D O N I Z E T T I R E N A I S S A N C E
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TUDOR TRILOGY
Leyla
Gencer as Anna Bolena, Elisabeth I in Roberto Devereux anda as Maria Stuarda
Photos (from left)
1965 Anna Bolena, Glyndebourne © GUY GRAVETT, Sussex 1966
Roberto Devereux, Roma © TIEGHI, Roma
1969
Maria Stuarda, Edinburgh © D.G. KIRGSTON, Edinburgh |
Primarily the “trend” of
reviving neglected operas started in 1957 when Maria Callas had a sensational
success at La Scala in Anna Bolena.
In one of her interviews Gencer said that “It
was a trend and I followed it”. However it was actually Gencer who
succesfully carried on this trend. Callas “revived” Anna Bolena and Gencer introduced the opera to bigger audiences. In
1958 right after Callas, Gencer sang on the Rai’s radio broadcast of the opera.
In 1965 she performed the opera 12 nights at Glyndebourne Opera Festival.
Gencer’s last performance of Anna Bolena was
in Rome in 1977. In the era “Donizetti
Renaissance” that began with Anna
Bolena, Gencer also sang Donizetti’s other neglected operas such Maria Stuarda, Poliuto, Les Martyrs,
Lucrezia Borgia, Belisario, Roberto Devereux, Caterina Cornaro and she
proved to be the invincible queen of belcanto. Nevertheless the recordings of
these operas were made by recording
artists such as Montserrat Caballé, Beverly Sills and Joan Sutherland.
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as Lucrezia Borgia, La Scala 1970 Photo © Teatro alla Scala / ERIO PICCAGLIANI, Milano |
Gencer’s career reached its
climax in the 60’s. In this period she began to perform vocally challenging
roles in operas such as Norma, Macbeth, I
Puritani, Gerusalemme, Roberto Devereux, Lucrezia Borgia, Alceste, Maria
Stuarda, Un ballo in maschera, Le nozze di Figaro, Beatrice di Tenda, Medea,
Belisario, La Vestale, La Gioconda and I
vespri Sicilianni.
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with Gianandrea Gavazzeni 1965 Anna Bolena (Glyndebourne) Photo © GUY GRAVETT, Sussex |
Talking about her major
performances in Gencer’s career, one must say a few words about Macbeth. Being undoubtedly the most
impressive Lady Macbeth after Callas,
Gencer performed the opera succesfully in Palermo for the first time in 1960.
She later sang the opera at La Scala, Venice, Florance, Rome, Cagliari,
Treviso, Montova, Como, Livorno and Maggio Musicale di Fiorentino Festival
under the baton of Riccardo Muti where she had an outstanding success. In fifty
years time no such soprano has yet out outshone Gencer’s interpretation of Lady Macbeth. Unfortunately Gencer sang
the opera only in Italy, European and American audiences didn’t have the chance
to see her live performances of Lady Macbeth.
One of the other most
important operas of this period is Bellini’s masterpiece Norma. In 1962 Gencer sang the role for the first time in Barcelona
and two years after she sang the opera in Buenos Aires. In the 1964-1965 seasons
La Scala took a major risk and put both La
Traviata and Norma in the
program, the operas which were identified with Maria Callas. Karajan was scheduled to conduct La Traviata and Gavazzeni was scheduled
to conduct Norma. Franco Zefirelli’s
new production of La Traviata with soprano Mirella Freni
premiered on December 17, 1964. It was a big failure and the artists were
harshly booed. Consequently Callas fans reached their goal; Mirella Freni left
the role after two performances and Anna Moffo who had taken over the role
could sing only one night. After three performances, the production was removed
from the opera calendar. Gencer’s mission in Norma was even harder to accomplish. She would appear in the
Margherita Wallmann’s production in which Callas had sung in 1955. Besides,
Giulietta Simionato would sing Adalgisa as she had sung ten years ago. Even the
costumes would be the same. Briefly, every detail that would remind of Callas would be
featured in the production. On the premiere date January 9, 1965; the only difference from the previous production would be Gencer. Callas
fans were present in the lodges waiting for the performance to start. Gencer’s
interpretation of the famous aria Casta
Diva didn’t receive much applause but except for a few grumbling, it wasn’t
even booed either. The premiere was being carried on succesfully. Even La
Scala’s Management was surprised. Because of La Traviata’s big failure, a major protest was expected
that night. When the opera ended, the audience gave a huge round of applause.
Gencer succesfully passed the test and sang Norma
in January and Fabruary; 9 nights as planned and she
became one of the very few sopranos who sang Norma at La Scala.
In the 60’s Gencer continued
exploring the unknown. This time she
sang Verdi’s neglected opera Gerusalemme
in Italy and Germany. Not only it was Gencer’s, it was also Donizetti’s golden
era. Some of his operas were performed for the first time and revived by
Gencer. On May 2, 1964; Donizetti’s neglected opera Roberto Devereux was performed in Naples
after a long period of time. Gencer sang the role of Elizabeth and won the
heart of the tough Neapolitan audience with her usual enchanting interpretation, especially with the final aria Quel
sangue versato. The audience gave her a standing ovation for several
minutes.
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1974 Lucrezia Borgia, Dallas Photo © BILL COGAN, Dallas |
Probably Lucrezia Borgia was
Gencer’s most favored and successful Donizetti performance. Gencer sang the
opera for the first time in 1966 in Naples. Later she sang the opera in Rome
(1967), Milan-La Scala (1970), Bergamo (1971), Dallas (1974) and Florence
(1979). Once again she introduced another neglected opera to the opera
audience. The recordings of this opera were also made by Monserrat Caballé and
Beverly Sills.
After her success as Lucrezia;
Gencer achieved a sensational success on May 2, 1967; in the opening night of
Maggio Musicale di Fiorentino Festival with her performance in Maria Stuarda. The famous line Figlia impura di Bolena had a shocking
impact on the audience and yet the audience gave her a standing ovation in the
final of the second act. After the succesful performances of Maria Stuarda, another unknown opera was
once again in Gencer’s agenda; Donizetti’s Belisario.
It was a rarely performed opera which takes place in Byzantium. Gencer sang the
role of Antonina and achieved another major succes. Her interpretation of the
aria Egli è spento in Venice is
considered to be one of her best performances.
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with her fans after a Belisario performance, Bergamo 1970 Photo: © FOTO FLASH, Bergamo |