Diversions 6.26.14

Diversions YourObserver.com

A&E

Former GM of The Met retires to Longboat Key. PAGE 2

THURSDAY, JUNE 26, 2014

A&E

James Tapley is bound to the Ringlings’ books.

PAGE 4

HOME&GARDEN | HOME OF THE MONTH

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by Robert Plunket | Contributing Writer

AND THE

WINNER IS ...

A stylish renovation transforms a Lido Shores home.

HOME&GARDEN COVER STORY CONTINUED ON PAGE 6

Greg Wilson Photography

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// ARTS&ENTERTAINMENT: COMPOSED CAREER

ARIA

by Mallory Gnaegy | A&E Editor

OF THE AMERICAN DREAM Part-time Sarasotan and former general manager of The Met Joseph Volpe no longer negotiates labor union contracts.

With budget cuts looming for the first time in two decades, Volpe looks back at a peaceful time.

A

Mallory Gnaegy

“There’s a lot of arts going on in Sarasota,” Joseph Volpe says. “Working in the arts all my life, I was attracted to this area.”

t the end of July, contracts between The Metropolitan Opera and The American Guild of Musical Artists (representing singers, stage managers, dancers and chorus members) and The Met’s 15 other unions expire. For the first time in decades, The Met is seeking to cut pay by 16% and cut benefits of its workers. The orchestra has threatened strike.

It’s the first time General Manager Peter Gelb is leading negotiations. In the last round of labor negotiations in 2011, former General Manager Joseph Volpe negotiated contracts. Volpe, a part-time resident of Longboat Key, started work as The Met’s apprentice carpenter in 1964 and rose to general manager by 1990; he retired in 2006.

In fact, in a Jan. 17 article of The New York Times, Alan S. Gor-

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// ARTS&ENTERTAINMENT don, executive director of The Guild, directly correlated the loss of Volpe from the bargaining table to “exponentially increasing the likelihood of a strike.” Volpe’s tenure in management provided more than two decades of labor peace — unprecedented in The Met’s history.

But, instead of negotiating contracts this summer, Volpe is busy getting his furniture transported from New York, figuring out where to store 45 boxes worth of opera and ballet books and getting his new boat from the East Coast to his slip at Sarasota Yacht Club.

“So,” he says in a less pugnacious demeanor than newspapers have labeled him with in the past, “if you read any bad press about it, it’s not me.”

A mechanic’s overture

Before he landed his whitecollar job at The Met, Volpe was a blue-collar man living on Long Island, N.Y. “When I was 17, I was brilliant and I knew everything,” he says and then pauses dramatically and grins widely. “You go through that stage (when you’re a teenager), but that’s when I decided to open an automobile-repair shop.”

When a gas-leak-turned-fire burned the shop and forced it to close, he began working as a stagehand on Broadway in 1961. Volpe dreamed of eventually owning his own scenic shop; then someone told him the best scenery in the world is built at The Met. Fortunately, the stagehand

Courtesy photos

The first (and pretty much only) operatic experience Joe Volpe had prior to The Met was when his Sicilian grandmother would babysit.

She played a certain 78 every time — Mascagni’s “Cavallerina Rusticana.” He didn’t know it as opera. union was giving an apprentice test. Out of 1,000 applicants, Volpe tested the highest. Because of this, he could select his placement. He became The Met’s apprentice carpenter in 1964. In two years, Volpe was promoted to master carpenter.

Rising to principal role

In 1975, Executive Director Tony Bliss announced a 10% salary cut to help The Met out of bad financial times.

Volpe bluntly told then General Manager Bruce Crawford he wouldn’t take a pay cut. He, instead, explained other ways The Met could save money other than trimming his paycheck. Bliss heeded some of his advice. In

three years, Volpe was promoted to technical director.

The Met rose out of its deficit by 1979, but with the prior unstable finances, Bliss opted to change a few things in the contracts. This agitated labor unions. The pinnacle of struggle was the closing of the 1980 fall season. Volpe, as Bliss’ trusted adviser, worked as his negotiator to reopen The Met 11 weeks later.

During those years of struggle, Volpe was responsible for his own budgets and labor relations and was developing the proficiency it would take to one day work at the helm of opera in the U.S. And in another three years, he became assistant manager.

Each time Volpe was promoted, his degree-wielding colleagues had objections, but his opinionated, gruff and aggressive demeanor won him the titles. Plus, his know-how of the inner operations helped secure his success.

He didn’t need a degree — he learned on the job.

“I had been at the center of everything — watching, learning and not keeping my mouth shut,” says Volpe in his autobiography, “The Toughest Show on Earth.”

years, Volpe also fired famous singer Kathleen Battle, redeveloped the Lincoln Center, instituted a children’s education program, developed subtitle screens for each seat, brought new software to the box office and more.

“The most important highlight was the friendships and relationships I had with everyone,” he says. “That’s where I get the most satisfaction. That bond, to me, is the most important.”

The most memorable night he had was his closing-night gala in 2006 when all 700 of his friends and employees from four decades celebrated Volpe’s tenure. Famed opera singers Anna Netrebko and Mariusz Kwiecien even sang to him (his friend Luciano Pavarotti would have, but he was ill that night).

After 42 years, it was time for his curtain call. And he went out in style — he turned it into a fundraiser to raise $10 million in contributions.

Volpe’s final cadenza

BY THE NUMBERS 16 — years Joe Volpe served as general manager of The Met 26 — number of Met premieres Volpe oversaw 4 — world premieres (John

Corigliano’s “The Ghosts of Versailles,” Philip Glass’ “The Voyage,” John Harbison’s “The Great Gatsby,” and Picker’s “An American Tragedy”) under Volpe

2,500 plus — nights

Volpe spent at the opera

 Volpe waves goodbye at his closing-night gala in 2006.

When Pavarotti made his debut in 1968, Volpe was the master carpenter. And, as Volpe tells the story, in 1990 (when Volpe was promoted to general manager), Volpe walked up to Pavarotti on stage and said, “What are you doing next year?” To this, Pavarotti said, “What do you care?” and Volpe said, “Oh, because I’m your new boss.”

Pavarotti told Volpe that only in America could someone hammer his way up from the carpen-

try shop to the general manager’s office. In Italy, it’s a political appointment.

But Volpe doesn’t see himself as an enigma.

“I think it’s doable today,” he says. “It’s really a question of commitment and belief in if you want to run an opera company, and if you’re aggressive and have a lot of initiative, sure, I think it’s possible.”

1990 — general director (he wasn’t given the general manager title right away)

2006 – retired; “The Toughest Show on Earth” was published

Crescendo to curtain call

If you ask Volpe to summarize his management in three highlights — he’ll tell you a lot happened in 16 years. It’s true: During that time, The Met had 26 premieres (including four world premieres) and expanded international touring. In those 16

TIMELINE 1964 — apprentice carpenter

1966 — master carpenter

1978 — technical director

1981 — assistant manager

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“(John) Ringling and his wife built a library to actually use,” James Tapley says. “Every book gives you an insight into their minds: what they were thinking, looking at, what interested them, and, in that sense, every book in the collection is of equal value and equal interest.”

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A 12-year-old James Tapley browses the stacks of the public library in Lakeland — his refuge from a poor family life. It’s the place where he finds solace feeding his rapacious reading appetite.

A book catches his eye. He pulls it down.

It’s a book about French decorative arts between the first and second World Wars, and it falls open to a double-page spread on book binding — the most beautiful thing he had ever seen.

“That’s when I decided I wanted to become a bookbinder,” he says.

Tapley, The Ringling Museum’s 63-yearold contracted bookbinder, operates from an old 1950s tire store beginning at 4 a.m.

Not-so-white noise of foreign films drones in the background as he repairs and restores old books.

The Ringling’s rare-book collection dates back to 1475 (books that were printed on the first generation of printing presses). Aside from that collection, he’s repaired everything from a collection of Egyptian papyrus to old family prayer books. Sometimes, he creates bindings for publishers’ limited-edition prints — collectors’ items bound by hand.

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// ARTS&ENTERTAINMENT

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James Tapley’s binding opinion on:

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Dog-eared pages: “Don’t do it! But, it’s not the worst fate. The worst fate a book suffers is to never be opened, never be used or never be loved.”

Cracked spines: “Don’t do it! But, again, it’s not the worst fate.”

Electronic readers: “I have a collection of digital books because there are a lot of books I want to have that I can’t afford or copies aren’t for sale.

For example, bookbinding literature, of which only a handful of copies exist in European libraries. And thank goodness Google digitized them for me.”

Paperbound books: “On one hand, you get what you pay for. On the other, not everything needs to be built to last forever. Do you really want 500,000 copies of ‘Love Story’ to survive into the next century? We don’t really need that. Paper books are great. Plus, you can take them into the bathtub.”

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Many of the rare books Tapley restores for The Ringling once sat on the shelves at John and Mable Ringling’s home. These art and architectural books the couple collected informed their art purchases.

“You don’t get the idea he bought things just to impress someone else,” Tapley says.

“You get the idea the only person he was interested in impressing was himself.”

Tapley knows because he reads everything he restores. He’s the kind of guy you’d hate to oppose in Trivial Pursuit. He can tell many things about baroque master Peter Paul Rubens or many of the other artists who make up the permanent collection.

When he works on rare books, he might strip the book down to individual sheets of paper and rebuild it to a condition that will preserve it into the future — what he calls “minimally undoing all previous damage.”

If he’s lucky, the book he’s working on hasn’t been repaired before. Advances in materials and science make books that were repaired decades ago nightmarish.

“We look back at horror on what we actually did in those days,” he says.

He also hates library tape stuck down broken splits — tape produces degradation and byproducts that further deteriorate.

“Tape is a four-letter word,” he says.

He’d never use tape on his own collection vastly devoted to books about bookbinding.

He could tell you the whole history of bookbinders: how books have become increasingly shoddy compared with their 15th-century counterparts, when 250 books were printed per press run on fine Italian paper with high-quality ink, press work and book bindings. As more people became educated, there were higher demands for more copies, and printers had to cut corners.

Tapley thinks books as an object are not going to disappear.

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// HOME&GARDEN : HOME OF THE MONTH

THURSDAY, JUNE 26, 2014

by Robert Plunket | Contributing Writer (continued from page 1)

Photos by Greg Wilson Photography and Gene Pollux

AND THE WINNER IS …

A stylish renovation transforms a Lido Shores home.

Above: A shallow pool complete with a shady pergola greets visitors. At right, the combination lawn and motor court.

Right: The home’s original incarnation barely hints at its glamorous transformation.

BEFORE Courtesy photo

Under New Ownership

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ido Shores can be an intimidating place to build a home. As the birthplace of the Sarasota School of Architecture, it has some of the great icons of modern design lining its streets — groundbreaking homes by Paul Rudolph, Tim Siebert and Carl Abbott, just to name a few. It takes a confident architect to add to this heady mix.

And that’s just one of the reasons Jerry Sparkman’s Strandhus on Westway Drive is making such an impact. Although hardly the biggest or grandest house on that fabled sandbar, it distills the Lido Shores lifestyle down to its essence. It’s an elegant house in which life is meant to be

lived, simply but with all the comforts and pleasures of a beach house in Florida.

Already the recipient of several local awards, this spring Strandhus has garnered several more. The Florida Gulf Coast chapter of the American Institute of Architects honored it with an Award of Merit, and the Florida Association of the AIA is chiming in with the Merit Award for Excellence in Renovations, to be presented July 19. *** Strandhus had the unlikeliest of beginnings for a major award winner. It started life as a non-descript 1960s ranch house — not necessarily beachy and somewhat

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Grant’s Gardens

// HOME&GARDEN of an eyesore. But owners Scott and Christine Key saw possibilities in what anyone else would consider a teardown. Scott, who does business all over the world, specializes in, as he puts it, “turning companies from what they are into what they can be.” And he and Christine saw some definite possibilities for the shabby little suburban residence on Westway.

First of all, there was the location.

“There aren’t a lot of places left in Florida without high-rises and with a nature preserve,” Scott says of Lido Shores.

And the home’s living room had a nice feeling, with a lofty vaulted ceiling and access to outdoor areas, both front and back. From the second-floor bedrooms above the garage there were views of New Pass and the Gulf of Mexico.

It was the potential of the outdoor areas that intrigued the Keys. Their Realtor put them in touch with landscape de- The informal kitchen reinforces the home’s signer John Wheeler, who, in turn, called vacation feeling. There’s another kitchen in in architect Jerry Sparkman, and soon the guest apartment. the ideas were flowing. Sparkman is one of the current crop of young architects in Sarasota who is responsible for the town’s second wave of modernism, and, for all of the original home’s many shortcomings, he was able to come with clever solutions.

The so-called “50%” rule, a complicated state regulation limiting what can be done during a renovation as far as size and expenditure is concerned, required some thinking outside the box — literally. Sparkman designed a second skin for the house, a “turtle shell” of concrete and stucco, which stands close to but As seen from the street, a concrete and not actually connected to the original stucco “shell” adds strength and style to structure. It’s this new façade, with its the original exterior. carefully thought out planes and openings, that gives the home a modern veneer and pays homage to its illustrious neighbors. The original walls, set back from the new façade, are clad in wood; the cypress is arranged in strong horizontal lines.

The home’s original footprint remains pretty much the same. The garage has been converted into two additional bedrooms, each with a bath, and over it is a guest Travertine floors allow the breezy living room to flow apartment with its own kitch- organically out to the rear terrace and swimming pool. en and living room. Parking is in the motor court, but the surface of grass and pavers creates a lawn-like effect.

But what gives the home its special flavor are the outdoor areas. Many homes in Sarasota claim to “bring the outdoors in,” but few are as successful as Strandhus.

The tiny kidney-shaped pool in the rear garden has been replaced with a 40-footlong lap pool, surrounded by palms and complemented by several slab-like waterfalls. A large covered terrace has been added, which acts as an open extension of the living room.

Most intriguing, though, is the outdoor area at the front of the house. The Keys installed a large pool, not a swimming pool because it is shallow, but rather a sort of indoor/outdoor wading pool. Rectangular platforms, covered in marble, have been set in a grid pattern. Some are used as steps to cross the pool, and some are set just under the water level; the largest The front terrace and shallow pool epitomize platform is a seating area in the middle of the indoor/outdoor lifestyle of Lido Shores. the pool. A slatted pergola-like roof provides just the right amount of shade. The Colorado, but they get to Sarasota every effect is that of an outdoor tropical play- chance they get. room, just as attractive to adults sipping “The first thing we do when we get late-afternoon cocktails as it is to visiting here,” Scott says, “is throw open all the children inventing games in the shallow doors and turn off the air conditioning. water.

We’ve never had a problem with insects.

The home’s master bedroom is tucked There always seems to be a breeze from away on the ground floor and opens out the Gulf.” onto the swimming pool. The kitchen is Now, about that name. Strandhus is bright and modern but not overwhelm- Norweigan for “beach house.” The Keys ing. There isn’t even a full-size refrigera- used to live in Norway, and the country tor — just a series of refrigerated draw- holds many fond memories. It’s where ers, placed here and there. This is, first their two children — now 18 and 20 — and foremost, a vacation house, and the were born. It’s also a subtle reminder of world-class restaurants of St. Armands the home’s Scandinavian influences — are just a short stroll away. clean, simple, modern design, warmed by The Keys — yes, Scott is a descendent a generous use of wood. That these eleand namesake of Francis Scott Key, au- ments are also part of the Sarasota School thor of “The Star-Spangled Banner” of Architecture only adds another layer of — have homes in Massachusetts and distinction to this jewel of a house.

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