No more Marullos, last night had been the final Rigoletto. We were finishing off the season with Turandot, and I'd be singing a nameless character that the libretto just calls "a mandarin." I did a lot of roles that didn't have names, mainly because they weren't important enough: "a messenger," "a soldier," "a doctor," like that. Even Marullo would have been just "a courtier" except the lead needs a name to call him in the second and third acts. It was the curse of the comprimario. The ones who had names were the leads, but the only time I sang those was in the deepest boonies where I was the best the cash-strapped folks could afford, and they paid so poorly I was better off financially sticking to Marullos.Actually, in Turandot my role wasn't a character at all, just a plot convenience. He comes out at the beginning of Act I to lay out what film director Alfred Hitchcock used to call the "MacGuffin," the contrivance that underlies the whole opera. In this case it's that Princess. He was spending the summer inter-railing and had been visiting me in Hamburg where I was working at a research lab. Hannah, I had known only a few weeks. A summer student from Israel, she was juggling studying for her master’s degree with her national service. An army captain, she insisted on being treated as one of the lads and was one of the few women students who had joined us on one of our drinking trips into town after the local bars had closed. The trip had been Hannah’s idea. She was only in Germany for eight weeks and wanted to see more of it before going home. When I mentioned Tim’s visit, she suggested we hire a car and drive down the Rhine to look at castles and history and in particular Mainz, where the Guttenberg bible was printed. Tim would be taking the train from Mainz leaving Hannah and I to travel back alone. A look in her eye when she explained her plan had suggested that this part of the trip might well be more interesting and eventful than the first. Hannah.
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