L E Y L A G E N C E R & I
2021.05.20
© Ahmet Etem Erenli
My first encounter with Leyla Gencer was
in 1986 at the “Tower Records” which was London’s biggest record store in that
period.
Considering that the national press often exaggerated the international reputation levels of the Turkish artists, I wasn’t very much interested in Gencer at that time and I hadn’t listened to any of her recordings. I wasn’t even aware that there were records of Leyla Gencer until that very day. Seeing numerous longplays of Gencer at the opera section of Tower Records definitely caught my attention.
Initially, I bought two of her records. One of them was Rigoletto and the other one was Simon Boccanegra. Since I had just begun listening to opera just a few years before, I found Simon Boccanegra rather intense, dark and boring. So I quit listening to Boccanegra and began listening to Rigoletto. When I first listened, it didn’t quite inspire me so I didn’t pay much attention to it. I can now say that, it was the second time that I’d made a similar mistake. I’d found Callas “extravagant” in Lucia di Lammermoor and quit listening to it. But then I kept hearing her voice in my head for many days and eventually I became a true Callas fan. Exactly like how I couldn’t get Gencer out of my head and how Simon Boccanegra became one of my favourite operas in the following years.
In the course of time, I collected all official and pirate recordings of Gencer and Callas and I’ve achieved a quiet prominent collection. But being somehow addicted to these two artists and “as a third artist I may also add Caballé to the ensemble”, I’ve not been much sympathetic towards the contemporary opera artists. I still prefer listening to the exciting live recordings of these three artists rather than listening to the contemporary recordings that are realized with optimum technical equipments.
I have never loved the perfection. Meanwhile, the world is filled with perfect singers. Yet, rather than listening to those perfect voices, I have always prefered listening to singers who made perfect impacts. An effective accentuation of maybe just one word in the libretto is enough to take me to a whole different world. Who can easily forget Figlia impura di Bolena (Maria Stuarda / Florence)? What about Vivi ingrato, Quel sangue versato (Roberto Devereux)? I guess a very few people have the record of her recital in Naples (1984) where she sang Tu che voli già spirto beato...No, qui morir degg’io from Donizetti’s opera Fausta as an encore. The aria was interrupted in the middle by applauses and its finale was cheered with enthusiastic shouts and ovation.
Just like Callas, Gencer is also one of the artists who possessed the perfect imperfection. She had many flaws but she had the ability to embrace and invade you with her voice and never let you go. But it’s not easy to like her either. You must know well the opera that you’re listening to. You must know the libretto, you must read it and you should also be informed about the history of it a little bit, if the opera is based on historical events. And of course, you must be a fan of the Italian opera too. Neither Callas’, nor Gencer’s voices were suitable for the German operas. But one must definitely mention Gencer’s interpretation of Mozart operas. Idomeneo, Le nozze di Figaro, Don Giovanni (Donna Anna and Donna Elvira) are the operas where she stood up for her interpretation of Mozart; especially as Contessa, Elettra and Donna Elvira. I also believe that she was unopposed as Elettra in Idomeneo. Her interpretation of the Contessa at Glyndebourne in 1962 is also one of the performances that impressed me the most. Although she sang only one aria of Konstanze from Die Entführung aus dem Serail which was in Italian, I still find it rather fabulous.
Since I have started mentioning Gencer’s opera interpretations, I would also like to write my opinions of some of the operas that she sang:
Aida is one of the operas that Gencer recorded the most. It was recorded and broadcasted three different times on television. Today we have two TV recordings from Verona. Unfortunately, the recording of her performance at Caracalla (1970) isn’t available in video form, but it’s available as an audio record. In 1966, the audio recording of the La Scala production was criticised rather harsly. And despite my thorough researches, I haven’t been able to find that recording. It’s interesting that not only Gencer, but all the artists of the cast were harshly criticised for that production. Frankly, Aida isn’t among my favourite operas so I don’t wish to write so much about it, but Gencer’s interpretation of O Cieli azzurri has always seemed to me as if it comes from another dimension. Especially, her extraordinary piannisimos are utterly exquisite.
Now it’s time to write about Anna Bolena. There are three recordings of Gencer as Anna Bolena. They are from her Young age (1958), Middle age (1965) and Mature Age (1977) periods; so it’s exciting to witness how her interpretation changed through the years. The first and the second recordings are exquisite but I would like to especially write about her performance in Rome (1977). I think that Gencer, who was at the age of 58, achieved top class dramaticism in that production. Although she once personally told me that she wasn’t much pleased with her performance there and it was recorded when she was seriously sick. Her best interpretation of Anne Boleyn, who was a very young woman, would be considered as the one in 1958, “because of the age factor”, but my heart will always be set on her performance in 1977.
I personally find Belisario as one of the milestones of the Donizetti Renaissance. It might have affected me since the story is set in Byzantium, in the terrain of my homeland. I have all three records of her Belisario performances and I might say that I’m very much attached to all three. Although I’m not actually a fan of Donizetti’s “saving the best for last” habit (apart from some exceptions), Egli è spento is without any doubt, one of the most impressive arias that Gencer ever sang. Even though the name of the opera is Belisario, Gencer sings her part with absolute perfection and makes the opera her own.
And Caterina Cornaro; it’s another Donizetti opera that I absolutely love. I agree with all my heart to the New York audience that enthusiastically applauded Gencer’s triumph. It’s an authentic Donizetti interpretation: from the beginning, until the end. I think it was a big mistake for MET to have never included her in their program, even after that amazing performance. They did the same thing to Piero Cappuccilli who was one of the most important baritones of the 20th century.
Gencer was the most prominent person of the Donizetti Renaissance, but I think that she was also a major Verdi interpreter. Since she was an Acting Singer, Verdi’s operas provided her great opportunities to show all her skills. One of those operas was Don Carlos. Gencer sang Don Carlos for four seasons at La Scala (1961, 1963,1964, 1970) and in Vienna, Rome, London, San Francisco, Los Angeles and Bologna. Corriere della sera defined her performance as a major triumph but the Opera Magazine called Gencer a wrong choice for the premiere. This irony also demonstrates perfectly how Anglo-Saxon preferences differ from the Italian gusto. The British producers who majorly dominated the recording industry never much appreciated Gencer’s interpretations. The difference between the interpretative styles of these two cultures caused a disadvantage for Gencer, since the British were the patrons of the recording industry. As I stated at the “Queen of Pirates” section which you can find at the first page of the blog, even though a great conductor such as Tullio Serafin had wanted Leyla Gencer for his recording sessions, unfortunately the major “labels” of the industry excluded her anyway.
I don’t know if you’ve ever listened to Rossini’s Elisabetta Regina d’Inghilterra. Unfortunately, there are so few of its recordings. But it’s an exquisite opera. There are three recordings of this opera sung by Gencer. But the British critics didn’t like her performance at Edinburgh either. Nevertheless, this opera is a real miracle where we can hear Gencer’s strong interpretation when her voice was at its peak. This opera requires strength, sensibility and flawless pianissimos, which Gencer delivers even better than expected. After her performance in Milan, Le Monde wrote: The Miracle of Palermo.
I Lombardi (Verdi) was overshadowed by other Verdi operas of that era such as: Nabucco, Ernani and I due Foscari, so it wasn’t performed much. There’s a second version of this opera called Jérusaleme, which was written for the audience of Paris. And its Italian name is Gerusalemme. Although it’s almost unknown, it’s still a very powerful opera. Gencer sang this opera in Venice (1963) for the first time and it was so successful that, the following year the opera was once again included in the seasonal program. In 1965, the same production was also staged in Münich and then in Wiesbaden (1965).
One of my favourite interpretations of Gencer is undoubtedly Il Trovatore, the one which was recorded for RAI in 1957. It’s still one of the recordings that I listen to the most and which I still haven’t got tired of. Even del Monaco wasn’t at his best and I would have preferred Corelli instead of him; but Ettore Bastianini and Fedora Barbieri were fabulous. Gencer’s interpretation of D'amor sull'ali rosee...Miserere is peerless.
During some of my conversations with Gencer, she often mentioned that she’d sung La Traviata perfectly at Moskow’s Bolshoi Theatre and even though she’d searched for a recording of it, she wasn’t able to find one. Her performance of La Traviata that was recorded in Rio wasn’t perfect, but I personally think that it’s much better than many studio recordings of the opera. Especially her impaccable interpretation of the aria Addio del passato and the reaction of the audience after the executions of both Addio del passato and Amami Alfredo contradict with the opinions of the critics of that era. Even though Gencer sang in many productions of La Traviata, unfortunately it’s an opera of which we have the least recordings. We only have the recording from Rio de Janeiro.
Hereby, I would like to take a break from writing my opinions of Gencer’s opera performances and I’d like to share some personal information about her.
Having lived mostly abroad; one of the things that Leyla Gencer missed the most was the Turkish cuisine; especially the vegetable dishes. Therefore, every time that she visited Istanbul, Mr. Şakir Eczacıbaşı; the President of the Istanbul Foundation of Culture and Arts, invited her to his house where he served extremely delicious Aegean vegetable dishes. Here you can find some photos taken during some one of those dinners.
Yekta Kara, me and Gencer; looking at something, but I currently don’t remember what it was. The photos were of course taken by Şakir Eczacıbaşı. The other dinner guests were Görgün Taner and Ömür Bozkurt.
Considering that the national press often exaggerated the international reputation levels of the Turkish artists, I wasn’t very much interested in Gencer at that time and I hadn’t listened to any of her recordings. I wasn’t even aware that there were records of Leyla Gencer until that very day. Seeing numerous longplays of Gencer at the opera section of Tower Records definitely caught my attention.
Initially, I bought two of her records. One of them was Rigoletto and the other one was Simon Boccanegra. Since I had just begun listening to opera just a few years before, I found Simon Boccanegra rather intense, dark and boring. So I quit listening to Boccanegra and began listening to Rigoletto. When I first listened, it didn’t quite inspire me so I didn’t pay much attention to it. I can now say that, it was the second time that I’d made a similar mistake. I’d found Callas “extravagant” in Lucia di Lammermoor and quit listening to it. But then I kept hearing her voice in my head for many days and eventually I became a true Callas fan. Exactly like how I couldn’t get Gencer out of my head and how Simon Boccanegra became one of my favourite operas in the following years.
In the course of time, I collected all official and pirate recordings of Gencer and Callas and I’ve achieved a quiet prominent collection. But being somehow addicted to these two artists and “as a third artist I may also add Caballé to the ensemble”, I’ve not been much sympathetic towards the contemporary opera artists. I still prefer listening to the exciting live recordings of these three artists rather than listening to the contemporary recordings that are realized with optimum technical equipments.
I have never loved the perfection. Meanwhile, the world is filled with perfect singers. Yet, rather than listening to those perfect voices, I have always prefered listening to singers who made perfect impacts. An effective accentuation of maybe just one word in the libretto is enough to take me to a whole different world. Who can easily forget Figlia impura di Bolena (Maria Stuarda / Florence)? What about Vivi ingrato, Quel sangue versato (Roberto Devereux)? I guess a very few people have the record of her recital in Naples (1984) where she sang Tu che voli già spirto beato...No, qui morir degg’io from Donizetti’s opera Fausta as an encore. The aria was interrupted in the middle by applauses and its finale was cheered with enthusiastic shouts and ovation.
Just like Callas, Gencer is also one of the artists who possessed the perfect imperfection. She had many flaws but she had the ability to embrace and invade you with her voice and never let you go. But it’s not easy to like her either. You must know well the opera that you’re listening to. You must know the libretto, you must read it and you should also be informed about the history of it a little bit, if the opera is based on historical events. And of course, you must be a fan of the Italian opera too. Neither Callas’, nor Gencer’s voices were suitable for the German operas. But one must definitely mention Gencer’s interpretation of Mozart operas. Idomeneo, Le nozze di Figaro, Don Giovanni (Donna Anna and Donna Elvira) are the operas where she stood up for her interpretation of Mozart; especially as Contessa, Elettra and Donna Elvira. I also believe that she was unopposed as Elettra in Idomeneo. Her interpretation of the Contessa at Glyndebourne in 1962 is also one of the performances that impressed me the most. Although she sang only one aria of Konstanze from Die Entführung aus dem Serail which was in Italian, I still find it rather fabulous.
Since I have started mentioning Gencer’s opera interpretations, I would also like to write my opinions of some of the operas that she sang:
Aida is one of the operas that Gencer recorded the most. It was recorded and broadcasted three different times on television. Today we have two TV recordings from Verona. Unfortunately, the recording of her performance at Caracalla (1970) isn’t available in video form, but it’s available as an audio record. In 1966, the audio recording of the La Scala production was criticised rather harsly. And despite my thorough researches, I haven’t been able to find that recording. It’s interesting that not only Gencer, but all the artists of the cast were harshly criticised for that production. Frankly, Aida isn’t among my favourite operas so I don’t wish to write so much about it, but Gencer’s interpretation of O Cieli azzurri has always seemed to me as if it comes from another dimension. Especially, her extraordinary piannisimos are utterly exquisite.
Now it’s time to write about Anna Bolena. There are three recordings of Gencer as Anna Bolena. They are from her Young age (1958), Middle age (1965) and Mature Age (1977) periods; so it’s exciting to witness how her interpretation changed through the years. The first and the second recordings are exquisite but I would like to especially write about her performance in Rome (1977). I think that Gencer, who was at the age of 58, achieved top class dramaticism in that production. Although she once personally told me that she wasn’t much pleased with her performance there and it was recorded when she was seriously sick. Her best interpretation of Anne Boleyn, who was a very young woman, would be considered as the one in 1958, “because of the age factor”, but my heart will always be set on her performance in 1977.
I personally find Belisario as one of the milestones of the Donizetti Renaissance. It might have affected me since the story is set in Byzantium, in the terrain of my homeland. I have all three records of her Belisario performances and I might say that I’m very much attached to all three. Although I’m not actually a fan of Donizetti’s “saving the best for last” habit (apart from some exceptions), Egli è spento is without any doubt, one of the most impressive arias that Gencer ever sang. Even though the name of the opera is Belisario, Gencer sings her part with absolute perfection and makes the opera her own.
And Caterina Cornaro; it’s another Donizetti opera that I absolutely love. I agree with all my heart to the New York audience that enthusiastically applauded Gencer’s triumph. It’s an authentic Donizetti interpretation: from the beginning, until the end. I think it was a big mistake for MET to have never included her in their program, even after that amazing performance. They did the same thing to Piero Cappuccilli who was one of the most important baritones of the 20th century.
Gencer was the most prominent person of the Donizetti Renaissance, but I think that she was also a major Verdi interpreter. Since she was an Acting Singer, Verdi’s operas provided her great opportunities to show all her skills. One of those operas was Don Carlos. Gencer sang Don Carlos for four seasons at La Scala (1961, 1963,1964, 1970) and in Vienna, Rome, London, San Francisco, Los Angeles and Bologna. Corriere della sera defined her performance as a major triumph but the Opera Magazine called Gencer a wrong choice for the premiere. This irony also demonstrates perfectly how Anglo-Saxon preferences differ from the Italian gusto. The British producers who majorly dominated the recording industry never much appreciated Gencer’s interpretations. The difference between the interpretative styles of these two cultures caused a disadvantage for Gencer, since the British were the patrons of the recording industry. As I stated at the “Queen of Pirates” section which you can find at the first page of the blog, even though a great conductor such as Tullio Serafin had wanted Leyla Gencer for his recording sessions, unfortunately the major “labels” of the industry excluded her anyway.
I don’t know if you’ve ever listened to Rossini’s Elisabetta Regina d’Inghilterra. Unfortunately, there are so few of its recordings. But it’s an exquisite opera. There are three recordings of this opera sung by Gencer. But the British critics didn’t like her performance at Edinburgh either. Nevertheless, this opera is a real miracle where we can hear Gencer’s strong interpretation when her voice was at its peak. This opera requires strength, sensibility and flawless pianissimos, which Gencer delivers even better than expected. After her performance in Milan, Le Monde wrote: The Miracle of Palermo.
I Lombardi (Verdi) was overshadowed by other Verdi operas of that era such as: Nabucco, Ernani and I due Foscari, so it wasn’t performed much. There’s a second version of this opera called Jérusaleme, which was written for the audience of Paris. And its Italian name is Gerusalemme. Although it’s almost unknown, it’s still a very powerful opera. Gencer sang this opera in Venice (1963) for the first time and it was so successful that, the following year the opera was once again included in the seasonal program. In 1965, the same production was also staged in Münich and then in Wiesbaden (1965).
One of my favourite interpretations of Gencer is undoubtedly Il Trovatore, the one which was recorded for RAI in 1957. It’s still one of the recordings that I listen to the most and which I still haven’t got tired of. Even del Monaco wasn’t at his best and I would have preferred Corelli instead of him; but Ettore Bastianini and Fedora Barbieri were fabulous. Gencer’s interpretation of D'amor sull'ali rosee...Miserere is peerless.
During some of my conversations with Gencer, she often mentioned that she’d sung La Traviata perfectly at Moskow’s Bolshoi Theatre and even though she’d searched for a recording of it, she wasn’t able to find one. Her performance of La Traviata that was recorded in Rio wasn’t perfect, but I personally think that it’s much better than many studio recordings of the opera. Especially her impaccable interpretation of the aria Addio del passato and the reaction of the audience after the executions of both Addio del passato and Amami Alfredo contradict with the opinions of the critics of that era. Even though Gencer sang in many productions of La Traviata, unfortunately it’s an opera of which we have the least recordings. We only have the recording from Rio de Janeiro.
Hereby, I would like to take a break from writing my opinions of Gencer’s opera performances and I’d like to share some personal information about her.
Having lived mostly abroad; one of the things that Leyla Gencer missed the most was the Turkish cuisine; especially the vegetable dishes. Therefore, every time that she visited Istanbul, Mr. Şakir Eczacıbaşı; the President of the Istanbul Foundation of Culture and Arts, invited her to his house where he served extremely delicious Aegean vegetable dishes. Here you can find some photos taken during some one of those dinners.
Yekta Kara, me and Gencer; looking at something, but I currently don’t remember what it was. The photos were of course taken by Şakir Eczacıbaşı. The other dinner guests were Görgün Taner and Ömür Bozkurt.
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2006 Ahmet Erenli, Leyla Gencer, Yekta Kara Photo © ŞAKİR ECZACIBAŞI, Istanbul |
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2006 Ahmet Erenli, Leyla Gencer, Yekta Kara Photo © ŞAKİR ECZACIBAŞI, Istanbul |
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2006 Ahmet Erenli, Leyla Gencer, Yekta Kara Photo © ŞAKİR ECZACIBAŞI, Istanbul |
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2005 Ahmet Erenli, Leyla Gencer, Görgün Taner Photo © ÖMÜR BOZKURT, Milano |
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2005 Ahmet Erenli, Leyla Gencer, Yeşim Gürer Oymak Photo © ÖMÜR BOZKURT, Milano |
Another
photograph; taken at Leyla Gencer’s apartment in Milan. I was there with Görgün
Taner, Yeşim Gürer and Ömür Bozkurt. I guess the photo was taken by Ömür Bozkurt.
During one of our gatherings in Milan, she told me a noteworthy memoir: Gencer
and Mr. Lissner who was the Artistic Director of La Scala in that
period, were at a table during a reception at La Scala. Angela Gheorghiu and Roberto
Alagna; the most admired opera couple of that era, were also among the
guests. The famous couple came to
Gencer’s table and Roberto said: Signora, I would like to introduce you my
wife. Gencer looked at Angela and said: Young
lady, you are very pretty. Are you also a singer? Of course her question was
followed by a moment of silence. I asked her Signora, why did you ask him such thing? Didn’t you know that Gheorghiu
was a very famous soprano? And her answer was phenomenal: Ahmet, my dear, as sopranos we sometimes do
things like this.
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2007 Şule Soysal, Leyla Gencer, Milano |
In 1995, Yapı Kredi Bank used to organize a festival similar to Istanbul Music Festival, for some reason named “The Youth Festival” in the months of May and June. The organization of two very similar festivals at the same time was very challenging for both parties. The classical music audience was divided in half and both festivals were negatively affected by the consequences. That year Mr. Aydın Gün, who was the Artistic Director of the Yapı Kredi Festival announced that they were going to organize a voice competition named after Leyla Gencer. I was working at the Istanbul Music Festival in that period and I remember very well that I was very upset by that news. Sure it was a well-intentioned initiative but I believed that the corporations that weren’t originally oriented towards art, could only support that kind of demanding projects only for a limited period and the project should have been realized by IKSV. And in time, my idea was proven to be right. The management changed, budget cuts were made and the first cut was in culture&arts. So the Leyla Gencer Voice Competition was annulled only after three editions.
Yapı Kredi organized the competition for the last time in 2000 and finally in 2004 it was transferred to IKSV thanks to the major efforts of the Ambassadress Şule Soysal who was the head of the Department of Cultural Affairs within the Ministry of Foreign Affairs. That transfer made us think that the competition finally came to its home but it also came with its challenges because it was organized in the name of a living person. As I was the Director of the Music Festival in that period, I was put in charge for the competition’s organization and I became the Director of the Competition also.
From that day and on, the phone calls between Milan and Istanbul never stopped. The competition was scheduled for 2006 and Leyla Gencer was following every step of it. She sometimes complained in ways that demoralized some of the people who were working for the competition. And since Accademia della Scala was also one of the partners, she was concerned even more. She wasn’t happy about almost anything and kept saying that the organization would fail. Meanwhile the Festival was being held, the date of the competition was approaching and Signora Leyla whom I was always supposed to calm down, kept on calling me. I was also in my last three month period at IKSV and I would later become the General Manager of Borusan Sanat in September-2006.
In such a chaotic environment, it was actually very challenging to work with Leyla Gencer but strangely, I enjoyed talking to her on the phone too; especially when we were talking about opera and her personal life. She had such beautiful anecdotes. Of course it wouldn’t be appropriate to share each of them in this blog. Nevertheless all her difficulties, Leyla Gencer knew very well how to make amends. One sentence of her was enough to melt our hearts and forget about her past caprices; so we could keep on working. During our visits to her apartments both in Istanbul and Milan, she served us exquisite food and sometimes we just enjoyed eating ham sandwiches together...
Down below, you can find some of the photos that were taken before and after the competition. The final date of the competition was on August 30th which is also my birthday.
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Şakir Eczacıbaşı, Leyla Gencer, Ahmet Erenli, Stephen Lissner, Yekta Kara 2006.08.30 Hotel Armada, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Leyla Gencer, Ahmet Erenli, Stephen Lissner 2006.08.30 Hotel Armada, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Leyla Gencer, Ahmet Erenli, Stephen Lissner 2006.08.30 Hotel Armada, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Leyla Gencer, Ahmet Erenli, Stephen Lissner 2006.08.30 Hotel Armada, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Leyla Gencer, Ahmet Erenli, Stephen Lissner 2006.08.30 Hotel Armada, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Leyla Gencer, Ahmet Erenli 2006.08.30 Hotel Armada, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Ahmet Erenli, Leyla Gencer, Melahat Behlil 2006.08.30 Hagia Irene Museum, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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Ahmet Erenli, Leyla Gencer, Melahat Behlil 2006.08.30 Hagia Irene Museum, Istanbul Photo ©IFCA / ILGIN ERASLAN, Istanbul |
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Görgün Taner, Leyla Gencer, Ahmet Erenli 2006.08.30 Hagia Irene Museum, Istanbul Photo © IFCA / ILGIN ERASLAN, Istanbul |
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My birthday celebration 2006.08.30 Hotel Armada, Istanbul Melahat Behlil, Melis Behlil, Yeşim Gürer Oymak Photo © IFCA / ILGIN ERASLAN, Istanbul |
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My birthday celebration 2006.08.30 Hotel Armada, Istanbul Melahat Behlil, Melis Behlil, Yeşim Gürer Oymak Photo © IFCA / ILGIN ERASLAN, Istanbul |
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My birthday celebration 2006.08.30 Hotel Armada, Istanbul Melahat Behlil, Melis Behlil, Yeşim Gürer Oymak, Nilgün Mirze, Görgün Taner Photo © IFCA / ILGIN ERASLAN, Istanbul |
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My birthday celebration 2006.08.30 Hotel Armada, Istanbul Melahat Behlil, Melis Behlil, Yeşim Gürer Oymak, Nilgün Mirze, Görgün Taner, Üstüngel İnanç Photo © IFCA / ILGIN ERASLAN, Istanbul |
Now I would like to take a break from
writing my souvenirs and I’ll continue from where I’d left. If you ask me what
my least favourite opera interpretation of Gencer is, I’d briefly say that it’s
Werther. I don’t know if my dislike is caused by my
antipathy towards this opera in general, or because it wasn’t sung in its
original language. Or maybe just because Gencer didn’t much like this opera
either. Contrary to Manon, Werther always seemed dull, stagnant and
boring to me. When Gencer was asked to sing Werther, she wanted to reject it at
first, but Tullio Serafin told her to sing it and said You should definitely sing this opera. It’s a very important step for
your career and you must learn it. Consequently, Gencer sang it in Italian
first for RAI in 1955 and in 1959 she sang it again in Trieste.
I may say that the other Donizetti Queens (apart from Anna Bolena) have now become Gencer’s brands. Her interpretations of Maria Stuarda and Queen Elizabeth in Roberto Devereux are still appraised by the opera fans of Florence and Naples although it’s been almost 50 years since she performed them. Although the production of Maria Stuarda was enthusiastically cheered and applauded in Florence, when the same cast performed the opera in Edinburgh (1969), Gencer still wasn’t appreciated by the British critics. Gencer has a major dominance over Roberto Devereux. She easily delivers all the challenging vocal acquirements that the role of Elisabeth demands. She reaches the peak of perfection in all arias. She’s the only one ruling the opera. There’s Queen Elizabeth; a woman torn between love, vengeance and duty, yet Gencer revives her every word: Quel sangue versato… al cielo s’innalza… giustizia domanda…. reclama vendetta and the cheering of the audience is indescribable.
In 1960, Gencer was cast along with Maria Callas for the production Poliuto at La Scala. Callas sang in the first five performances and Gencer sang in the following three. Both sopranos sang with the tenor Franco Corelli. Unfortunately we don’t have a recording of that production but we have the record of Poliuto that was performed in Barcelona (1975). Les Martyrs; which is the French version of this opera was wonderfully staged at La Fenice in 1977. Gencer sang both of these operas at a very mature age but they are critically important because these operas were therefore revived in the opera repertoire.
Some people who believe that Gencer was born in 1928 may be surprised whilst reading the sentence above “Gencer was at a mature age”. As stated in the book “I, Leyla Gencer” written by Evin İlyasoğlu in 2018, according to the records of Liceo Italiano; Gencer was born in 1919. Considering the accuracy of the high school documents, we can clearly say that Gencer had a very long career.
And now, one of my favourite operas: Attila. Gencer was a perfect Odabella. There are 3 recordings of this opera: The ones made in Florence on 19th and 31st of December 1972 and the one that was recorded in New Jersey. I like the recording of Attila that was performed on December 19th 1972 and released by Maggio Musicale in 2019. There you can hear the perfect syntony achieved by young Riccardo Muti, Gencer and Ghiaurov. Since this record is rather new, it’s not available on Youtube yet. I can say that it’s the best Attila recording ever made.
The first La Gioconda performance of Gencer that I listened was the record of her performance in Rome (1971). After that, I acquired the recordings made at La Fenice, Palermo, San Francisco and Macerata. And everytime I listened to them, I found Gencer very suitable for this opera no matter what the critics said. Some say that this opera is a bit too dramatic for Gencer’s voice, but I disagree with them. If you compare her performance with some artists who recorded it in the studio, you’ll easily see the difference. That includes Tebaldi’s recording of the opera too. Hereby, I would like to write another opinion of mine; frankly, I prefer comparing artists based on their live performances. You can feel their true energy in the live recordings. Meanwhile, the studio recordings are repeated many times, among which the best takes are chosen. So they don’t reflect the opera’s natural flow.
For people who would like to listen to a very good Amelia in Un ballo in maschera, I’d primarily suggest them to buy the record of Gencer that she sang fabulously at Bologna Theater (1961). After that performance, the British Opera Magazine wrote: A first class Amelia. They somehow appreciated her finally. In my opinion; Callas and Gencer were the best Amelias.
Gencer sang Norma in 8 different productions and fortunately we have almost all the recordings of them. And of course the La Scala production of Norma had a unique importance since it was the first Norma interpretation there after Callas’ absence. When I asked Leyla Gencer about its premiere, she said They didn’t do much, they complained a little bit at first but in the end everybody was giving me a standing ovation. She was talking about the fanatic opera audience so called I Loggionisti; who watched every opera performance in the gallery and who booed severely when they disliked a singer. But when Deh! Non volerli vittime ended, they were all giving a standing ovation. Below, I’ve attached the mentioned aria: you can listen and witness the emotions that she brings out while singing it:
I may say that the other Donizetti Queens (apart from Anna Bolena) have now become Gencer’s brands. Her interpretations of Maria Stuarda and Queen Elizabeth in Roberto Devereux are still appraised by the opera fans of Florence and Naples although it’s been almost 50 years since she performed them. Although the production of Maria Stuarda was enthusiastically cheered and applauded in Florence, when the same cast performed the opera in Edinburgh (1969), Gencer still wasn’t appreciated by the British critics. Gencer has a major dominance over Roberto Devereux. She easily delivers all the challenging vocal acquirements that the role of Elisabeth demands. She reaches the peak of perfection in all arias. She’s the only one ruling the opera. There’s Queen Elizabeth; a woman torn between love, vengeance and duty, yet Gencer revives her every word: Quel sangue versato… al cielo s’innalza… giustizia domanda…. reclama vendetta and the cheering of the audience is indescribable.
In 1960, Gencer was cast along with Maria Callas for the production Poliuto at La Scala. Callas sang in the first five performances and Gencer sang in the following three. Both sopranos sang with the tenor Franco Corelli. Unfortunately we don’t have a recording of that production but we have the record of Poliuto that was performed in Barcelona (1975). Les Martyrs; which is the French version of this opera was wonderfully staged at La Fenice in 1977. Gencer sang both of these operas at a very mature age but they are critically important because these operas were therefore revived in the opera repertoire.
Some people who believe that Gencer was born in 1928 may be surprised whilst reading the sentence above “Gencer was at a mature age”. As stated in the book “I, Leyla Gencer” written by Evin İlyasoğlu in 2018, according to the records of Liceo Italiano; Gencer was born in 1919. Considering the accuracy of the high school documents, we can clearly say that Gencer had a very long career.
And now, one of my favourite operas: Attila. Gencer was a perfect Odabella. There are 3 recordings of this opera: The ones made in Florence on 19th and 31st of December 1972 and the one that was recorded in New Jersey. I like the recording of Attila that was performed on December 19th 1972 and released by Maggio Musicale in 2019. There you can hear the perfect syntony achieved by young Riccardo Muti, Gencer and Ghiaurov. Since this record is rather new, it’s not available on Youtube yet. I can say that it’s the best Attila recording ever made.
The first La Gioconda performance of Gencer that I listened was the record of her performance in Rome (1971). After that, I acquired the recordings made at La Fenice, Palermo, San Francisco and Macerata. And everytime I listened to them, I found Gencer very suitable for this opera no matter what the critics said. Some say that this opera is a bit too dramatic for Gencer’s voice, but I disagree with them. If you compare her performance with some artists who recorded it in the studio, you’ll easily see the difference. That includes Tebaldi’s recording of the opera too. Hereby, I would like to write another opinion of mine; frankly, I prefer comparing artists based on their live performances. You can feel their true energy in the live recordings. Meanwhile, the studio recordings are repeated many times, among which the best takes are chosen. So they don’t reflect the opera’s natural flow.
For people who would like to listen to a very good Amelia in Un ballo in maschera, I’d primarily suggest them to buy the record of Gencer that she sang fabulously at Bologna Theater (1961). After that performance, the British Opera Magazine wrote: A first class Amelia. They somehow appreciated her finally. In my opinion; Callas and Gencer were the best Amelias.
Gencer sang Norma in 8 different productions and fortunately we have almost all the recordings of them. And of course the La Scala production of Norma had a unique importance since it was the first Norma interpretation there after Callas’ absence. When I asked Leyla Gencer about its premiere, she said They didn’t do much, they complained a little bit at first but in the end everybody was giving me a standing ovation. She was talking about the fanatic opera audience so called I Loggionisti; who watched every opera performance in the gallery and who booed severely when they disliked a singer. But when Deh! Non volerli vittime ended, they were all giving a standing ovation. Below, I’ve attached the mentioned aria: you can listen and witness the emotions that she brings out while singing it:
RECORDING EXCERPT
Deh! Non voleri vittime from Norma
Selçuk Metin’s Doumentary © “La Diva Turca”
La Stampa: Leyla Gencer: Ah, that voice!
Journal d’Orient: A very big success.
Il Seccolo: Endless ovation clearly proved Gencer’s and Gui’s success.
All these praiseful articles were about Gencer’s interpretation of Alceste. In 2003 Cecilia Bartoli was in Istanbul to give a concert and she was accompanied by her mother Silvana Bazzoni who’s also her voice teacher. During one of our conversations, she talked enthusiastically how magnificent Gencer’s performance as Alceste in Rome was.
I saved my favourite Gencer interpretation for last: Macbeth. She sang this opera at 13 different theatres. Lady Macbeth, who’s one of the two main characters of the opera can’t get any more impressive than that. Gencer was awarded with endless applauses when she sang the opera at the age of 56 at the Theater of Florence in 1975 under the baton of Muti. Her voice was an absolute match for this opera. When compared to Gencer’s Lady Macbeth, Birgit Nilsson’s interpretation of the opera, that she’d sung and recorded by the persuasion of the record labels, seems like a joke. It was a major mistake for such an important singer. Ghena Dimitrova and Maria Guleghina who stood out as Lady Macbeth in the 80’s can’t fulfill this role’s acquirements either. But in 1980, Leyla Gencer overconfidently sang Macbeth, which was a thing that she shouldn’t have done. One of Gencer’s close friends, Baritone Renato Bruson with whom she shared the stage numerous times and who can be called as the best Macbeth of the 20th century, once told me that he forgot to enter the stage whilst watching Gencer during a Macbeth performance. And in one of his interviews with Corriere della sera, he said that Leyla Gencer was the best Lady Macbeth that he’d sung with. The great opera and theatre director Giorgio Strehler wished to stage Macbeth for Leyla Gencer, but unfortunately that project wasn’t realized.
Unfortunately we don’t have any recordings from the opera performances, concerts or recitals of Leyla Gencer that she’d performed before 1974 in Turkey. She did performances of Cosi fan tutte, Tosca, The Consul, Un ballo in maschera, Cavalleria Rusticana, Don Giovanni, Madama Butterfly, La Traviata, Kerem ile Aslı and numerous recitals, concerts. However, we have the recordings of the recitals and the concerts that she gave at the Istanbul Music Festival from 1974 and on. TRT (Turkish Radio and Television) has these recordings in its archive and occasionally broadcasts them. I could only listen to her once in the recital that she gave in 1989, when she was in her seventies. I’d heard about her successful performances of Tosca and The Counsul from my family members.
In the paragraphs above, I’ve written about some of the operas that Gencer sang. I would like you to know that when this blog is complete, you’re going to find all of my notes about each opera that she performed.
Journal d’Orient: A very big success.
Il Seccolo: Endless ovation clearly proved Gencer’s and Gui’s success.
All these praiseful articles were about Gencer’s interpretation of Alceste. In 2003 Cecilia Bartoli was in Istanbul to give a concert and she was accompanied by her mother Silvana Bazzoni who’s also her voice teacher. During one of our conversations, she talked enthusiastically how magnificent Gencer’s performance as Alceste in Rome was.
I saved my favourite Gencer interpretation for last: Macbeth. She sang this opera at 13 different theatres. Lady Macbeth, who’s one of the two main characters of the opera can’t get any more impressive than that. Gencer was awarded with endless applauses when she sang the opera at the age of 56 at the Theater of Florence in 1975 under the baton of Muti. Her voice was an absolute match for this opera. When compared to Gencer’s Lady Macbeth, Birgit Nilsson’s interpretation of the opera, that she’d sung and recorded by the persuasion of the record labels, seems like a joke. It was a major mistake for such an important singer. Ghena Dimitrova and Maria Guleghina who stood out as Lady Macbeth in the 80’s can’t fulfill this role’s acquirements either. But in 1980, Leyla Gencer overconfidently sang Macbeth, which was a thing that she shouldn’t have done. One of Gencer’s close friends, Baritone Renato Bruson with whom she shared the stage numerous times and who can be called as the best Macbeth of the 20th century, once told me that he forgot to enter the stage whilst watching Gencer during a Macbeth performance. And in one of his interviews with Corriere della sera, he said that Leyla Gencer was the best Lady Macbeth that he’d sung with. The great opera and theatre director Giorgio Strehler wished to stage Macbeth for Leyla Gencer, but unfortunately that project wasn’t realized.
Unfortunately we don’t have any recordings from the opera performances, concerts or recitals of Leyla Gencer that she’d performed before 1974 in Turkey. She did performances of Cosi fan tutte, Tosca, The Consul, Un ballo in maschera, Cavalleria Rusticana, Don Giovanni, Madama Butterfly, La Traviata, Kerem ile Aslı and numerous recitals, concerts. However, we have the recordings of the recitals and the concerts that she gave at the Istanbul Music Festival from 1974 and on. TRT (Turkish Radio and Television) has these recordings in its archive and occasionally broadcasts them. I could only listen to her once in the recital that she gave in 1989, when she was in her seventies. I’d heard about her successful performances of Tosca and The Counsul from my family members.
In the paragraphs above, I’ve written about some of the operas that Gencer sang. I would like you to know that when this blog is complete, you’re going to find all of my notes about each opera that she performed.
MY ARTICLES ABOUT LEYLA GENCER
2006 June
© Ahmet Etem Erenli [Borusan Sanat]
Last of Divas
Leyla Gencer is certainly one of the greatest divas of the 20th century, and the last one…. Not only did she endow and entirely new and different air to the characters of the classical opera, but also dewed into a search for the unknown, unearthed them and subscribed her presence as a performer and a researcher on many works which are include in today’s opera repertoire.
People learned and loved Beatrice di Tenda, Belisario, Lucrezia Borgia, Roberto Devereux, Maria Stuarda with Gencer, thanks to whom these works have become a part of today’s opera. It is her who sang Anna Bolena for long years after Maria Callas. Her performance of Lady in Macbeth marks one of the many zeniths in her career which also extended towards Elisabetta in Roberto Devereux, Alceste and Norma. Singing Norma nine times in a season at the La Scala alone is a phenomenon. Should one speak romantic Italian repertoire’s shift from oblivion to stages, her extraordinary musical intelligence and full control of her instrument needs to be justifiably mentioned.
More than fifty of her opera performances exceeding eighty in number have taken their places on the music market thanks, strangely, to pirate recordings and are in extremely high demand. Gencer’s unparalleled charisma and stage presence is instantly felt even in these recordings.
She has pioneered in the staging of Vivaldi’s Bajazed at the 27th Istanbul Music Festival for the first time since 1735. Recorded afterwards by Europa Galante and Fabio Biondi, the opera received great critical acclaim.
Following her performance at the famous Athénée Theatre of Paris on October 20, 1980, music critic Sergio Segalini wrote People were bent on their knees, watching her lips. Opera has never been as impressive as it was in her time, and it shall never be so.
2011.01.12
© Ahmet Etem Erenli [Borusan Sanat]
Commemorating the Great Diva
As soon as she set
foot in Italy with the determination to perform at the stage of La Scala, she
adorned the European stages; thanks to her voice, dramatic power and true diva
like manners. She reached even beyond her dreams; became a primadonna of La
Scala where she sang for thirty years and engraved her name in the 20thcentury’s
opera history as a pioneer artist. She quit singing when she was at the peak of
her career, but since she’s always felt responsible, she continued working for many
years as a teacher to train young opera singers for the opera stages. The world acknowledged her as La Diva Turca. Italy, the core of opera
accepted and appreciated her as a queen but she never forgot her homeland. And
when she passed away, according to her will, her ashes reunited with the waters
of the Bosphorus which she loved. And we commemorated her as well as we were
supposed to. Borusan Culture and Arts, has also been and will go on
commemorating the great diva with the concerts where the young opera stars meet
the classical music audience...
2013.03.28
© Ahmet Etem Erenli [Borusan Sanat]
Leyla Gencer
She was given so
many names: La Diva Turca, The Queen Leyla, The Fiancée of the Pirates...but
she was undoubtedly one of the revolutionary divas of the opera world. She was different.
Many operas which are staged today were brought back to the opera repertoire
because of her efforts. She wasn’t just an artist with a beautiful voice but an
artist who could act with her voice; she could revive and give meaning to every
word that she said. She maybe didn’t possess a big voice, but she sang
magnificently both coloratura and dramatic roles thanks to her perfect vocal
technique. I believe that it’s not easy to find a singer today who could sing
Lucia and Lady Macbeth one night after another.
Today, there are over 120 live opera records of Gencer which are available in music stores and she is still one of the best selling artists of the pirate recording music industry.
Why do opera fans still mostly prefer buying the poorly recorded, scratchy CDs of Gencer instead of the DDDs that are the current technological miracles? Because she was different! How come we can easily find five different recordings of Norma and Lady Macbeth? Because each time she sang them, she’d tried to portrait a different Norma or a Lady Macbeth. She once told me that she was still learning about opera. And when I asked who she was learning from, she told me that she was learning from her students to whom she was teaching. I believe that it’s exactly what made her special: Her passion for opera.
Leyla Gencer passed away five years ago. Her death was announced in the newspapers all around the world. She never performed at MET, but the news of her death was announced at the MET’s website as Breaking News. The great conductor Lorin Maazel announced her death right before his performance at La Scala Theater and there was a moment of silence in the whole theatre. 50 of the most prestigious newspapers of the world wrote about her death in their websites and shared information about her life and career. And of course the Turkish press wrote about her too.
Before organizing our first concert dedicated to Leyla Gencer, we discussed for a long time about how we should commemorate her. Actually, the answer was quite easy. We decided to commemorate her with opera; to what she was so passionately dedicated. But which operas would we choose? Would it be appropriate to choose the operas that she’d made famous or could we choose any opera from the repertoire? We chose the second option. And once again one of Leyla Gencer’s quotes inspired us to do so: “Never be steady, don’t listen to only opera, be open to all kinds of music. You can listen to classical music, contemporary music, jazz, folk music or pop. All genres have good and qualified examples among them, so don’t limit your choices.” So this quote of hers gave us courage to not to limit ourselves within the repertoire, but we decided to commemorate her only with “Opera”.
Leyla Gencer made great differences in our lives; in the lives of those who loved her. I hope that tonight’s concert will also remain as a good memory for you...
Today, there are over 120 live opera records of Gencer which are available in music stores and she is still one of the best selling artists of the pirate recording music industry.
Why do opera fans still mostly prefer buying the poorly recorded, scratchy CDs of Gencer instead of the DDDs that are the current technological miracles? Because she was different! How come we can easily find five different recordings of Norma and Lady Macbeth? Because each time she sang them, she’d tried to portrait a different Norma or a Lady Macbeth. She once told me that she was still learning about opera. And when I asked who she was learning from, she told me that she was learning from her students to whom she was teaching. I believe that it’s exactly what made her special: Her passion for opera.
Leyla Gencer passed away five years ago. Her death was announced in the newspapers all around the world. She never performed at MET, but the news of her death was announced at the MET’s website as Breaking News. The great conductor Lorin Maazel announced her death right before his performance at La Scala Theater and there was a moment of silence in the whole theatre. 50 of the most prestigious newspapers of the world wrote about her death in their websites and shared information about her life and career. And of course the Turkish press wrote about her too.
Before organizing our first concert dedicated to Leyla Gencer, we discussed for a long time about how we should commemorate her. Actually, the answer was quite easy. We decided to commemorate her with opera; to what she was so passionately dedicated. But which operas would we choose? Would it be appropriate to choose the operas that she’d made famous or could we choose any opera from the repertoire? We chose the second option. And once again one of Leyla Gencer’s quotes inspired us to do so: “Never be steady, don’t listen to only opera, be open to all kinds of music. You can listen to classical music, contemporary music, jazz, folk music or pop. All genres have good and qualified examples among them, so don’t limit your choices.” So this quote of hers gave us courage to not to limit ourselves within the repertoire, but we decided to commemorate her only with “Opera”.
Leyla Gencer made great differences in our lives; in the lives of those who loved her. I hope that tonight’s concert will also remain as a good memory for you...
2014.03.20
© Ahmet Etem Erenli [Borusan Sanat]
The Year of 1952
Leyla Gencer sang Tosca in Ankara...Exactly 62 years
ago...Her glamorous career started in the 50’s. And Gencer reigned in the
stages for fourty years. Among her contemporaries, there have been only a few
singers who managed to achieve such long and active opera careers. Once she quit
singing, she dedicated her life to the education of young talents, almost until
the end of her life. Everything she did was for opera and art. When she passed away, along with numerous
fans, she also left a precious history behind. La Diva Turca, La Regina, The Fiancée of the Pirates are some of the nicknames that honoured her. Among everything else, she was an excellent artist
who deservedly engraved her name in the opera history of the 20th
century. A true artist finds and reveals the unseen and revives it in a new
environment. I guess the best part is that; as long as the world keeps turning,
she will always be remembered as an artist who was ahead of her time.
2015.05.14
© Ahmet Etem Erenli [Borusan Sanat]
Dear Music Lovers
Borusan Istanbul Philharmonic Orchestra’s tribute concerts dedicated to Leyla Gencer began in
2009 and they have become annual. And this year’s edition is even more glorious
than the previous years. Along with renowned artists from all over the world
who have achieved major success in Aida
productions, tonight we’ll also have the chance to listen to the Chorus of the
National Santa Cecilia Academy from Italy.
Aida, which is one of Verdi’s masterpieces, was undoubtedly a very important milesone in Leyla Gencer’s career. Between the years 1963-1973, Gencer sang Aida numerous times; first at Milan’s La Scala, then at Caracalla Theater of Rome, Macerata Opera Festival, San Carlo of Naples and also at Arena di Verona under the baton of the major conductors of the era, such as Gianandrea Gavazzeni and Tullio Serafin.
As now, there are over 100 pirate recordings of Gencer. Luckily we also have the DVD recordings of her most splendid Aida performances (1963 and 1966) that were recorded by RAI Television. She left a notable mark in the opera history with the pianissimos that she executed at the end of the famous aria O cieli azzurri, during one of her rare studio recordings that she did with Gavazzeni for RAI. A few years ago, The Opera News Magazine mentioned Gencer among the best sopranos who sang Aida at the Arena di Verona.
Leyla Gencer’s first Aida performance was at Milan’s famous La Scala Theater on May 3rd 1963. After 42 years, we commemorate the great diva in Istanbul with the same opera.
Aida, which is one of Verdi’s masterpieces, was undoubtedly a very important milesone in Leyla Gencer’s career. Between the years 1963-1973, Gencer sang Aida numerous times; first at Milan’s La Scala, then at Caracalla Theater of Rome, Macerata Opera Festival, San Carlo of Naples and also at Arena di Verona under the baton of the major conductors of the era, such as Gianandrea Gavazzeni and Tullio Serafin.
As now, there are over 100 pirate recordings of Gencer. Luckily we also have the DVD recordings of her most splendid Aida performances (1963 and 1966) that were recorded by RAI Television. She left a notable mark in the opera history with the pianissimos that she executed at the end of the famous aria O cieli azzurri, during one of her rare studio recordings that she did with Gavazzeni for RAI. A few years ago, The Opera News Magazine mentioned Gencer among the best sopranos who sang Aida at the Arena di Verona.
Leyla Gencer’s first Aida performance was at Milan’s famous La Scala Theater on May 3rd 1963. After 42 years, we commemorate the great diva in Istanbul with the same opera.
2016.05.12
© Ahmet Etem Erenli [Borusan Sanat]
Leyla Gencer's Golden Era
The opera lovers
of Istanbul couldn’t watch performances of Bellini’s masterpiece Norma often. It wasn’t performed since it was last staged at the Maksim Stage
by the Istanbul State Opera and Ballet in 1972. Finally after 44 years, Norma will once again be performed
before the Istanbul audience in the memory of Leyla Gencer.
The role of Norma was one of the milestones of Gencer’s career and she performed it during the most triumphant decade of her life. In the 60’s, she went through major changes and had revelations in her career. She added more than twenty five operas to her repertoire between the years 1960-1970 and sang some operas for the first time such as; Roberto Devereux, Maria Stuarda, Lucrezia Borgia, Macbeth, Belisario, Alceste, Elisabetta, Aida, Norma... which would soon be remembered along with her name.
Actually, if we examine Gencer’s repertoire between the years 1960 and 1970, we see that it’s rather impressive. Poliuto, Un Ballo in Maschera, I Puritani, Pique Dame, Otello, Le nozze di Figaro, Gerusalemme, Aida, I vespri Sicilianni, Beatrice di Tenda, Guillaume Tell, Anna Bolena, Lucrezia Borgia, Idomeneo, L’Incoronazione di Poppea and Medea are some of the operas that she debuted during that decade. In the same period, she also sang the leading roles of the major operas such as La Traviata, Madama Butterfly, Don Giovanni, Tosca, Turandot, Il Trovatore and La forza del destino.
During her career, Gencer sang Norma nearly fourty times and her first performance was in 1962 at the famous Liceu Theater in Barcelona. Thanks to the success that she attained there, she consequently performed Norma in 1964 at the Teatro Colón in Buenos Aires under the baton of Bruno Bartoletti. Her performance of Norma at La Scala Theater was one of her greatest career achievements. Gencer sang Norma nine times at La Scala, in 1965 (January and February) under the baton of the great Italian conductor Gianandrea Gavazzeni. She sang Norma the same year, also at the Verona Opera Festival and at Teatro San Carlo of Naples. And in 1966, she sang it at the Théâtre de Beaulieu of Lausanne under the baton of Fernando Previtali, as part of Bologna Opera Company’s tour in Switzerland. In 1967, Gencer sang Norma for the last time at the Theater of Torino under the baton of Oliviero de Fabritiis. Today the CDs of her Norma performances from Verona, Naples, Milan, Lousanne and Buenos Aires are available.
In some of these annual tribute concerts that we do to show our respects to Leyla Gencer’s art and life, we also performed some operas that weren’t from her repertoire. And actually, she was the reason for that. Because we see these tribute concerts as a way to celebrate her love towards music and opera. And this year with Norma which was one of her signature roles, we think that it will be quite a special way to commemorate her...
The role of Norma was one of the milestones of Gencer’s career and she performed it during the most triumphant decade of her life. In the 60’s, she went through major changes and had revelations in her career. She added more than twenty five operas to her repertoire between the years 1960-1970 and sang some operas for the first time such as; Roberto Devereux, Maria Stuarda, Lucrezia Borgia, Macbeth, Belisario, Alceste, Elisabetta, Aida, Norma... which would soon be remembered along with her name.
Actually, if we examine Gencer’s repertoire between the years 1960 and 1970, we see that it’s rather impressive. Poliuto, Un Ballo in Maschera, I Puritani, Pique Dame, Otello, Le nozze di Figaro, Gerusalemme, Aida, I vespri Sicilianni, Beatrice di Tenda, Guillaume Tell, Anna Bolena, Lucrezia Borgia, Idomeneo, L’Incoronazione di Poppea and Medea are some of the operas that she debuted during that decade. In the same period, she also sang the leading roles of the major operas such as La Traviata, Madama Butterfly, Don Giovanni, Tosca, Turandot, Il Trovatore and La forza del destino.
During her career, Gencer sang Norma nearly fourty times and her first performance was in 1962 at the famous Liceu Theater in Barcelona. Thanks to the success that she attained there, she consequently performed Norma in 1964 at the Teatro Colón in Buenos Aires under the baton of Bruno Bartoletti. Her performance of Norma at La Scala Theater was one of her greatest career achievements. Gencer sang Norma nine times at La Scala, in 1965 (January and February) under the baton of the great Italian conductor Gianandrea Gavazzeni. She sang Norma the same year, also at the Verona Opera Festival and at Teatro San Carlo of Naples. And in 1966, she sang it at the Théâtre de Beaulieu of Lausanne under the baton of Fernando Previtali, as part of Bologna Opera Company’s tour in Switzerland. In 1967, Gencer sang Norma for the last time at the Theater of Torino under the baton of Oliviero de Fabritiis. Today the CDs of her Norma performances from Verona, Naples, Milan, Lousanne and Buenos Aires are available.
In some of these annual tribute concerts that we do to show our respects to Leyla Gencer’s art and life, we also performed some operas that weren’t from her repertoire. And actually, she was the reason for that. Because we see these tribute concerts as a way to celebrate her love towards music and opera. And this year with Norma which was one of her signature roles, we think that it will be quite a special way to commemorate her...
2018.05.17
© Ahmet Etem Erenli [Borusan Sanat]
In memory of Leyla Gencer
As Borusan Sanat, we always spare a special place for Leyla Gencer in our seasonal programs. We’ve been commemorating her every year since 2009, for all the great things that she did for the opera and for us. Each year, we celebrate her love for music and opera. In the past 10 years: we commemorated her with some of her signature operas such as Tosca, Aida, La Traviata, Norma; and also with operas like Salome that hadn’t been performed in Istanbul since long time and last season; with Der Rosenkavalier of Richard Strauss, which was performed for the first time in Turkey. We thought that performing these operas before the Istanbul audience would be a special way of celebrating Gencer’s artistic career...
In tonight’s concert, we’ll pay our respects to Leyla Gencer first with Puccini’s Gianni Schicchi which will be performed by the young singers of Academy BIPO. Academy BIPO was founded two years ago and its young members have been trained mainly by Sascha Goetzel- the chief conductor and Artistic Director of Borusan Philharmonic Orchestra and director Mrs. Yekta Kara. And they’ve also attended masterclasses of opera stars such as; Luciana Serra, Renato Bruson, Giuseppe Sabbatini and Eva Mei. During these trainings they were accompanied by pianists such as Vincenzo Scalera, Fügen Yiğitgil and Barış Büyükyıldırım. As we acknowledge how much importance Leyla Gencer gave to education, we would like to thank all our teachers and Academy BIPO members for all their dedicated efforts.
One of the turning
points of Leyla Gencer’career was when she revived Donizetti’s forgotton operas
and rebrought them into the opera repertoire. Gencer sang 10 operas of
Donizetti between the years 1957–1975:
1957-Lucia di Lammermoor, 1958-Anna Bolena, 1960-Poliuto, 1964-Roberto Devereux,
1966-Lucrezia Borgia, 1967-Maria Stuarda, 1969-Belisario, 1970-Messa di
Requiem per Bellini, 1972-Caterina
Cornaro and 1975-Les Martyrs...Almost
all of these operas were reincluded in the opera repertoire thanks to the
efforts of Leyla Gencer. Tonight, at the second part of our concert: we’ll
perform excerpts from some of Gencer’s signature operas such as Maria Stuarda, Roberto Devereux and Anna
Bolena with the presence of very special Turkish opera singers who’ve been
singing at theatres all around the world and that had the chance to work with Leyla
Gencer. Whilst we commemorate Leyla
Gencer at the tenth year of her passing by, we also wanted to share the
recordings of these three operas that engraved her name gloriously in the opera
history, with a very special presentation. We’re very happy to present the new
CDs of Anna Bolena, Maria Stuarda and
Roberto Devereux that were prepared through
our cooperation with A.K. Müzik. Of course that’s not all we did to commemorate
Leyla Gencer and to share her life and art with the upcoming generations....The
book named Romanzo vero di una primadonna
which is based on Leyla Gencer’s life, written in 1986 by Franca Cella in
Italian, will now be published in English thanks to Borusan Sanat’s contributions.
And we’re also happy to announce that through the cooperation of Borusan Sanat
and Yapı Kredi Culture and Arts Publishing, another book about Leyla Gencer is
being written by Evin İlyasoğlu and will be published soon. The 9th
edition of the International Leyla Gencer Voice Competition organized by the
cooperation of Istanbul Foundation of Culture and Arts, Borusan Sanat and
Accademia della Scala, will once again be held in September to present new
stars into the opera world. And we’d be more than happy, if we can manage to commemorate
and honour Leyla Gencer well, through all these concerts, books, CDs and
cooperations.
2018.10.09
© Ahmet Etem Erenli [Borusan Turuncu]
An Opera Diva: Leyla Gencer
I met Leyla Gencer
in England for the first time. This encounter wasn’t in person of course. I
bought a record of hers from the Tower Records store in London. It was a
longplay of Verdi’s Rigoletto where
Gencer was singing the leading soprano role. That performance, which was
recorded live in Buenos Aires (1961), is still one of my favourite recordings.
I met Gencer in person in the beginning of the 90s when she became the head of the Board of the Trustees of the Istanbul Foundation of Culture and Arts, where I used to work. Thanks to my knowledge of her records also, we became very close in just a few years. Our close relationship continued until her passing away. We used to make phone calls between Milan and Istanbul almost everyday and we mostly talked about her recordings that were transferred from LPs to CDs.
Leyla Gencer who was a unique diva of the 20th century, had a very special place in the opera history. She performed 74 operas at 66 different theatres. Not only did she perform more than 800 times and became one of the most active artists of her time, but she was also known as a pioneer artist thanks to all the operas that she revived and brought back into the current opera repertoire. Her interpretation style called “Gencerate” is even more appreciated today than before.
Leyla Gencer was different from the other 20th century’s divas and she held a very special place among them. She introduced the Gencerate style to opera interpretation.
Apart from being an excellent singer, Gencer also had a wonderful ability to act and she fulfilled all the requirements of the roles that she played. Since she could easily combine her great acting skills with her voice and interpretation, she also earned the title acting singer that had become popular in the 20th century thanks to the achievements of Maria Callas.
I met Gencer in person in the beginning of the 90s when she became the head of the Board of the Trustees of the Istanbul Foundation of Culture and Arts, where I used to work. Thanks to my knowledge of her records also, we became very close in just a few years. Our close relationship continued until her passing away. We used to make phone calls between Milan and Istanbul almost everyday and we mostly talked about her recordings that were transferred from LPs to CDs.
Leyla Gencer who was a unique diva of the 20th century, had a very special place in the opera history. She performed 74 operas at 66 different theatres. Not only did she perform more than 800 times and became one of the most active artists of her time, but she was also known as a pioneer artist thanks to all the operas that she revived and brought back into the current opera repertoire. Her interpretation style called “Gencerate” is even more appreciated today than before.
Leyla Gencer was different from the other 20th century’s divas and she held a very special place among them. She introduced the Gencerate style to opera interpretation.
Apart from being an excellent singer, Gencer also had a wonderful ability to act and she fulfilled all the requirements of the roles that she played. Since she could easily combine her great acting skills with her voice and interpretation, she also earned the title acting singer that had become popular in the 20th century thanks to the achievements of Maria Callas.
The Unforgettable Success Stories of Leyla Gencer
Actually the
“trend” of reviving forgotten operas began when Maria Callas’ performance of Anna Bolena at La Scala attained a
sensational success in 1957. During an interview Gencer said that “It was a
trend which I followed”. Gencer was the person who managed to carry out this
trend with great success. Although it was Callas who revived Anna Bolena at La Scala, it was Gencer
who made the opera popular among greater audiences. During that period
which began with Anna Bolena and
so called The Donizetti Renaissance, Gencer proved herself to be the obvious
queen of the belcanto repertoire, by singing not only Anna Bolena, but also Donizetti’s forgotten operas such as Maria Stuarda, Poliuto, Les Martyrs,
Lucrezia Borgia, Belisario, Roberto Devereux and Caterina Cornaro at the major opera houses.
In the 60’, when Gencer was at the peak of her career, she began singing 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 Siciliani, so each role that she sang was even more challenging from the other.
Hereby, we must definitely mention Macbeth; an opera that was very important in Gencer’s career. Gencer, who was absolutely the most impressive Lady Macbeth after Callas, successfully sang the role at the Palermo Theater for the first time in 1960; which was then followed by performances at La Scala, Venice, Florence, Rome, Cagliari, Treviso, Montova, Como, Livorno and at the Festival of the Maggio Musicale Fiorentino where she sang fabulously under the baton of Riccardo Muti. Although it’s been 50 years since Gencer’s last Lady Macbeth performance, there hasn’t been another soprano who could overshadow her in all these years. Unfortunately, Gencer sang this opera only in Italy; the other European audiences and the American audience couldn’t witness that magnificent interpretation live.
Probably Gencer’s most loved and appraised Donizetti performance was Lucrezia Borgia. After singing it for the first time in Naples (1966) she performed it in Rome (1967), La Scala-Milan (1970), Bergamo (1971), Dallas (1974) and Florence(1979) and so once again she managed to introduce a very less known opera to the classical music audience.
After the success of Lucrezia Borgia, Gencer attained another sensational success at the opening night of the Maggio Musicale Fiorentino Festival on May 2nd 1967 with her performance as Maria Stuarda. Her performance was so powerful that, the famous phrase Figlia impura di Bolena almost had a shocking effect on the audience and the whole audience gave her a standing ovation at the end of the second act. After the succesful performance of Maria Stuarda, she was once again involved in another unknown opera: Donizetti’s Belisario. By singing the role of Antonia in this opera, which was almost never performed and is set in Byzantium, she once again gained another career victory.
Currently, there are over 200 opera, concert and recital recordings of Gencer in LP, CD and DVD formats. This high number of records brought her the famous title Queen of Pirates.
In 1957, Gencer first set foot in La Scala Theater, which later she would refer as “home”, where she worked for more than 50 years. She spent the most of those years on stage and she worked there continuously until May 10th 2008, the date of her death. Her last opera performance was Francesco Gnecco’s La Prova d’un Opera Seria at La Fenice Theater of Venice in 1985; but she continued to give recitals until 1992.
In 1982, Gencer focused more on teaching; she worked as the Artistic Director of As.Li.Co. between the years1983-1989. And in 1997, she became the Artistic Director of Accademia della Scala where she continued to work until her death.
While Gencer was teaching at As.Li.Co. and at Accademia della Scala, she continued working on forgotten operas. Thanks to her thorough researches, Vivaldi’s opera Il Giustino was staged after so many years. She worked on less popular operas and she trained many young singers. As she was the Head of the Board of Trustees of Istanbul Foundation of Culture and Arts, that organizes Istanbul Music Festival, she worked as a consultant and the artistic director for Bertoni’s Orfeo which was conducted by Claudio Scimone and staged by Pier Luigi Pizzi in 1997 and also for Vivaldi’s Bajazet, another forgotton opera, which was conducted by Fabio Biondi and staged once again by Pier Luigi Pizzi in 1999.
Leyla Gencer was an artist who stood up for her revelations of forgotton operas which were once again included in the opera repertoire.
Throughout her career, Gencer also gave many seminars.
Here are some of them: Gerssan, Aosta (Il Trovatore), Venezia (Donizetti), 1982 Trieste (Donizetti), 1985 Montpellier Singing Academy (Rossini, Bellini and Donizetti), 1985 Savona (Donizetti), 1987 Teatro La Fenice Venezia (İtalian Opera), 1989 Istanbul (Donizetti), 1989 Arenzano (Donizetti), 1990 Istanbul (Rossini)
In 1995, the first edition of Leyla Gencer Voice Competition was realized in Istanbul thanks to the initiative and hard work of Mr. Aydın Gün, who was Leyla Gencer’s close friend and the Artistic Director of Yapı Kredi Festival. The competition was planned to be biennial but in 1999 its third edition had to be postponed because of the major earthquake in Turkey and it was then realized in 2000. After that, Yapı Kredi Bank quit sponsoring the competition and the competition couldn’t be realized until 2006, when Istanbul Foundation of Culture and Arts took over its organization in collaboration with Accademia della Scala. Since that year, Borusan Philharmonic Orchestra also became the resident orchestra of the competition. Some of the past prize winners such as; Pretty Yende, Anita Rachvelishvili, Nino Machaidze, George Gagnidze, Enkelejda Shkosa and Marcello Álvarez have became celebrity opera singers.
After Leyla Gencer’s passing away on May 10th 2008, she was commemorated every year by Borusan Sanat with a seasonal concert of Borusan Philharmonic Orchestra (BIPO). Having performed operas such as La Traviata, Carmen, Salome, Tosca, Aida, Der Rosenkavalier, Norma and Gianni Schicchi, the orchestra also accompanied the winners of the Leyla Gencer Voice Competition in various concerts. In addition to these activities, Borusan Sanat also ordered two books; one in English and one in Turkish, to be relased in 2018; on the 10th anniversary of her death. Both books will be released in October 2018. Also, an exhibition entitled “Primadonna and Solitude” was curated by Yekta Kara in collaboration with IKSV and it was held at the Borusan Music House between 11 September and 10 October.
There are several books written for Leyla Gencer: Romanzo vero di una primadonna (Franca Cella, 1986; English version, 2018), A Gift to Leyla Gencer Armağan (Zeynep Oral, 1995), Leyla Gencer: A Story of Passion (Zeynep Oral, 1995; English version, 2008; İtalian version, 2011), Leyla Gencer and the Opera World (Ünal Öziş, 2006), Leyla Gencer 50 Years at La Scala (Franca Cella, 2008).
In the 60’, when Gencer was at the peak of her career, she began singing 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 Siciliani, so each role that she sang was even more challenging from the other.
Hereby, we must definitely mention Macbeth; an opera that was very important in Gencer’s career. Gencer, who was absolutely the most impressive Lady Macbeth after Callas, successfully sang the role at the Palermo Theater for the first time in 1960; which was then followed by performances at La Scala, Venice, Florence, Rome, Cagliari, Treviso, Montova, Como, Livorno and at the Festival of the Maggio Musicale Fiorentino where she sang fabulously under the baton of Riccardo Muti. Although it’s been 50 years since Gencer’s last Lady Macbeth performance, there hasn’t been another soprano who could overshadow her in all these years. Unfortunately, Gencer sang this opera only in Italy; the other European audiences and the American audience couldn’t witness that magnificent interpretation live.
Probably Gencer’s most loved and appraised Donizetti performance was Lucrezia Borgia. After singing it for the first time in Naples (1966) she performed it in Rome (1967), La Scala-Milan (1970), Bergamo (1971), Dallas (1974) and Florence(1979) and so once again she managed to introduce a very less known opera to the classical music audience.
After the success of Lucrezia Borgia, Gencer attained another sensational success at the opening night of the Maggio Musicale Fiorentino Festival on May 2nd 1967 with her performance as Maria Stuarda. Her performance was so powerful that, the famous phrase Figlia impura di Bolena almost had a shocking effect on the audience and the whole audience gave her a standing ovation at the end of the second act. After the succesful performance of Maria Stuarda, she was once again involved in another unknown opera: Donizetti’s Belisario. By singing the role of Antonia in this opera, which was almost never performed and is set in Byzantium, she once again gained another career victory.
Currently, there are over 200 opera, concert and recital recordings of Gencer in LP, CD and DVD formats. This high number of records brought her the famous title Queen of Pirates.
In 1957, Gencer first set foot in La Scala Theater, which later she would refer as “home”, where she worked for more than 50 years. She spent the most of those years on stage and she worked there continuously until May 10th 2008, the date of her death. Her last opera performance was Francesco Gnecco’s La Prova d’un Opera Seria at La Fenice Theater of Venice in 1985; but she continued to give recitals until 1992.
In 1982, Gencer focused more on teaching; she worked as the Artistic Director of As.Li.Co. between the years1983-1989. And in 1997, she became the Artistic Director of Accademia della Scala where she continued to work until her death.
While Gencer was teaching at As.Li.Co. and at Accademia della Scala, she continued working on forgotten operas. Thanks to her thorough researches, Vivaldi’s opera Il Giustino was staged after so many years. She worked on less popular operas and she trained many young singers. As she was the Head of the Board of Trustees of Istanbul Foundation of Culture and Arts, that organizes Istanbul Music Festival, she worked as a consultant and the artistic director for Bertoni’s Orfeo which was conducted by Claudio Scimone and staged by Pier Luigi Pizzi in 1997 and also for Vivaldi’s Bajazet, another forgotton opera, which was conducted by Fabio Biondi and staged once again by Pier Luigi Pizzi in 1999.
Leyla Gencer was an artist who stood up for her revelations of forgotton operas which were once again included in the opera repertoire.
Throughout her career, Gencer also gave many seminars.
Here are some of them: Gerssan, Aosta (Il Trovatore), Venezia (Donizetti), 1982 Trieste (Donizetti), 1985 Montpellier Singing Academy (Rossini, Bellini and Donizetti), 1985 Savona (Donizetti), 1987 Teatro La Fenice Venezia (İtalian Opera), 1989 Istanbul (Donizetti), 1989 Arenzano (Donizetti), 1990 Istanbul (Rossini)
In 1995, the first edition of Leyla Gencer Voice Competition was realized in Istanbul thanks to the initiative and hard work of Mr. Aydın Gün, who was Leyla Gencer’s close friend and the Artistic Director of Yapı Kredi Festival. The competition was planned to be biennial but in 1999 its third edition had to be postponed because of the major earthquake in Turkey and it was then realized in 2000. After that, Yapı Kredi Bank quit sponsoring the competition and the competition couldn’t be realized until 2006, when Istanbul Foundation of Culture and Arts took over its organization in collaboration with Accademia della Scala. Since that year, Borusan Philharmonic Orchestra also became the resident orchestra of the competition. Some of the past prize winners such as; Pretty Yende, Anita Rachvelishvili, Nino Machaidze, George Gagnidze, Enkelejda Shkosa and Marcello Álvarez have became celebrity opera singers.
In Memory of Leyla Gencer
After Leyla Gencer’s passing away on May 10th 2008, she was commemorated every year by Borusan Sanat with a seasonal concert of Borusan Philharmonic Orchestra (BIPO). Having performed operas such as La Traviata, Carmen, Salome, Tosca, Aida, Der Rosenkavalier, Norma and Gianni Schicchi, the orchestra also accompanied the winners of the Leyla Gencer Voice Competition in various concerts. In addition to these activities, Borusan Sanat also ordered two books; one in English and one in Turkish, to be relased in 2018; on the 10th anniversary of her death. Both books will be released in October 2018. Also, an exhibition entitled “Primadonna and Solitude” was curated by Yekta Kara in collaboration with IKSV and it was held at the Borusan Music House between 11 September and 10 October.
There are several books written for Leyla Gencer: Romanzo vero di una primadonna (Franca Cella, 1986; English version, 2018), A Gift to Leyla Gencer Armağan (Zeynep Oral, 1995), Leyla Gencer: A Story of Passion (Zeynep Oral, 1995; English version, 2008; İtalian version, 2011), Leyla Gencer and the Opera World (Ünal Öziş, 2006), Leyla Gencer 50 Years at La Scala (Franca Cella, 2008).
2023.05.25
© Ahmet Etem Erenli [Borusan Sanat]
Değerli Sanatseverler,
Leyla Gencer, 2008 yılındaki vefatından bu yana yurtiçinde ve yurtdışında çeşitli etkinliklerle anıldı. Başta operanın başkenti Milano’nun La Scala Operası olmak üzere birçok opera evi, etkinliklerini ona adadı; kendisinin anısına festivaller gerçekleştirildi ve bazı kültür kurumları, kütüphanelerinin adını “Leyla Gencer Kütüphanesi” olarak değiştirdi. Rusya, Brezilya, Amerika Birleşik Devletleri, İtalya ve birçok ülkede adına hazırlanan radyo programları yapıldı.
Bu geçen sürede Borusan Sanat olarak Gencer’i pek çok etkinlik ile andık. Her yıl bir başka yapıtı programımıza aldığımız anma konserlerimizde Tudor Kraliçeleri Üçlemesi (Maria Stuarda, Anna Bolena, Roberto Devereux), Gianni Schicchi, Güllü Şövalye (Der Rosenkavalier), Norma, Aida, Tosca, Salome ve La Traviata operalarına yer verdik. Borusan Sanat olarak Gencer’in yaşamöyküsünü okuyucuyla buluşturan Evin İlyasoğlu’nun “Ben, Leyla Gencer” (Yapı Kredi Yayınları iş birliğiyle), Zeynep Oral’ın “Tutkunun Romanı” kitabının İngilizce baskısı “A Story of Passion” (İKSV iş birliğiyle), Franca Cella’nın “The Story of a Primadonna” (Bolis Edizioni iş birliğiyle) kitaplarına destek olduk.
AK Müzik ile birlikte Donizetti Queens (Maria Stuarda, Anna Bolena, Roberto Devereux) albümünü CD olarak piyasaya çıkardık. İKSV, La Scala Akademisi ve Borusan Sanat olarak “Leyla Gencer Şan Yarışması”nı ortak yapmaya başladık. Bununla birlikte Borusan Müzik Evi olarak, Yekta Kara’nın küratörlüğünde İKSV tarafından gerçekleştirilen “Leyla Gencer: Primadonna ve Yalnızlık” adlı serginin mekân sponsoru olduk. Bu yıl ise kendisini Rossini’nin Stabat Mater’i ile anıyoruz.
Leyla Gencer, kariyerinde Donizetti ve Verdi’nin Requiem’lerinin yanı sıra Rossini’nin başyapıtlarından biri olarak kabul edilen Stabat Mater’i de seslendirdi. 15 ve 16 Şubat 1968 tarihinde dünyanın önde gelen orkestralarından biri olan Bavyera Radyo Senfoni Orkestra ve Korosu ile gerçekleşen bu konserler, Münih’te Herkulessaal’de seslendirildi. Konseri, İtalyan şef Mario Rossi yönetti. Konserin diğer solistleri ise Bianca Maria Casoni (mezzosoprano), Luigi Alva (tenor) ve Forbes Robinson (bas) idi.
Borusan Sanat olarak programlarımızda Leyla Gencer’e her zaman özel bir yer ayırıyoruz. 2009’dan bu yana Leyla Gencer’i bize ve opera dünyasına kattığı değerler için anıyor; onun müziğe ve operaya olan sevgisini her yıl bir kez daha kutluyoruz…
Ahmet Erem Erenli
Borusan Kocabıyık Vakfı
Genel Koordinatör
Borusan Kocabıyık Vakfı
Genel Koordinatör
