served on the piano faculties of the Yellowstone Academy and the University of Houston Moores School of Music Preparatory and Continuing Studies. His involvements with community organizations include frequent collaborations with the Orchestra Society of Philadelphia. Terence Yung has been a subject of interviews by Ming Pao Daily News, the Global Chinese Times, and French public news as an outstanding young pianist from Hong Kong.

[factinhistory]

What Happened on October 22 in American History?

October 22 stands out in American history as a date marked by significant political events, cultural milestones, and moments that have shaped the nation. From the inauguration of Texas’s first president to pivotal moments during the Cuban Missile Crisis, this day has witnessed a variety of important occurrences. In this article, we will explore notable events that happened on October 22, emphasizing their historical significance and lasting impact on the United States.

What Happened on October 22 in American History?

Sam Houston Inaugurated as 1st Elected President of the Republic of Texas (1836)

On October 22, 1836, Sam Houston was inaugurated as the first elected president of the Republic of Texas. This event marked a critical moment in the history of Texas, which had recently declared independence from Mexico. The inauguration symbolized the establishment of a new government and the beginning of an era characterized by challenges and opportunities for the young republic.

Houston’s presidency came at a time when Texas was in a precarious position. The newly independent nation faced economic difficulties, security threats from Mexico, and the need for recognition from foreign powers. Houston, a key figure in the Texas Revolution, took immediate steps to stabilize the government, seek diplomatic relations, and address the military needs of the republic. His leadership during this formative period laid the groundwork for Texas’s eventual annexation into the United States and its ongoing significance in American history.

Thomas Edison Perfects the Carbonized Cotton Filament Light Bulb (1879)

On October 22, 1879, Thomas Edison achieved a major milestone by perfecting the carbonized cotton filament light bulb. This invention represented a breakthrough in electric lighting, significantly improving the functionality and lifespan of light bulbs compared to previous designs. Edison’s work in this area laid the foundation for the widespread use of electric lighting, transforming everyday life in America and beyond.

Edison’s carbon filament bulb was a pivotal advancement in the broader context of industrial innovation during the late 19th century. His relentless experimentation and dedication to improving electrical technologies not only revolutionized lighting but also influenced various industries and everyday activities. The success of the light bulb on October 22 highlighted Edison’s role as a key innovator of the era, ultimately contributing to the development of modern electrical systems and urban infrastructure.

New York’s Original Metropolitan Opera House Has Its Grand Opening (1883)

On October 22, 1883, New York’s original Metropolitan Opera House opened its doors for the first time with a performance of Charles Gounod’s opera “Faust.” This event marked a significant milestone in American cultural history, establishing the Met as a premier venue for opera and classical music. The grand opening showcased the artistic aspirations of New York City during a time of growth and cultural sophistication.

The Metropolitan Opera House quickly became a cultural icon, attracting renowned artists and operatic productions from around the world. Its establishment on October 22 represented a commitment to the arts and the emergence of opera as a popular form of entertainment in America. Over the years, the Met has continued to evolve, becoming synonymous with excellence in the performing arts and influencing generations of artists and audiences.

Herbert Hoover Speaks of “American System of Rugged Individualism” (1928)

On October 22, 1928, Herbert Hoover, then a presidential candidate, delivered a speech in which he articulated his vision of the “American system of rugged individualism.” In his address, Hoover emphasized the importance of self-reliance and individual initiative as fundamental principles of American life. This philosophy resonated with many Americans during a period of economic prosperity and reflected the values of the time.

Hoover’s speech on October 22 laid the groundwork for his presidency, which began in March 1929. However, his beliefs about rugged individualism would be tested shortly thereafter with the onset of the Great Depression. As the economic crisis unfolded, the limitations of relying solely on individual initiative became apparent, forcing Hoover to confront the realities of widespread unemployment and economic hardship. The speech remains a significant part of Hoover’s legacy, illustrating the complexities of American ideals and the challenges of governance during turbulent times.

Notorious Bank Robber Charles “Pretty Boy” Floyd Shot and Killed by FBI Agents (1934)

On October 22, 1934, notorious bank robber Charles “Pretty Boy” Floyd was shot and killed by FBI agents in East Liverpool, Ohio. Floyd had become a prominent figure during the Great Depression, known for his flashy lifestyle and criminal exploits. His death marked a significant moment in the FBI’s efforts to combat organized crime and bank robbery, which had surged during this period.

Floyd’s violent end on October 22 symbolized the federal government’s increasing resolve to tackle crime and restore law and order amid the economic turmoil of the 1930s. His life and death became emblematic of the era, capturing the public’s fascination with gangsters and outlaws. The FBI’s involvement in his case reflected the agency’s evolving role in American law enforcement and its commitment to addressing organized crime, paving the way for future efforts in criminal investigation and enforcement.

President John F. Kennedy Addresses the Nation About the Cuban Missile Crisis (1962)

On October 22, 1962, President John F. Kennedy delivered a live television address to the American public regarding the Cuban Missile Crisis, a pivotal moment in Cold War history. In his speech, Kennedy outlined the discovery of Soviet missile installations in Cuba and the immediate threat they posed to U.S. national security. He announced a naval blockade of Cuba to prevent further shipments of military equipment, effectively escalating the crisis.

Kennedy’s address on October 22 was a critical moment in U.S. history, as it not only informed the American people about the gravity of the situation but also called for national unity and vigilance. His calm yet firm tone aimed to reassure the public while underscoring the seriousness of the conflict. The Cuban Missile Crisis would remain one of the most dangerous confrontations of the Cold War, and Kennedy’s leadership during this period is often credited with preventing a potential nuclear war.

Joe DiMaggio Hired as Executive VP of A’s by Charlie Finley (1967)

On October 22, 1967, baseball legend Joe DiMaggio was hired as the executive vice president of the Oakland Athletics by team owner Charlie Finley. DiMaggio, known for his stellar career with the New York Yankees, brought his experience and star power to the Athletics, an organization seeking to establish itself in Major League Baseball. His hiring marked a significant moment in the franchise’s history and the sport itself.

DiMaggio’s role on October 22 was not just symbolic; it reflected the growing trend of former players taking on leadership positions in baseball organizations. While DiMaggio’s tenure with the A’s would ultimately be short-lived, his involvement with the team highlighted the evolving landscape of professional baseball and the importance of player legacy in shaping team identities. His contributions to the sport, both on and off the field, continue to be remembered and celebrated.

Bill Taylor Testifies in Ukraine Scandal (2019)

On October 22, 2019, Bill Taylor, the top U.S. diplomat in Ukraine, testified before Congress regarding President Donald Trump’s dealings with Ukraine. Taylor’s testimony was part of the impeachment inquiry surrounding allegations that Trump had tied military aid to Ukraine with demands for investigations into political rival Joe Biden and his family. His statements were critical in understanding the events leading up to the impeachment proceedings.

Taylor’s testimony on October 22 brought significant attention to the complexities of U.S. foreign policy and the implications of personal interests in diplomatic relations. His insights added to the mounting evidence of potential misconduct and raised questions about the integrity of the administration’s actions. The inquiry sparked nationwide discussions about accountability in government, the role of diplomacy, and the protection of democratic institutions.

Conclusion

October 22 is a date marked by significant events that have shaped American history in various ways. From political milestones like Sam Houston’s inauguration to pivotal moments during the Cuban Missile Crisis, and from groundbreaking inventions to cultural achievements, each event has left a lasting legacy. These occurrences illustrate the complexities of American history and the enduring impact of decisions made on October 22. As we reflect on these moments, we gain a deeper understanding of the forces that have shaped the nation and continue to influence its trajectory.

[sondheims-hat]

February 14, 1999: A Little Night Music ends at Houston Grand Opera.