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Marilyn Horne: The Song Continues by Marilyn Horne with Jane Scovell Baskerville Publishers, Great Voices, Vol. 8, 280 pp. $39.95
"I cannot sing this shit!" the diva yelled, throwing her score across the room. But of course she could and did. The date was 1963, the singer Marilyn Home, and the material in question was Bellini's Beatrice di Tenda, which launched her overnight as a major bel canto star.
The irreverence is typical, as is the self-deprecation, but the prevailing theme of this bio, even in her signature repertoire, is hard work. In church and school productions, as a "doo-wah" chorister in Hollywood studios, or mastering Wozzeck and La Fanciulla del West in a German provincial theater, Horne was busy and determined, practically from the age of four. Then came the wily intendants at La Scala, and those closer to home as well. The mature Home contended with colds, throat ailments, bad knees and weight, and--whether as Orfeo or Eboli or Fides (Le Prophete)--she could land in hot water whenever she left the bel canto comfort zone.
The material is familiar to her fans by now, especially if they read this book in its first edition (1983). This self-styled "complete revision" does contain a few new sentences (she is harsher with Herbert von Karajan in 2004 than she was during his lifetime); but for the most part, the coauthors have done a copy-and-paste job, even repeating the earlier Italian errors verbatim (mistaken verb forms, akin to writing ...