"We need reliable intelligence," Young Johnny McCranky said today on the Senate floor. And, he insisted, "Torture produces more misleading information than actionable intelligence."
Earlier this evening Howie wrote about the will-they-or-won't-they-release-it situation of the "executive summary" of what I'm just going to call the Senate Torture Report. And he already had me thinking about it yesterday when he passed along the above clip of Young Johnny McCranky on the Senate floor.
As it happened, I took a half sick day this morning, and listened on the radio on to ongoing yammering about the Torture Report release issue, and while most of the commenters -- including local callers-in to WNYC -- were lining up in the expectable ranks for or against, I was made aware that Young Johnny has broken ranks loudly with his normal compadres, the national-security nutjobs for whom any matter slapped with a "national security" label becomes a hot-button issue, whether real national security is really involved or not. I don't have to name names, right? You know the mentality: To invoke "national security" is to end all discussion.
But, as we've known, Young Johnny doesn't toe the "national-security nutjob" line when it comes to torture. And we know that his thinking about the subject comes from a different source than does the "thinking" of, say, "Big Dick" Cheney, who has no reality outside his diseased imagination. Maybe I shouldn't have been surprised, but, having mostly written Young Johnny off as a person of any intellectual or principled responsibility, I'm refreshed to hear him standing by his principles.
And it matters. Because normally when it comes to matters slapped with that "national security" label, it's hard to find turf to his right. Not so here.
In the clip, after acknowledging that, yes, release of the Torture Report summary might lead to violence in some places, but noting that "sadly, violence needs little incentive in some quarters of the world today," and after pointing out that for the world there aren't going to be a lot of surprises in the account of the "degrading treatment" inflicted by American interrogators on terror suspects (black sites, secret prisons, waterboarding -- the standard kaboodle), and arguing that while the report might provide "an excuse" to harm Americans, people who would do so "hardly need an excuse for that," the senator gets to the heart of the mattter:
What might come as a surprise, not just to our enemies but to many Americans, is how little these practices did to aid our efforts to bring 9/11 culprits to justice, and to find and prevent terrorist attacks today and tomorrow. That could be a real surprise, since it contradicts the many assurances provided by intelligence officials, on the record and in private, that enhanced interrogation techniques were indispensable in the war against terrorism. And I suspect the objection of those same officials to the release of this report is really focused on that disclosure: torture's ineffectiveness. Because we gave up much in the expectation that torture would make us safer. Too much.
CHALK IT UP AS A COINCIDENCE . . .
. . . but this afternoon at work I had a set of proofs that really had to get read, especially after my morning's absence. So naturally I was thinking about a blogpost instead. In the hope that it might possibly help me block out outside thoughts, I decided to put on a CD. For various reasons I don't do this much these days, and so I don't have that much on hand in the office. One thing I do have is the 85-disc-or-so Toscanini Complete RCA Collection, and occasionally I'll pull out a disc at random, which is what I did today. It turned out to be a compendium of shorter Beethoven pieces that begins with a Leonore Overture No. 3 from June 1, 1945, and so this is what I found myself listening to with Young Johnny McCranky still talking about torture in my head.
Talk about being "on point" for tyranny, authoritarianism, torture, and the suppression of any awkward information on those subjects! Leonore No. 3 was Beethoven's third attempt at an overture for his only opera, which happens to deal with these very subjects, and after musically recollecting the happier-days memories of the secretly imprisoned and tortured Spanish truth-teller-to-power Don Florestan, the overture evokes the trumpet calls that in the opera will herald the arrival at the prison of the royal minister Don Fernando. Unfortunately for Florestan, his nemesis, the governor of the prison, Don Pizarro, has had just enough advance warning of the Minister's visit to take the necessary step to eliminate any risk of his exposure: planning the elimination of Florestan. In Pizarro's hastily improvised plan, this should cover his ass, and he and the minister can enjoy a lovely session of mutual congratulations.
So here I was trying to read my proofs, and we came to the first lyrical subject of the overture, and I was struck by how beautifully shaped this Toscanini performance is. Beautiful shaping, you have to understand, is something we don't usually think of in connection with Toscanini, at least the later Toscanini who is most familiar from his most-circulated recordings, which are more often thought of as impressing with their sense of drivenness. And here is old Maestro Arturo (he was 78 at the time of this recording), without sacrificing any sense of forward movement, giving beautiful shape to the music to which the tortured and starved Florestan, dying in his secret dungeon, will recall:
Julius Patzak (t), Florestan; Vienna Philharmonic, Wilhelm Furtwängler, cond. Live performance from the Salzburg Festival, Aug. 3, 1948
Plácido Domingo (t), Florestan; Staatskapelle Berlin, Daniel Barenboim, cond. Teldec, recorded 1999
Jon Vickers (t), Florestan; Metropolitan Opera Orchestra, Karl Böhm, cond. Live performance, Feb. 13, 1960
Here is the section of Leonore No. 3 in question, as played by a conductor of almost the opposite reputation from Toscanini, the ever-so-spaciously inclined Hans Kanppertsbusch (from a complete recording of Fidelio with the Bavarian State Orchestra made in December 1961):
And here's the Toscanini performance sandwiched between two performances of Leonore No. 3 we've heard before:
BEETHOVEN: Leonore Overture No. 3, Op. 72a
Metropolitan Opera Orchestra, Bruno Walter, cond. Live performance, Feb. 22, 1941
NBC Symphony Orchestra, Arturo Toscanini, cond. RCA-BMG, recorded in Studio 8-H, New York City, June 1, 1945
Philharmonia Orchestra, Erich Leinsdorf, cond. Capitol-EMI, recorded c1958
WHAT A MAN DOES FOR HIS PRINCIPLES,
AND WHAT'S DONE TO HIM AS A RESULT
I wrote at some length about the uncompromisingly principled Don Florestan and his equally uncompromising wife in a May 2012 post called "Beethoven's superhero couple: The Florestans have for sure done their duty," with particular reference to the monologue he sings as we first meet him in his dungeon, gaunt and skirting death, at the opening of Act II. We really don't know what Florestan's "crimes" were against the governor of this state prison, Don Pizarro, but it's obvious that Pizarro regards him as a mortal threat. He seems to understand all too well: the thing we need to keep in mind here: that Florestan doesn't compromise his principles, rergardless of the consequences. And the same is true of Leonore.
I realize that the torture dynamics here don't align exactly with those investigated in the Torture Report. Here the tyrant isn't trying to extract information from his torture victim; he's just trying to ensure his permanent silence. Still, what wouldn't the like of "Big Dick" Cheney give for the ability to similarly silence their enemies at home?
Here I'm thinking not of the high dramatics of the dungeon scene, and how the Minister's arrival by sheer luck comes just in the nick of time to prevent Pizarro from exacting his final revenge on Florestan. I'm thinking of the following scene, in which the prisoners have been released and the Minister -- a close personal friend of Florestan and Leonore -- arrives and sings in platitudes so plangent that it's hard to believe a political prisoner has just barely escaped execution.
Although the Minister has only a few more lines to sing than we hear here, the role is so important, the writing so beautiful and noble, that even in the opera house it is usually assigned to something close to a front-line baritone or bass -- and on records it has been cast with genuine front-line talent, as we also hear here. (You'll note that in the orchestral introduction Toscanini definitely lives up to his reputation for, er, getting on with it.)
BEETHOVEN: Fidelio: Act II, Scene 2, Arrival of the Minister
Outside the prison. A crowd of people and liberated prisoners are gathered before the gates.
PEOPLE and PRISONERS [variously]: Hail! Hail!
Hail to the day, hail to the hour,
long yearned for, though unimaginable,
when justice and clemency together
appear before the gates of our tomb!
Hail to the day, etc.
[DON PIZARRO and the Minister, DON FERNANDO, enter, escorted by soldiers.]
DON FERNANDO: Our noblest king's wish and suggestion
lead me to you, you poor souls, here,
so that I may lift the veil of wickedness
which has wrapped you all in heavy gloom.
No, no longer kneel slavishly --
harsh tyranny is far from my mind.
A brother is seeking his brothers,
and if he can help, he gladly will.
PEOPLE and PRISONERS: Hail to the day, hail to the hour!
DON FERNANDO: A brother is seeking his brothers,
and if he can help, he gladly will.
ROCCO [rushing through the guards, with LEONORE and FLORESTAN]: Well then, help these poor people!
DON PIZARRO: What do I see? Ha!
ROCCO: Does it move you?
DON PIZARRO: Away! Away!
DON FERNANDO [to ROCCO]: Then speak!
ROCCO: Let all mercy, all mercy
unite this couple!
Don Florestan --
DON FERNANDO: The man believed dead?
That noble man who struggled for truth?
ROCCO: And suffered numberless torments.
DON FERNANDO: My friend, my friend,
the man believed dead?
In fetters, in fetters,
pale he stands before me?
LEONORE and ROCCO: Yes, Florestan!
Florestan, you see him here.
ROCCO: And Leonore!
DON FERNANDO: Leonore!
ROCCO : Let me present this jewel among women.
She came here --
DON PIZARRO: Let me say two words!
DON FERNANDO: Not a word! She came --
ROCCO: -- to my gate there,
and entered my service as a boy
and did me such good, loyal service
that I chose her for my son-in-law.
MARZELLINE [who with JAQUINO has joined the crowd]: Oh, woe is me! Woe is me! What do I hear?
ROCCO: That monster in this very hour
wished to bring about Florestan's death.
DON PIZARRO [pointing to ROCCO]: Bring it about, with him!
ROCCO : In league with us.
Only your coming called him off! Etc.
PEOPLE and PRISONERS: Let the villain be punished,
who oppressed the innocent!
Justice holds the sword
of vengence poised for judgment!
Let the villain be punished!
José van Dam (bs-b), Don Fernando; Karl Ridderbusch (bs), Rocco; Zoltán Kélémen (bs-b), Don Pizarro; Helga Dernesch (s), Leonore; Helen Donath (s), Marzelline; Chorus of the Deutsche Oper Berlin, Berlin Philharmonic, Herbert von Karajan, cond. EMI, recorded 1970
Nicola Moscona (bs), Don Fernando; Sidor Belarsky (bs), Rocco; Herbert Janssen (b), Don Pizarro; Rose Bampton (s), Leonore; Eleanor Steber (s), Marzelline; NBC Symphony Chorus and Orchestra, Arturo Toscanini, cond. RCA-BMG, broadcast performance, Dec. 17, 1944
Franz Crass (bs), Don Fernando; Gottlob Frick (bs), Rocco; Walter Berry (b), Don Pizarro; Christa Ludwig (ms), Leonore; Ingeborg Hallstein (s), Marzelline; Philharmonia Chorus and Orchestra, Otto Klemperer, cond. EMI, recorded 1962