Category: Opera

Jolanda Meneguzzer

Jolanda Meneguzzer (above) and Costanzo Gero in a scene from Act I of Puccini’s LA BOHEME. The recording is from 1970, with the Orchestra del Teatro Comunale di Firenze conducted by Erasmo Ghiglia. Listen here.

Ms. Meneguzzer is a singer whose name I had often heard in my earlier days of operatic obsession, but I’d never heard the voice til now. Born in Cantù, Italy, around 1930, she studied in Florence and made her operatic debut in 1957 in Monteverdi’s L’ORFEO at the Maggio Musicale. Her career centered mainly in Italy, but she made her American debut San Francisco as Maria in FIGLIA DEL REGIMENTO in 1962, and she appeared briefly at The Met during the 1963-1964 season as Musetta and Gilda.

Jolanda Meneguzzer sings Mozart’s Exsultate, jubilate here…

…and a sampling of her Musetta:

Jolanda Meneguzzer – Musetta’s Waltz – with Scotto-Poggi-Gobbi

Ms. Meneguzzer passed away in June 2020, at the age of 90.

May 30, 2021
40 Years Ago: Fracci & Nureyev ~ GISELLE

~~~~ Note: I had originally planned to post this article on the 40th anniversary of my one-and-only experience of seeing the great Carla Fracci onstage. Today, news of the ballerina’s death has come, so I am posting it now, two months shy of the actual anniversary:

On this date, forty years ago, one of the greatest ballet performances of my experience took place at the Metropolitan Opera House, where the La Scala Ballet presented their production of GISELLE with Carla Fracci and Rudolf Nureyev in the leading roles.

I had spent the afternoon at The Met watching GISELLE with an alternate cast; it was a very pleasing performance. But the undeniable star-power of Fracci and Nureyev made the evening performance unforgettable.

This is my diary entry from that magnificent evening:

“GISELLE – 2nd performance – with the assumption on the leading roles by two great dancers, the whole production took on a new dimension. The corps seemed better than at the matinee, though again Renata Calderini was not a particularly impressive Myrthe. There was a very exciting Peasant Pas de Deux with Anna Maria Grossi and a very exciting Davide Bombana; they roused the audience to cheers.

But it was in the superstars that the real excitement lay – and that is why they are superstars! Rudolf Nureyev’s Albrecht was marred slightly by some rather ‘modern’ acting details in Act I where he failed to maintain the aura of manners of the period. But otherwise he caught the essence of the caddish young nobleman in Act I and the grief-stricken man of Act II. He danced with thorough command despite passing traces of stiffness. He interpolates many intricate steps and then challenges himself to bring them off…and always succeeds. His Albrecht was a full portrait – and it was very exciting.

In Carla Fracci we had the perfect Giselle. All this talk about her ‘capturing the essence of the Romantic Era’ felt absolutely true. There were times in Act II when she really did seem like the ghostly vision of another time and place. Here is a dancer so technically assured, so light yet bearing underneath great strength of character and of will. She was so charming in Act I, and her Mad Scene was brilliantly done – not overplayed but seemingly so real. Act II truly produced the feeling of seeing a phantom. Floating in her gossamer long tutu, Fracci evoked the remote mystique of the spectre. Her dancing throughout was so poised, with the steps always presented as a natural expression of the character and stemming completely from the drama. One had the feeling of really seeing Giselle herself, not of a ballerina portraying her.

At the end there was a tremendous ovation (20 minutes) with roses being thrown and Fracci & Nureyev called out repeatedly…bravi!!!”

~ Overon

May 27, 2021
40 Years Ago: Fracci & Nureyev ~ GISELLE

~~~~ Note: I had originally planned to post this article on the 40th anniversary of my one-and-only experience of seeing the great Carla Fracci onstage. Today, news of the ballerina’s death has come, so I am posting it now, two months shy of the actual anniversary:

On this date, forty years ago, one of the greatest ballet performances of my experience took place at the Metropolitan Opera House, where the La Scala Ballet presented their production of GISELLE with Carla Fracci and Rudolf Nureyev in the leading roles.

I had spent the afternoon at The Met watching GISELLE with an alternate cast; it was a very pleasing performance. But the undeniable star-power of Fracci and Nureyev made the evening performance unforgettable.

This is my diary entry from that magnificent evening:

“GISELLE – 2nd performance – with the assumption on the leading roles by two great dancers, the whole production took on a new dimension. The corps seemed better than at the matinee, though again Renata Calderini was not a particularly impressive Myrthe. There was a very exciting Peasant Pas de Deux with Anna Maria Grossi and a very exciting Davide Bombana; they roused the audience to cheers.

But it was in the superstars that the real excitement lay – and that is why they are superstars! Rudolf Nureyev’s Albrecht was marred slightly by some rather ‘modern’ acting details in Act I where he failed to maintain the aura of manners of the period. But otherwise he caught the essence of the caddish young nobleman in Act I and the grief-stricken man of Act II. He danced with thorough command despite passing traces of stiffness. He interpolates many intricate steps and then challenges himself to bring them off…and always succeeds. His Albrecht was a full portrait – and it was very exciting.

In Carla Fracci we had the perfect Giselle. All this talk about her ‘capturing the essence of the Romantic Era’ felt absolutely true. There were times in Act II when she really did seem like the ghostly vision of another time and place. Here is a dancer so technically assured, so light yet bearing underneath great strength of character and of will. She was so charming in Act I, and her Mad Scene was brilliantly done – not overplayed but seemingly so real. Act II truly produced the feeling of seeing a phantom. Floating in her gossamer long tutu, Fracci evoked the remote mystique of the spectre. Her dancing throughout was so poised, with the steps always presented as a natural expression of the character and stemming completely from the drama. One had the feeling of really seeing Giselle herself, not of a ballerina portraying her.

At the end there was a tremendous ovation (20 minutes) with roses being thrown and Fracci & Nureyev called out repeatedly…bravi!!!”

~ Overon

May 26, 2021
Eva Marton ~ Elektra’s Monolog

Eva Marton sings Elektra’s opening monolog, “Allein! Weh, ganz allein!” from a performance of the Strauss opera given at the Teatro Real de Madrid in 1998.

Watch and listen here.

May 25, 2021
Giorgio Tadeo as Seneca

Though Verona-born basso Giorgio Tadeo (above) was sometimes cast in buffo roles, this film clip of him as Seneca in Monteverdi’s INCORNAZIONE DI POPPEA shows another aspect of his artistry. The performance is from Aix-en-Provence, 1961, and the mezzo-soprano is Teresa Berganza.

Giorgio Tadeo made his operatic debut in 1953 singing Mephistopheles in an RAI performance of FAUST. He went on to an extensive career, singing at Palermo, at both the Teatro alla Scala and the Piccola Scala, and at theatres throughout Italy until 1996. Internationally, he sang at Vienna, Hamburg, Monte Carlo, L’Opéra de Paris, Covent Garden, the Royal Albert Hall, Carnegie Hall, Lyric Opera in Chicago,Dallas, Aix-en-Provence, Edinburgh, Tel Aviv, and Athens.

Giorgio Tadeo has worked with the such conductors as Gui, Giulini, Serafin, Celibidache, Dorati, de Fabritiis, Gavazzeni, Sanzogno, Maag, von Karaja, Abbado, and Boulez, as well as directors Giorgio Strehler and Franco Zeffirelli. He distinguished himself in the operas of Mozart, Rossini, and Donizetti, as well as 20th century works. He was married to the soprano Mariella Adani.

Mr. Tadeo passed away in 2008.

May 23, 2021
Karina Gauvin ~ Lascia chi’o pianga

Soprano Karina Gauvin sings “Lascia ch’io pianga” from Handel’s RINALDO in a recording session film.

Watch and listen here.

May 23, 2021
Karina Gauvin ~ Lascia chi’o pianga

Soprano Karina Gauvin sings “Lascia ch’io pianga” from Handel’s RINALDO in a recording session film.

Watch and listen here.

May 22, 2021
Elena Cernei

Above: Elena Cernei as Amneris

You never forget your first Amneris; mine happened to be Elena Cernei, a comely Romanian mezzo-soprano with a marvelous chest-register. My first AIDA came during the Met’s second season at Lincoln Center, on December 27th, 1967; Ms. Cernei’s colleagues were Gabriella Tucci, Flaviano Labo, Mario Sereni, and Bonaldi Giaiotti, with Thomas Schippers on the podium.

Born in 1924, Ms. Cernei studied at Bucharest. She joined the Romanian National Opera in 1952, singing there thru 1977. She also sang at La Scala, Paris, Barcelona, Brussels, Mexico City, and at the Bolshoi.

She debuted at The Met in 1965 as Dalila; her other Met roles were Amneris, Maddalena in RIGOLETTO, the Princesse de Bouillon in ADRIANA LECOUVREUR, and Carmen.

Ms. Cernei’s repertoire further included Azucena, both Laura and La Cieca in LA GIOCONDA, Ulrica, Rossini’s Arsace, and Gluck’s Orfeo. She was named an Honored Artist of the Republic of Romania. Upon retiring from the stage, she lived and taught at Rome. She passed away in 2000, and a commemorative postage stamp was issued in her honor.

Elena Cernei sings the Séguédille from Bizet’s CARMEN here.

And here’s a sampllng of her Dalila:

Elena Cernei – Printemps qui commence – SAMSON ET DALILA

April 28, 2021
Christa Ludwig Has Passed Away

April 25th, 2021 – Throughout the sixty years that I have been obsessed with opera, I have loved and admired many wonderful singers. But when people ask me, “Who was the greatest singer you ever heard?”, I must answer: “Christa Ludwig.” Today, news has come of her death at the age of 93.

Christa Ludwig made her Vienna State Opera debut as Cherubino in Mozart’s NOZZE DI FIGARO in 1955. She went on to give 769 performances of 42 roles in Vienna. At the Metropolitan Opera, her 1959 debut (also as Cherubino) marked the start of a 38-year association with The Met, where she sang 119 performances of 15 roles.

Christa Ludwig was my first Octavian, and also my first Dyer’s Wife in FRAU OHNE SCHATTEN (in a stellar cast with Leonie Rysanek, Irene Dalis, James King, and Christa’s then-husband, Walter Berry, with Dr. Böhm conducting), my first Dido in TROYENS, and my first Klytemnestra. Her other Met roles were Amneris, Brangaene, Ortrud, Fricka, Kundry, Charlotte in WERTHER, and Waltraute; and she gave a single performance as Leonore in FIDELIO.

My first experience of seeing Christa Ludwig onstage was as the Dyer’s Wife; my first FRAU was part of a thrilling weekend in February 1969 that also included my very first RHEINGOLD (with Herbert von Karajan conducting) and the now legendary Nilsson/Caballe TURANDOT. Christa’s Dyer’s Wife was a blazing creation, her voice spanning the wide range with complete command, the highest notes sailing into the Big House with stunning clarity and power.

From a commercial recording of the great Act III duet for Barak and his wife:

FRAU OHNE SCHATTEN ~ scene from Act III – Christa Ludwig – Walter Berry – Sieglinde Wagner – Hollreiser cond

I next saw Ms. Ludwig onstage on Valentine’s Day, 1970, as Octavian in DER ROSENKAVALIER. Karl Böhm was again on the podium, and the cast further featured Marion Lippert, Reri Grist, and Mr. Berry. The sight of Ms. Ludwig as Octavian entering the hall of the Faninal mansion, bearing the silver rose, left an indelible impression on my romantic heart. Over time, it became for me the iconic image of everything I love about opera.

Above: Nuit d’ivresse with Jon Vickers and Christa Ludwig; a Louis Melançon photo

On October 27th, 1973 – a red-letter day in my personal life – I saw LES TROYENS for the first time. Shirley Verrett and Louis Quilico as Cassandra and Chorebus had given glorious performances in PRISE DE TROIE. Then, as the scene shifts to Carthage, Christa Ludwig and Jon Vickers sang so poetically the quietly rapturous love duet, Nuit d’ivresse. Inspired by their ecstasy, I spent the night with Z – and I have ever since felt that life really began for me with that encounter.

More than a decade was to pass before I saw Christa Ludwig on the Met stage again: in 1984, she was a fascinating Klytemnestra in my first-ever ELEKTRA. Ute Vinzing, Johanna Meier, and Simon Estes were her co-stars, with Maestro Levine presiding. Ms. Ludwig’s singing, with an undercurrent of creeping madness, bore the stamp of a great lieder singer; her characterization sometimes veered endearingly to the melodramatic.

Above: Ludwig and Behrens in GOTTERDAMMERUNG

A four-year interval then passed before I saw Christa in opera again: the 1988 opening night of the Schenk/Levine GOTTERDAMMERUNG. This was a spectacular performance in every regard: Levine and his orchestra were on peak form, and Hildegard Behrens and Matti Salminen thrilled me to the core as Brunnhilde and Hagen. Christa, as Waltraute, looked spiffy in her Valkyrie gear – with black trousers and high black boots – and she moved about, restless as a caged panther, as she told her sister of their father’s frightening state of mind. Having failed in her mission, Waltraute rushes away. The curtain calls that night were fantastic: I think Ms. Ludwig truly didn’t expect the massive wave of applause and bravas that greeted her as she stepped out for a solo bow. It was so moving to watch her accept the audience’s loving appreciation.

I saw Christa Ludwig on the Met stage for the last time in April 1989 as Fricka in WALKURE. It was a cast of titans: Hildegard Behrens, Jessye Norman, Gary Lakes, James Morris, and Kurt Moll were Christa’s colleagues, and again Levine and the Met orchestra were beyond the beyond. The tension in the great argument between Fricka and Wotan was palpable; then Christa – having won – gathered her dignity and took her final parting shot at Brunnhilde with barely disguised contempt.

Christa Ludwig made her farewell appearance at The Met as Fricka in a Saturday matinee broadcast of WALKURE on April 3, 1993. Here is her scene from that performance, with Dame Gwyneth Jones as Brunnhilde, James Morris as Wotan, and James Levine conducting. I was listening at home, and as Ms. Ludwig exited the stage, I had a sense that the audience wanted desperately to burst into applause.

Christa Ludwig as Fricka ~ Met farewell performance with G Jones +J Morris – Levine cond – 4~3~93

While Vienna and The Met loomed large in the Ludwig career, she also appeared at La Scala, Covent Garden, Chicago Lyric Opera, and at the festivals at Bayreuth and Salzburg. In addition, she sang the great concert works of Bach and Mahler.

Christa Ludwig was a beloved recitalist; in 1984, I had the great pleasure of hearing her at Avery Fisher Hall with James Levine at the piano. The program of Strauss and Wolf lieder ended with a marvelous encore: the Brahms “Wiegenlied”.

Ms. Ludwig left us with a large and lovely catalog of recordings; among my favorites are Bartok’s BLUEBEARD’S CASTLE, the Kempe LOHENGRIN, the Solti TANNHAUSER, the Böhm TRISTAN from Bayreuth with Nilsson and Windgassen, scenes from Strauss operas with Walter Berry…and her SAMSON ET DALILA with James King holds a special appeal for me. She created a stir in 1986 by recording Schubert’s Winterreise with James Levine; they had performed the great Schubert cycle together on the Met stage in 1983.

Above: Christa in the recording studio with Maria Callas and Franco Corelli for the EMI NORMA

Christa Ludwig sings Strauss’s “Morgen” with Charles Spencer at the piano. Watch and listen here.

Listen to more from Christa Ludwig:

Christa Ludwig – Es gibt ein reich – ARADNE AUF NAXOS

Christa Ludwig – MACBETH – Act I scena – Vienna 1970

Christa Ludwig – Liebestod ~ TRISTAN UND ISOLDE

Christa Ludwig – Mahler ~ Ich bin der welt abhanden gekommen

Christa Ludwig – Der Engel from Wagner’s Wesendonck Lieder

A lovely note I received from Christa Ludwig after I wrote to her on the occasion of her Met farewell in 1993:

Christa Ludwig ~ An die Musik

~ Oberon

April 25, 2021
Eileen Schauler Has Passsed Away

Soprano Eileen Schauler, a pillar of the New York City Opera in my earliest years of opera-going, has passed away at the age of 92.

A native of New Jersey, Ms. Schauler studied at Juilliard. She first made her mark as a powerful Katerina Ismailova at New York City Opera; among her other roles were Anna Maurrant in STREET SCENE, Lizzie Bordon, the Marschallin, and the Governess in TURN OF THE SCREW. She was admired for her stage presence and committed acting as well as for her emotionally engaged singing. I saw her as Tosca (a performance that marked Placido Domingo’s conducting debut) and as a fiery Santuzza.

After retiring from the stage, she taught both privately and at college.

Eileen Schauler – TOSCA aria – in English – Pasadena 1967

Eileen Schauler as Tosca – Act III excerpt – in English – Pasadena 1967

April 24, 2021