Leyla Gencer Archive: Events [1970

Events [1970 - 1979]

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1970.05.11

TEATRO DONIZETTI, BERGAMO

CONCERT

Festival Pianistico Internazionale di Brescia e Bergamo

International Piano Festival of Brescia and Bergamo

Photo ©: ALFONSO MODENESI

ARCHIVIO MUSEO DELLE STORIE BERGAMO ©

https://archivio.museodellestorie.bergamo.it/scheda/ritratto-di-gruppo-con-maurizio-pollini-e-dino-ciani/

Ritratto di gruppo con Maurizio Pollini, Leyla Gencer e Dino Ciani

Group portrait with Maurizio Pollini, Leyla Gencer and Dino Ciani

Materia e tecnica / Material and technique:

gelatina bromuro d'argento/pellicola (acetato)

silver bromide gelatin/film (acetate)

Colore / Colour: b/n / b/w

Formato / Format: 2,4x3,6

Indicazioni sul soggetto / Information on the subject

ritratto di Maurizio Pollini e Dino Ciani con Leyla Gencer in un camerino del teatro Donizetti di Bergamo.

portrait of Maurizio Pollini and Dino Ciani with Leyla Gencer in a dressing room at the Donizetti Theatre in Bergamo.

Indicazioni sull'oggetto / Information on the object

Il fotografo ha selezionato il presente fotogramma apponendo un simbolo sul provino stampato a corredo del negativo.

The photographer selected this frame by placing a symbol on the contact sheet printed alongside the negative.

Notizie storico critiche / Critical historical news

La fotografia è stata realizzata da Alfonso Modonesi al Teatro Donizetti di Bergamo ed è datata dall'Autore stesso al 11 maggio 1970.
Gli scatti della serie, tutti ambientati al Teatro Donizetti di Bergamo, sono giunti in Museo raggruppati sotto l'unica dicitura "Azienda Autonoma - Concerti Donizetti".
L'Azienda Autonoma, con sede in viale Vittorio Emanuele II, 20 a Bergamo, era l'ente che, tra le altre attività, gestiva per la città gli eventi proposti dal "Festival Pianistico Internazionale di Brescia e Bergamo" organizzazione attiva dal 1964.

The photograph was taken by Alfonso Modonesi at the Donizetti Theater in Bergamo and is dated by the photographer himself as May 11, 1970.

The shots in the series, all taken at the Donizetti Theater in Bergamo, were brought to the Museum grouped under the single heading "Azienda Autonoma - Concerti Donizetti."

The Azienda Autonoma, located at Viale Vittorio Emanuele II, 20 in Bergamo, was the organization that, among other activities, managed the events offered by the "International Piano Festival of Brescia and Bergamo" for the city, an organization active since 1964.

Iscrizioni / Registrations

Al fronte del foglio di provini stampati a corredo dei negativi è presente l'annotazione manoscritta in inchiostro: "Concerto / Dino Ciani / 5/11/70".

On the front of the sheet of contact sheets printed to accompany the negatives is the handwritten note in ink: "Concert / Dino Ciani / 5/11/70".

Bibliografia in rete / Online bibliography

Festival Pianistico Internazionale di Brescia e Bergamo - 14/12/2020

Informazioni / Information

Materiale datato al / Material date to: 11 maggio 1970

Tipologia / Type: negativo

Inventario / Inventory: MOD_neg_022_0428

Autore / Author: Modonesi, Alfonso

Persone/Enti / People/Entities: Pollini, Maurizio Ciani, Dino Çeyrekgil , Ayşe Leyla

Azienda Autonoma di Soggiorno e Turismo Bergamo

Livello di descrizione / Level of description: Singola foto

Fondo: Fondo Alfonso Modonesi

1970 October

BASILICA DI SANTA MARIA MAGGIORE, BERGAMO

VISITING DONIZETTI'S TOMB

ARCHIVIO MUSEO DELLE STORIE BERGAMO ©

https://archivio.museodellestorie.bergamo.it/scheda/omaggio-di-leyla-gencer-alla-tomba-di-gaetano-donizetti/

Omaggio di Leyla Gencer alla tomba di Gaetano Donizetti

Leyla Gencer's tribute at Gaetano Donizetti's tomb

Indicazioni generali sul soggetto / General information on the subject

Serie di scatti che ritraggono Leyla Gencer, accompagnata da varie persone, mentre omaggia la tomba di Gaetano Donizetti.

A series of shots portraying Leyla Gencer, accompanied by various people, as she pays homage to Gaetano Donizetti's tomb

Indicazioni sull'oggetto / Information on the object

I negativi sono conservati nella busta originale n. 524 della Rubrica 12 anno 1970.

The negatives are kept in the original envelope no. 524 of Section 12, year 1970.

Notizie storico critiche / Critical historical news

Il servizio fotografico è composto da 9 scatti: ne sono stati digitalizzati e catalogati 4.

Nota: la prima immagine sopra appartiene all'archivio LG

Il servizio fotografico è stato realizzato da Fausto Asperti, titolare dello Studio fotografico Foto Express di Bergamo, nel 1970.

Non è stato possibile identificare con maggiore precisione la circostanza delle riprese né fornire una datazione più puntuale.

The photo shoot consists of 9 shots: 4 have been digitized and catalogued.

Note: The first picture above belongs to LG Archive

The photo shoot was taken by Fausto Asperti, owner of the Foto Express photography studio in Bergamo, in 1970.

It was not possible to identify the circumstances of the shooting more precisely or provide a more precise date.

Iscrizioni / Registrations

Iscrizioni manoscritte sulla busta di conservazione originale:
- a penna blu "OMAGGIO FLOREALE / GAETANO DONIZETTI / S.M. MAGGIORE" (in alto, di Fausto Asperti?).

Handwritten inscriptions on the original conservation envelope:

- in blue pen "HOMAGGIO FLOREALE / GAETANO DONIZETTI / S.M. MAGGIORE" (above, by Fausto Asperti?).

Stemmi, timbri e marchi / Coats of arms, stamps and brands

Timbri sulla busta di conservazione originale a partire dall'alto verso il basso:

- a inchiostro blu "0524";
- a inchiostro blu "1970".

Stamps on the original conservation envelope, from top to bottom:

- in blue ink "0524";

- in blue ink "1970".

Voci correlate / Related entries

Ritratti di gruppo

Monumento funebre a Gaetano Donizetti (Bergamo, Basilica di S.M. Maggiore)

Monumenti funebri

Donne

Informazioni / Information

Materiale datato al/Material dated to: 1970

Tipologia/Typology: negativo/negative

Inventario/Inventory: Da ASP_1970_0524_0001 a ASP_1970_0524_0004

Autore/Author: Asperti, Fausto Foto Express (studio fotografico)

Persone/Enti/People/Entitlies: Çeyrekgil , Ayşe Leyla

Luoghi/Places: Bergamo, Basilica di Santa Maria Maggiore

Livello di descrizione/Description level: Servizio fotografico/Photo shoot

Fondo: Fondo Fausto Asperti

1970.11.05

TEATRO ALLA SCALA

CONCERT

Riccardo Muti’s first concert with La Scala Philharmonic Orchestra

Orchestra e Coro del Teatro alla Scala

Riccardo Muti conductor
Roberto Benaglio chorus master

Dino Ciani piano

Bettinelli Varianti per orchestra
Beethoven Fantasia in do min. per pianoforte, coro e orchestra op. 80
Hindemith Konzertmusik op. 50 per archi e ottoni
Strauss R. Tod und Verklärung

1970.11.05

LEYLA GENCER’S HOUSE (24.00)

LATE NIGHT OPERA: LA TRAVIATA

Complete performance of La Traviata at Gencer's home

Leyla Gencer Violetta Valery

Placido Domingo Alfredo Germont
Maurizio Pollini Giorgio Germont
Dino Ciani Piano and chorus

As I wrote in detail at the “Queen of Pirates” section which you can find at the second page of the Blog, Renato Caccamo who was a big fan of Leyla Gencer recorded all of her performances. In addition to being a prosecuting attorney in Milan, he was also a close friend of all the renowned artists of that era.

Gencer at Duomo with Caccamo, Pizzi and a friend

In November 1970 (it’s indicated as December-1969 in the video below), the Milan prosecuter Renato Caccamo was at the concert of La Scala Philharmonic Orchestra directed by Riccardo Muti along with his friends. Some of those friends were: Leyla Gencer, Placido Domingo and Maurizio Pollini. The pianist Dino Ciani was the soloist of the concert.

with Domingo in another date and place

with Pollini in Milan's Teatro Archimboldi

When the concert ended, Muti left and Gencer, Domingo, Ciani, Pollini, Caccamo got together (probably at Gencer’s apartment) and they sang whole La Traviata from the beginning until the end. And that midnight concert was recorded by Caccamo. You can listen to Gencer’s interpretation Addio del passato in the video below. This video is also very interesting since it also contains some information about Gencer.

Addio del passato

1970.11.05

Jeffrey Swann remembers Renato Caccamo

2018.01.18

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1972.06.12-17

PICCOLO TEATRO, MILANO

3rd INTERNATIONAL CONGRESS OF VERDI STUDIES

Round Table: Psychology of Verdi’s characters (15 June)

Leyla Gencer (soprano), Marcello Cesa-Bianchi (psychologist),

Lorenzo Arruga (musicologist), Giorgio Strehler (stage director),

Gino Negri (composer)

Photo © Teatro alla Scala / ERIO PICCAGLIANI, Milano

Abbado, Simionato, Domingo

Photo © Teatro alla Scala / ERIO PICCAGLIANI, Milano

CORRIERE DELLA SERA

1972.06.17

CORRIERE DELLA SERA

1972.08.10

OPERA MAGAZINE

1972 October

Milan. The third International Congress of Verdi Studies was to have been held in New York, but technical difficulties led Sir Rudolf Bing to cancel the invitation. On short notice, the Institute of Verdian Studies arranged for La Scala to play host, and so instead of gathering daily in the Metropolitan's List Hall, the Congressisti were received in the white-and-gold elegance of the Piccola Scala. In spite of the last-minute change of venue, 61 Verdians managed to make the Congress, coming from 12 different countries. At all of the sessions, too, there was an audience of local enthusiasts, who came out in especially large numbers for the 'round-tables' at which popular artists like Giulietta Simionato, Placido Domingo, Claudio Abbado, and Leyla Gencer were present.

On the opening day, there were the usual speeches: Italy's Minister of Tourism; Milan's member of the city council for culture; Paolo Grassi, the new general manager of La Scala; Professor Bruno Molajoli, president of the Institute for Verdi Studies. And then, the first of the papers to be read: Guglielmo Barblan's analysis of the sentiment of honour in Verdian dramaturgy.

The Congress, like its two predecessors, had an announced theme: 'The theatre and the music of Giuseppe Verdi' —a theme broad enough to comprehend almost anything one wanted to say about the Verdi canon, apart from merely biographical data. Some of the papers, in fact, seemed to have more to do with the music than with the theatre; but departure from the theme did not make these papers the less interesting. In some cases, the papers were, in fact, progress reports on various musicological undertakings. Hans Busch indicated the problems and the hopes involved in his planned complete documentation of the gestation of Aida. David Lawton and David Rosen discussed the revisions and added or substituted arias that Verdi wrote for later performances of some of the early works (eventually these scholars' enquiry will lead, one hopes, to a complete list of Verdi oddments).

Other scholars offered technical examinations of the operas themselves. Roman Vlad — composer as well as scholar — gave some arresting examples of Verdi's free use of tonality. Pierluigi Petrobelli spoke of the use of certain keys associated with certain characters in II Trovatore, and Martin Chusid illustrated the significant use of the key of F major in La Traviata. The librettists and the dramatic sources of the librettos, naturally, also came in for considerable discussion. Two papers centred around the figure of Salvatore Cammarano, and Jose Lopez-Cabo examined Verdi's Spanish sources and, by the way, Verdi's relations with Spain in general.

The history of Verdian performances was enlightened by papers like Leonardo Pinzauti's on Aida and Lohengrin in Florence a century ago, and Giorgio Gualerzi's on the development of Verdian theatre in the post-war period. Other papers revealed recent biographical discoveries. Marcello Conati indicated the problems of establishing a Verdi bibliography, and Ornella Zanuso, editor of the Italian magazine Discoteca, spoke about the Verdian discography of the last decade.

The papers were many: close to 40. They will all eventually be published (along with four papers from Con gressisti unable to attend, who sent copies of their reports) in the Atti, which will make a welcome addition to the shelf of handsome and stimulating publications of the Institute. Naturally, the Congress was not all meetings and papers. La Scala's Museum organized a fascinating display of Verdian documents in the foyer of the theatre. Though the opera season was over, there were concerts which the delegates were invited to attend, and there were also other invitations: a sumptuous lunch given by the city of Milan, a dinner given by La Scala, and a grand buffet-supper party in the home of Ornella Zanuso, where delegates mingled with 'le tout Milan'. Guests of honour were Placido Domingo and Claudio Abbado, who were the recipients of the annual Discoteca prizes for outstanding interpreters. The prizes, gold plaques — were awarded in the course of the evening.

MİLLİYET WEEKLY ART MAGAZINE

1972.09.27

1972.10.05

PICCOLO TEATRO, MILANO

KING LEAR

CORRIERE DELLA SERA

1972.11.07

1972.10.14

MUSEO TEATRALE ALLA SCALA “L’ARTE DI GIANNINA ARANGI LOMBARDI”

CONFERENCE BY RUDOLFO CELETTI

1972.11.20

NEW JERSEY

AFTER PARTY

A Reception after her performances of Attila

with Charles Handelman, New Jersey

A few anecdotes from Charles Handelman:

I wish to repeat my two Gencer stories. I know some of you have heard them ad nauseum, so just skip over this, go to Youtube and listen to the great diva in some of her 567 roles.

1. After Attila, we had a party for her, and all photos of "RIVALI" were taken down. Only Leyla remained! (She even signed my "Pirata Catalogue card."). Also, she almost caught the "shrine-maker" in her mink! Shortly after, Raina Kabaiwanska visited, looked at the walls, and exclaimed, "What is this, a shrine?"

2. The "shrine concept" was not so far-fetched, because the person who made sure Leyla was never denigrated was present at one of our opera parties. We were listening to "D'amor sull'ali rosee" as sung by Callas and Gencer. Innocently, a friend felt that Callas had some better phrasing, or whatever.

The Leyla nutcase jumped up (maybe drunk, although I do not think it mattered), and ordered my friend out of the house! My friend said, "BUT I LIVE HERE!" The guy said, “So what. Get out!!!!!!!!!!!!!!!!"

Don't you see how elegant and sophisticated opera lovers are???

Once this guy started yelling (at my house) about the Gencer vs. Sills Devereux. Happily, my Madre came in and calmed him down, or else I might have had to have my apt. re-decorated!

1972.12.07

TEATRO ALLA SCALA, MILANO

OPENING GALA

UN BALLO IN MASCHERA