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SON SAAT DAILY NEWSPAPER
1948.04.14
AKŞAM DAILY NEWSPAPER
1948.04.16
Hollanda şan müsabakalarına iştirak edecek Türk sanatkârı
Hollanda’da Şeveningen’de yapılacak müsabakalardan şan kısmına iştirak etmek üzere «Kontiya» müessesesinin teşebbüsleriyle Türk Philips şirketinin bir Türk sanatkârını yol, iaşe ve ibate masraflarının karşılığı olarak 1500 T. lirasını taahhüd etmesi üzerine İstanbul konservatuvarından seçilen Leylâ Gençer ay sonunda uçakla hareket etmek üzere hazırlıklara başlamıştır.
ISTANBOUL DAILY NEWSPAPER
1948.04.17
AKŞAM DAILY NEWSPAPER
1948.05.26
ŞEVKET RADO
Şiveningen’in meşhur mendireği
Hollanda’nın Şiveningen şehrinde 19 mayısta başlamış olan Milletlerarası Musiki müsabakası meraklılar tarafından alâka ile takip edilmektedir. Bu müsabakayı tertip edenler. Şehrimizde ki Kontiya müessinin tavassutu üzerine bir Türk sanatkârının da bu müsabakaya İştirakini kabul elmişler, yol ve İaşe masrafını da üzerlerine aldıklarından Konservatuvar ses sanatkârlarından Leylâ Gencer müsabakalara katılmak üzere Şiveningen'e gitmiştir. Milletlerarası musiki müsabakası 29 mayısta sona ereceğine göre, neticeyi öğrenmek için hafta sonuna kadar beklemek lâzım geliyor.
Milletlerarası Musiki müsabakası dolayısıyla Hollanda’nın Şiveningen şehri ve meşhur plâjı hakkında gelen malûmat hayli alâka çekicidir. Şiveningen, Hollanda’nın başşehri Lahey’in hemen yanı başındadır. Hem bu şehrin hem de Hollanda’nın en güzel plâjıdır. Tarihi 13. asra kadar uzanıyor. Eski şehir 18 net asırda suların hücumuna maruz kaldığından ortadan kalkmış, 17. asırda 900 nüfuslu 200 hanelik bir köy halinde yeniden canlanmıştır. Eski şehre ait evlerin ve kilisesinin harabelerine bugün dahi surlar İçinde tesadüf edilmektedir.
Şiveningen balıkçılığıyla da meşhurdur; bugün hatırı sayılır bir balıkçı filosu vardır. Ayrıca tahlisiyecilik tarihinde de mühim rol oynamıştır. Kazaya uğramış gemileri kablo atarak kurtarmak tecrübeleri ilk defa burada yapılmıştır. Kırmızı beyaz ışık saçan meşhur feneri 1875’te yapılmıştır. 36 metre yüksekliğinde ve 164 basamaklı demirden merdiveniyle bu fener mimari bakımından 19 uncu asrın şaheserleri arasında sayılıyor.
İki harp arasında
Cihan harbinden sonra Şiveningen Avrupa’nın, hatta dünyanın en meşhur plajlarından ve kültür merkezlerinden biri olmuştu. Plâjı, gazinosu, sirki, dansingi daima eğlenceliydi. Dünyanın en meşhur orkestra şeflerinin idaresinde konserler, danslı suareler, baleler tertip ediliyor, meşhur solistler davet ediliyor, buraya gelenler aynı zurnanda Şiveningen’in hemen arkasında bulunan Lahey şehrini ve müzelerini gezme imkânını da buluyorlardı. İkinci Cihan harbinde Şiveningen kale haline getirilmiş, Lahey’den, içi su dolu bir hendek ve beton istihkâmlarla ayrılmış, böylece bütün cazibesini kaybetmiştir. Hatta harpten sonra buraya gelen Laheyliler plâjı mayınlarla dolu buldular. Hollandalılar plâjı kısa zamanda temizleyerek ve yanan yuvarlak gazinosu Şiveningen'i eski haline sokmağa çalışıyorlar. Mümkün olan her şey yapıldığı halde bu küçük şehrin harpte aldığı yaraların izlerini hala görmek kabildir.
Meşhur gazino
Bu sene yapılan Milletlerarası Musiki müsabakası Şiveningen şimdiye kadar gördüğü kültür tezahürlerinin şüphesiz en büyüğüdür. Bu müsabakaların yapılacağı meşhur Şiveningen gazinosunun da meraklı bir tarihçesi vardır. Gazino Hollanda’nın meşhur setleri üzerine inşa edilmiştir. Lahey belediyesi İlk defa 1814’te burada resmi bir plaj açmağa karar vererek ilk deniz hamamlarını kurmuştu. Kırk sene sonra eski test sat tamamen yıkılarak yeni gazino yapılmıştı, İtalyan Rönesans üslûbun da olan bu muazzam gazino 1885’te halka açılmış ve bir sene sonra Berlin Filârmonik orkestrasının burada bütün bir sene verdiği konserler sayesinde bir kültür merkezi halini almıştır. Fakat talihsizliğe bakın ki aynı senenin sonunda bir petrol lâm bası yüzünden çıkan bir yangın neticesinde bu gazino tamamen yandığın dan yenisini yapmak icap etmiş ve yeni bina gene Berlin Filârmonik orkestrasının konserleriyle açılmıştır.
Seneler geçtikçe gazino genişletilmiş, bir bar, bir mağazalar galerisi, bir mendirek ve ucunda yuvarlak bir gazino yapılmış, nihayet 1904’te 2000 kişilik muazzam bir sirk İlâve edilmiştir ki bu sirk hâlâ faaliyettedir. Denize doğru 372 metre uzanan mendireğin ucundaki yuvarlak gazino ya-, km zamanlara kadar bir İnşa harikası addediliyor ve kapısındaki bir tabelânın üzerinde şu cümle okunu yordu: «Zincirinden boşanmış dalgaların ortasında huzur».
318 çelik kazık üzerinde duran mendirek 40 seneden fazla zamandan beri denizden hiç zarar görmemiş, fakat yuvarlak gazino bir yangın neticesinde yanmıştır.
Milletlerarası Muallel müsabakası büyük gazinoda yapılmaktadır ve Şiveningen şimdiye kadar görmediği bir kalabalığın hücumu altında dünyanın musiki birincilerini seçmekle meşguldür.
COMPETITION – SCHEVENNINGEN
INTERNATIONAAL MUZIEKCONCOURS
19 - 29.05.1948
 |
with French soprano Ninnon Vallin and Spanish soprano Lola Rodriquez |
 |
| dinner at Hotel Kurhaus |
 |
| at Philips Studios |
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YENİ İSTANBUL DAILY NEWSPAPER
1950.06.17
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EV-İŞ MAGAZINE
1951 Special Issue 11
STATE THEATER MAGAZINE
1951 October
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STATE THEATER MAGAZINE No.04
1952 April
INTERVIEW BY NİZAM PAYZIN
Translation by © Ayşen Zülfikar
AMONG US
“I’m so scared of giving concerts.”
Leyla Gencer was extremely excited before her upcoming concert. It was evident that the performance scheduled in two days at the Grand Theatre Stage, consumed her thoughts entirely. She repeatedly expressed her apprehension about performing concerts.
Those who witnessed her performance for Ankara's distinguished audience two days later, would undoubtedly concur with her sentiments. However, she managed to impart her excitement onto us, yet this feeling lasted very briefly. As the initial impact waned, we found ourselves immersed in the world of diverse musical pieces brought to life by her voice. Applause... applause... and numerous encores followed. It was a resounding success, an impeccable night of music. With this triumph, the excitement of the preceding days came to an end.
‘I was raised as a concert performer.” she remarked on the day we met…
…
“With encouragement from my husband, I auditioned for The Istanbul Conservatory and received education was as a concert performer. My invaluable teacher Madam Ren Gelenbevi consistently urged me to study opera.
Upon moving to Ankara, I continued my voice lessons with M. Giannina Arangi Lombardi. One day she said, “You must certainly be singing at the opera theatre.” And she convinced me. I auditioned for the opera choir, and I was successfully admitted.
At a very unexpected time, I was given a prominent role in the upcoming staging of Cavalleria Rusticana opera. Despite lacking knowledge about stage acting and with preparations swiftly underway, the day of the first rehearsal arrived. I felt extremely shy, and my colleagues were curious about my performance. All eyes seemed to be on me, or at least, that's how I perceived it.
A I entered the stage, I prayed to God, saying; “Oh, help me God!”. Surprisingly, I began to feel calmer as soon as I set foot on the stage. My entire focus was on embodying Santuzza. My sense of time had vanished, and it was only after the applause from my colleagues that I managed to come to my senses. To my surprise, I had been extremely successful. They were applauding and congratulating me!
Santuzza, the fiancée of Turiddu, suffers and cries from time to time. When I portrayed Santuzza for the first time, I found myself consistently shedding tears while on stage. However, I'm not like that anymore."
Our
esteemed artist Leyla Gencer emphasizes that she remains true to herself offstage.
Additionally, she reflects, “Santuzza holds a bitter memory for me as well.”
“It was an exceptionally cold winter in Ankara that year. I caught a cold on my way to the Opera, and I performed that night in immense pain. I endured until the end of the performance. By the time I arrived home, I was so exhausted that I barely knew how I managed. I had to stay in bed for weeks afterwards. That night marked my final performance as Santuzza. It's a memory I could never forget."
…
It can indeed be quite challenging to make someone choose among things they love…
When you ask an artist which roles they'd like to perform or which are their favourite ones, it's similar to asking a child to choose between their mother and father…
Leyla Gencer has hard time making this choice. "I can't choose a particular opera. I love all of them," she expressed. When I insisted on receiving an answer, she said, "I would like to perform Verdi's operas, Richard Strauss' Salome, and Wagner's Elsa." But I can't choose any of them above one another; they are all operas which I love," she said, and uttered the names of the renowned operas one after another without making a particular choice.
…
“I saw Richard Strauss' Der Rosenkavalier in England, and I greatly appreciated both the cast and the audience. The sound, ballet, and production were sublime.
Comparing our opera to theirs is a bit challenging. Yet, when we consider their centuries-old tradition alongside our mere 15 years of history, it's clear that our opera holds its own. I must say, no one can underestimate the importance of our opera.
There are valuable Turkish singers with voices of international quality. However, it occurs to me that we must acknowledge our lack of technique. In 15 years, we have successfully achieved all we could. What we should do from now on is to keep working diligently. Our artists should broaden their artistic horizons by delving deeply into literature and the history of music. It is imperative that we remain attuned to all artistic movements and events. We must strive to enhance our music culture and technique each day.
If an artist is content with daily fame, it could harm our theatre. We must strive for ongoing improvement, never settling for today's success but always aiming to do better tomorrow…
There
are significant differences between the standards of when we first embarked on
our artistic journey and those of today. We were the pioneers who paved the way
and laid the foundation of their culture. We achieved everything without having
any examples to follow before us. At least the next generation of artists will
be able to continue following in our footsteps. And if Turkish schools give
more importance to music culture and education, they will contribute to the
improvement of Turkish opera.”
…
“In classical opera style, the voice holds the most significant importance, whereas in modern opera, voice and acting skills are equally crucial. However, this characteristic of modern opera can be exhausting for artists, leading to the voice losing its prominence. If this style is preferred, the director must meticulously prepare the scenery and ensure that our singers do not overexert themselves to the point of risking their voices.
In our opera, the second style; unity of voice and acting is quite prominent. Therefore, we surpass many foreign opera ensembles. This also highlights the high capacity of our acting talents, I might add.
…
In order to make opera more approachable to Turkish people and to bridge the gap between opera and theatre, we must establish our own voice school.
In countries such as Italy, France, England, and Germany, characteristic voice schools were established based on the language. Words that didn't sound musical and contradicted Western music technique were excluded, thus achieving a musical flow in the language. Since we currently lack a national voice school tradition based on our language, the audience criticizes some words and phrases that don't perfectly match the music. Regardless of how beautiful the singer's voice is, the audience may not fully appreciate the performance because the Western quality in the opera is obscured by this use of words. If a new voice school based on the Turkish language is established, the opera genre will be able to reach a wider audience. By eliminating jarring words, the singer's voice will not tire or lose its colour, resulting in a more perfect effect on the listeners. It's essential to me that a Turkish voice school be established.”
Photo 1 Leyla Gencer
Photo
2 Leyla Gencer as Martha in Tiefland
Photo
3 Leyla Gencer as Tosca
Photo
4 Leyla Gencer with the Turkish President Celal Bayer after her concert at the
Grand Theatre.
ÇİÇEK MAGAZINE
1952.05.29
INTERVIEW BY İSMET AKYOL
Translation by © Ayşen Zülfikar
Every
Week Two Interviews from Ankara
“Leyla Gencer; the esteemed opera artist was personally warmly congratulated by our President.”
Leyla Gencer
After Leyla Gencer returned from her concert, we visited her at her home. She had performed a recital two day prior at the State Opera, which drew close attention of our president. The recital, concluding with a shower of applause, brought delightful moments to the audience in Ankara. The recital by Leyla Gencer, which attracted Ankara's popular circles, ministers, intellectuals, and music lovers.
The distinguished opera singer Leyla Gencer opened up as she spoke. It was our first time interacting with her. She appeared as an artist capable of combining honesty, dignity, and artistry. Despite our initial apprehension about how our visit would be received, she had such a positive impact on us that we are still captivated by her as we write about our experience. During our last visit to Ankara, we only had the opportunity to meet opera artists. I regretted that it took us so long to see them up close, meet them, and get to know them. We cannot praise our opera artists enough who are truly at a European level. Each of them possesses a precious uniqueness of their own. I have to admit that Leyla Gencer has the unique ability to command respect and careful attention from those in her presence.
It's evident that an artist possesses numerous talents that cannot all be described, written, or praised adequately. We regret that we can only write about a small portion of their talents here.
Photo: Leyla Gencer posing for the ÇİÇEK magazine
I suppose as journalists, we sometimes struggle to keep our promises. For some reason, we can't shake off this image as long as we remain in this position. For example, even though we had requested an audience with Leyla Gencer before printing our article, unfortunately, we haven't been able to fulfil this promise. So, the typographer is beside me, waiting for the final version of the article and saying:
“The typewriter is waiting over there. Please write as soon as possible.”
However, I was supposed to prepare this article and send it to Ankara to have it paraphrased and then print it! Unfortunately, I couldn’t do it!
We were at Leyla Gencer’s tiny apartment, and the estimable artist said:
“Interest in opera has been on the rise in Ankara for the past two years. While only a few people used to attend the opera two years ago, nowadays, there's a struggle to find tickets, and many are forced to return home.”
"You're absolutely right," I replied. "The State Opera has truly enriched Ankara with opera culture. It would be wonderful if the same could happen in Istanbul too. Your recital in Ankara garnered so much attention, and I must add that your performance in Istanbul was equally praised."
Leyla Gencer laughed and then became quiet.
“Could you share some of your memories related to your connection with art?”
"I've been married for 8 years.” At that moment, she was looking at her husband, İbrahim Gencer, “However, I was only able to start attending the conservatory one year after getting married.”
“Oh! How come?”
She laughed and continued:
“Like most families, mine didn't allow me either. And I had to wait until I got married; only after that could I start.” And then she continued:
I entered the Istanbul Conservatory 7 years ago and studied under Madam Ren Gelenbevi, with Muhittin Sadak as another one of my teachers, I simultaneously served as both a student and a soloist singer. During my time as a soloist in the city choir, I completed my studies at the Istanbul Conservatory. Additionally, I performed in numerous concerts throughout Istanbul.”
Photo: On the left; we see Leyla Gencer with her husband and our colleague.
“When did you move to Ankara?”
“It's been almost two years since we moved here, but I go to Istanbul every summer.”
“Which languages do you speak?”
“I speak French, Italian and English.”
“Have you ever been to Europe?”
“Yes. And last August, I also gave concerts at radio halls in Paris and London.”
“Are you considering going back again?”
“I have received offers from Paris and Italy for the next season, and I'm planning on going if all goes well.”
“Could you share with us some of the operas that you've sung?”
“I sang the role of Santuzza I Cavalleria Rusticana, Martha in Eugène d’Albert’s Tiefland and Tosca…”
“And what about the upcoming season?”
“I’ll be singing Verdi’s La Traviata and Mozart’s Cosi Fan Tutte in the next season.”
We had arrived at 6 p.m. for our interview. We talked a lot, even going past dinner time. To avoid overstaying our welcome, we politely asked for permission to leave.
“Leyla Gencer; the esteemed opera artist was personally warmly congratulated by our President.”
Leyla Gencer
After Leyla Gencer returned from her concert, we visited her at her home. She had performed a recital two day prior at the State Opera, which drew close attention of our president. The recital, concluding with a shower of applause, brought delightful moments to the audience in Ankara. The recital by Leyla Gencer, which attracted Ankara's popular circles, ministers, intellectuals, and music lovers.
The distinguished opera singer Leyla Gencer opened up as she spoke. It was our first time interacting with her. She appeared as an artist capable of combining honesty, dignity, and artistry. Despite our initial apprehension about how our visit would be received, she had such a positive impact on us that we are still captivated by her as we write about our experience. During our last visit to Ankara, we only had the opportunity to meet opera artists. I regretted that it took us so long to see them up close, meet them, and get to know them. We cannot praise our opera artists enough who are truly at a European level. Each of them possesses a precious uniqueness of their own. I have to admit that Leyla Gencer has the unique ability to command respect and careful attention from those in her presence.
It's evident that an artist possesses numerous talents that cannot all be described, written, or praised adequately. We regret that we can only write about a small portion of their talents here.
Photo: Leyla Gencer posing for the ÇİÇEK magazine
I suppose as journalists, we sometimes struggle to keep our promises. For some reason, we can't shake off this image as long as we remain in this position. For example, even though we had requested an audience with Leyla Gencer before printing our article, unfortunately, we haven't been able to fulfil this promise. So, the typographer is beside me, waiting for the final version of the article and saying:
“The typewriter is waiting over there. Please write as soon as possible.”
However, I was supposed to prepare this article and send it to Ankara to have it paraphrased and then print it! Unfortunately, I couldn’t do it!
We were at Leyla Gencer’s tiny apartment, and the estimable artist said:
“Interest in opera has been on the rise in Ankara for the past two years. While only a few people used to attend the opera two years ago, nowadays, there's a struggle to find tickets, and many are forced to return home.”
"You're absolutely right," I replied. "The State Opera has truly enriched Ankara with opera culture. It would be wonderful if the same could happen in Istanbul too. Your recital in Ankara garnered so much attention, and I must add that your performance in Istanbul was equally praised."
Leyla Gencer laughed and then became quiet.
“Could you share some of your memories related to your connection with art?”
"I've been married for 8 years.” At that moment, she was looking at her husband, İbrahim Gencer, “However, I was only able to start attending the conservatory one year after getting married.”
“Oh! How come?”
She laughed and continued:
“Like most families, mine didn't allow me either. And I had to wait until I got married; only after that could I start.” And then she continued:
I entered the Istanbul Conservatory 7 years ago and studied under Madam Ren Gelenbevi, with Muhittin Sadak as another one of my teachers, I simultaneously served as both a student and a soloist singer. During my time as a soloist in the city choir, I completed my studies at the Istanbul Conservatory. Additionally, I performed in numerous concerts throughout Istanbul.”
Photo: On the left; we see Leyla Gencer with her husband and our colleague.
“When did you move to Ankara?”
“It's been almost two years since we moved here, but I go to Istanbul every summer.”
“Which languages do you speak?”
“I speak French, Italian and English.”
“Have you ever been to Europe?”
“Yes. And last August, I also gave concerts at radio halls in Paris and London.”
“Are you considering going back again?”
“I have received offers from Paris and Italy for the next season, and I'm planning on going if all goes well.”
“Could you share with us some of the operas that you've sung?”
“I sang the role of Santuzza I Cavalleria Rusticana, Martha in Eugène d’Albert’s Tiefland and Tosca…”
“And what about the upcoming season?”
“I’ll be singing Verdi’s La Traviata and Mozart’s Cosi Fan Tutte in the next season.”
We had arrived at 6 p.m. for our interview. We talked a lot, even going past dinner time. To avoid overstaying our welcome, we politely asked for permission to leave.
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HAYAT MAGAZINE
1953 June
INTERVIEW
Translation by © Ayşen Zülfikar
Our
opera artist, who shines on stage without having taken any acting classes.
Leyla Gencer
I wish that the people who listened to Leyla Gencer on stage would also have the chance to sit and chat with he as well because they would have admired her even more. Our estimable artist has a very charming way of speaking; it’s as if she travels within each word, completely immersing herself in what she's talking about and captivating the listener, taking them from one place to another.
I guess that she’s tired of talking to journalists:
“I have narrated everything so many times that I suppose there's nothing else left for the readers. My life is not that interesting” she said. But when I insisted, she inclined her head and began to speak.
“Ever since I was a child, I have always been attracted to fine arts. I used to draw, read poems, and I was also interested in literature. I rather dreamed of becoming a tragedian. I was a student at the Italian High School, and I wanted to become Eleanore Duse. But since my family was conservative, I could never voice this desire of mine. I have always had a nice and clear voice since I was nine years old. At that time, I wanted to become a ballerina. I used to dance facing the mirrors in our house by the Bosphorus wrapped up in tulles.”
Leyla Gencer lives so deeply in what she's narrating that it's as if I literally went to that house by the Bosphorus. I watched that little girl dancing in front of mirrors. She had a sweet, dreamy semblance, as if she were gazing into the mirror on those days.
“When did you enter the conservatory?”
“I entered the conservatory after getting married. Until then, I had never been involved in music. I only used to listen to good quality music and attended all concerts. Once I graduated from Istanbul Conservatory, I came to Ankara and auditioned for Ankara State Opera. “
“In which opera did you have your first performance?”
“I played the role of Santuzza in Cavalleria Rusticana. I unexpectedly found myself on stage without having taken acting lessons or undergone long rehearsals. This is my best memory. The director Merdo made me watch the rehearsals, and suddenly asked me the question: “Are you ready?” I was certainly very excited. There's a prayer scene in Rusticana where the performer kneels and prays. The prayer that I said was actually real. At that moment, I felt an awkward calmness inside me. I have always been drawn to mysticism, although I've had some doubts. But when I got on stage, I understood that art in itself is a religion. During that prayer scene, I felt as if I were elevated above the people, as if my soul were cleansed, I were ascending and I brought something to the audience. To me, my art is above anything else. I find everything in my art.”
Once again, she drifted into thoughts, it was as if she were searching for words with her hands and eyes.
“Searching for beauty always and in everything is my life's purpose. In Plato's little book, which I had acquired during my education, and which described the pursuit of beauty as a religion, consequently, became a habit of mine. I learned to love the real beauty. This purpose gave a direction to my life. I always want the best in my art.”
Photo 1: Leyla Gencer putting on make-up before going on stage.
Photo 2: She said to our friend: 'Searching for beauty in everything has always been my life's purpose.'
Leyla Gencer, who is constantly searching for beauty, in everything, such a beautiful house. She is married to the 2nd Director of the Yapı Kredi Bank's Anafartalar Branch and lives in the penthouse of a building on Atatürk Avenue. She has furnished this apartment beautifully and made it so pleasant… Meeting this elegant woman in her beautiful home is a great pleasure. She complements her home as much as she complements the stage. Especially, her hospitality is also very warm. I think I saw Leyla Gencer both at her home, on stage, and within her art on that day. While she was speaking about one of her sentiments or telling a story, I saw her as an artist, and I couldn't get enough of observing her excitement. However, on occasion, her hospitality spontaneously emerged, which made me admire her gentleness and grace. It felt as though I were witnessing two captivating films of which the scenes entwined.
“I fell ill during 'The Consul' and was only able to perform in the 20th performance.
The paper aria in this opera is its highlight. When I sing that aria, it's like having a seizure. At the end of it, I say 'that day will come' three times. The first time, I said it to the Secretary, whose eyes filled with tears, and there were also people in the audience crying. After a two-month break, it was exciting to deeply move the audience again. I cried out loudly, and even though it wasn't planned, a colleague helped me sit down."
It was as if Leyla Gencer, the gracious host, had left, and Magda Sorel arrived before me. It felt as though she was singing the paper aria.
Remembering the baby cradle in the opera, I asked:
“Don’t you have children?”
“No, I can’t have both. I would want to be a perfect mother to my child but it’s rather difficult for an artist to do both things at the same time.”
Isn’t it a major sacrifice for the sake of art?
“Which role was your favorite?”
“I love them all. An artist needs to understand and feel the role. When you can feel it, it’s easy to embody it. Before starting to learn a new role, I often experience a feeling of inferiority and I suppose that I won’t be able to portray that role. But once I start working on it, I begin to love and create a connection with the role. At the last performance I become sentimental and feel sad as if I’m leaving someone I love.
“What do you think about the future of the opera?”
She laughed sweetly:
“You should decide when you see the performance of ‘Kerem’. Just as its composer described, Kerem is a lyrical and mystical drama. You'll truly enjoy it and feel proud. I genuinely hope that all our composers will write numerous operas, allowing us to present a new Turkish opera every season. "I am confident that in the near future, both Turkish opera and polyphonic music will become recognized on the international music scene and be embraced.”
She said those last phrases, emphasizing each word with a hopeful tone.
“How do you perceive the opera preferences of Turkish people?"
“I will respond to this question by narrating a recent memory that holds a significant importance. As you know, an orchestral concert is held at the Faculty of Language and History every two weeks. Recently, I was also asked to perform a concert on a Saturday. I cannot adequately describe how crowded the hall was that day. Every seat, corridor, and the space surrounding the stage was filled with people. It felt as though I was conversing with the entire youth population. They listened attentively, and I was deeply touched by their attention. Their applause was unlike anything I had ever heard before. To me, I was acknowledging that they were my true audience, representing the new generation. I felt immensely excited. It's truly wonderful to be able to establish such a connection with the people.”
Leyla Gencer is an artist who has truly savored the essence of this beautiful phenomenon. The joy of contributing to society continues to grow within her, driving her to strive for even greater impact. Consequently, she ascends another rung of her fame ladder with each role and concert.
Photo 3: A shoot where we can see how well she gets along with her husband, İbrahim Gencer.
Photo 4: Leyla Gencer at Tosca
Leyla Gencer
I wish that the people who listened to Leyla Gencer on stage would also have the chance to sit and chat with he as well because they would have admired her even more. Our estimable artist has a very charming way of speaking; it’s as if she travels within each word, completely immersing herself in what she's talking about and captivating the listener, taking them from one place to another.
I guess that she’s tired of talking to journalists:
“I have narrated everything so many times that I suppose there's nothing else left for the readers. My life is not that interesting” she said. But when I insisted, she inclined her head and began to speak.
“Ever since I was a child, I have always been attracted to fine arts. I used to draw, read poems, and I was also interested in literature. I rather dreamed of becoming a tragedian. I was a student at the Italian High School, and I wanted to become Eleanore Duse. But since my family was conservative, I could never voice this desire of mine. I have always had a nice and clear voice since I was nine years old. At that time, I wanted to become a ballerina. I used to dance facing the mirrors in our house by the Bosphorus wrapped up in tulles.”
Leyla Gencer lives so deeply in what she's narrating that it's as if I literally went to that house by the Bosphorus. I watched that little girl dancing in front of mirrors. She had a sweet, dreamy semblance, as if she were gazing into the mirror on those days.
“When did you enter the conservatory?”
“I entered the conservatory after getting married. Until then, I had never been involved in music. I only used to listen to good quality music and attended all concerts. Once I graduated from Istanbul Conservatory, I came to Ankara and auditioned for Ankara State Opera. “
“In which opera did you have your first performance?”
“I played the role of Santuzza in Cavalleria Rusticana. I unexpectedly found myself on stage without having taken acting lessons or undergone long rehearsals. This is my best memory. The director Merdo made me watch the rehearsals, and suddenly asked me the question: “Are you ready?” I was certainly very excited. There's a prayer scene in Rusticana where the performer kneels and prays. The prayer that I said was actually real. At that moment, I felt an awkward calmness inside me. I have always been drawn to mysticism, although I've had some doubts. But when I got on stage, I understood that art in itself is a religion. During that prayer scene, I felt as if I were elevated above the people, as if my soul were cleansed, I were ascending and I brought something to the audience. To me, my art is above anything else. I find everything in my art.”
Once again, she drifted into thoughts, it was as if she were searching for words with her hands and eyes.
“Searching for beauty always and in everything is my life's purpose. In Plato's little book, which I had acquired during my education, and which described the pursuit of beauty as a religion, consequently, became a habit of mine. I learned to love the real beauty. This purpose gave a direction to my life. I always want the best in my art.”
Photo 1: Leyla Gencer putting on make-up before going on stage.
Photo 2: She said to our friend: 'Searching for beauty in everything has always been my life's purpose.'
Leyla Gencer, who is constantly searching for beauty, in everything, such a beautiful house. She is married to the 2nd Director of the Yapı Kredi Bank's Anafartalar Branch and lives in the penthouse of a building on Atatürk Avenue. She has furnished this apartment beautifully and made it so pleasant… Meeting this elegant woman in her beautiful home is a great pleasure. She complements her home as much as she complements the stage. Especially, her hospitality is also very warm. I think I saw Leyla Gencer both at her home, on stage, and within her art on that day. While she was speaking about one of her sentiments or telling a story, I saw her as an artist, and I couldn't get enough of observing her excitement. However, on occasion, her hospitality spontaneously emerged, which made me admire her gentleness and grace. It felt as though I were witnessing two captivating films of which the scenes entwined.
“I fell ill during 'The Consul' and was only able to perform in the 20th performance.
The paper aria in this opera is its highlight. When I sing that aria, it's like having a seizure. At the end of it, I say 'that day will come' three times. The first time, I said it to the Secretary, whose eyes filled with tears, and there were also people in the audience crying. After a two-month break, it was exciting to deeply move the audience again. I cried out loudly, and even though it wasn't planned, a colleague helped me sit down."
It was as if Leyla Gencer, the gracious host, had left, and Magda Sorel arrived before me. It felt as though she was singing the paper aria.
Remembering the baby cradle in the opera, I asked:
“Don’t you have children?”
“No, I can’t have both. I would want to be a perfect mother to my child but it’s rather difficult for an artist to do both things at the same time.”
Isn’t it a major sacrifice for the sake of art?
“Which role was your favorite?”
“I love them all. An artist needs to understand and feel the role. When you can feel it, it’s easy to embody it. Before starting to learn a new role, I often experience a feeling of inferiority and I suppose that I won’t be able to portray that role. But once I start working on it, I begin to love and create a connection with the role. At the last performance I become sentimental and feel sad as if I’m leaving someone I love.
“What do you think about the future of the opera?”
She laughed sweetly:
“You should decide when you see the performance of ‘Kerem’. Just as its composer described, Kerem is a lyrical and mystical drama. You'll truly enjoy it and feel proud. I genuinely hope that all our composers will write numerous operas, allowing us to present a new Turkish opera every season. "I am confident that in the near future, both Turkish opera and polyphonic music will become recognized on the international music scene and be embraced.”
She said those last phrases, emphasizing each word with a hopeful tone.
“How do you perceive the opera preferences of Turkish people?"
“I will respond to this question by narrating a recent memory that holds a significant importance. As you know, an orchestral concert is held at the Faculty of Language and History every two weeks. Recently, I was also asked to perform a concert on a Saturday. I cannot adequately describe how crowded the hall was that day. Every seat, corridor, and the space surrounding the stage was filled with people. It felt as though I was conversing with the entire youth population. They listened attentively, and I was deeply touched by their attention. Their applause was unlike anything I had ever heard before. To me, I was acknowledging that they were my true audience, representing the new generation. I felt immensely excited. It's truly wonderful to be able to establish such a connection with the people.”
Leyla Gencer is an artist who has truly savored the essence of this beautiful phenomenon. The joy of contributing to society continues to grow within her, driving her to strive for even greater impact. Consequently, she ascends another rung of her fame ladder with each role and concert.
Photo 3: A shoot where we can see how well she gets along with her husband, İbrahim Gencer.
Photo 4: Leyla Gencer at Tosca
RESİMLİ 20.ASIR MAGAZINE
1953.06.25
INTERVIEW BY VURAL R.S. KAKMACI
Translation by © Ayşen Zülfikar
We are
presenting the artists of the State Theatre and Opera
Leyla Gencer
Leyla Gencer, who gained attention for her roles as Santuzza in 'Cavalleria Rusticana,' Martha in 'Tiefland,' Tosca in 'Tosca,' and finally as Aslıhan in our first national opera 'Kerem,' shares insights into her education and her artistic philosophy in this interview.
The audience of Ankara first came to know and love Leyla Gencer as Santuzza in Cavalleria Rusticana. During these days when our first national opera, Kerem, is being performed at the State Theater, I had the privilege of speaking with the artist who portrays the role of Aslı in this opera.
Following her portrayal of Santuzza, Leyla Gencer went on to perform as Martha in Tiefland, Tosca in Tosca, and Magda Sorel in The Consul, all with significant success. Through these performances, as well as numerous concerts, Leyla Gencer has firmly established herself in the world of art.
The artist, who is originally from Istanbul, developed a love for dance, literature, and music by the age of 13. Leyla Gencer stated that she decided to become a tragedian when she began reading French literature and classics:
“My family was from Anatolia. None of them were interested in the arts, so I had to struggle a lot when I wanted to pursue art. Nevertheless, I was only able to enter the conservatory after getting married. When I first stepped onto the stage, my family and relatives were against it. Furthermore, they didn't speak to me for a long time. However, I would like to add that throughout my career in the arts, I have received significant support and encouragement from my husband. Thanks to him, I was able to withstand many unpleasant experiences that troubled me.”
I suppose that after witnessing her successes, everyone in her family is now content. They are so content that all the children growing up in the family are entering the conservatory, one by one.
I congratulate Leyla Gencer for her pioneering efforts within her family in the name of art. And I remember a saying that continues to echo throughout our country, spreading from mouth to mouth:
“How would you combat the use of the term 'Actors Herd” I asked.
“I have never heard a term like 'Actors Herd' nor have I ever been accused with such terminology. On the contrary, I have always received respect from people throughout my artistic journey. If there are individuals who use such words, I would say they are 'ignorant' and 'unaware of the seriousness of the art form’.
Leyla Gencer is exceptionally skilled at captivating the audience and immersing them into the world of her characters, to the extent that one wouldn’t want to believe that she is anyone other than the role she embodies. She is also conscious of her ability to deeply affect the audience. what about her daily life? I wonder…
“In my daily life, I find myself consumed by the new role I am portraying, especially during rehearsals. When I return home after a rehearsal, I often find myself silent. When I was preparing for the role of Magda, it felt as though I were psychologically unwell; the role continued to intrigue me even in my sleep. However, once I perform the role, I experience a sense of childlike purity and spiritual cleansing. For example, during my first performance as Santuzza in Cavalleria Rusticana, there's a scene where I was supposed to kneel and pray to God. At that precise moment, when I knelt, I didn't act; I genuinely prayed. Despite all the prior excitement and fear, I felt a profound sense of peace. I wasn't Leyla at that moment. I wasn't an ordinary person. 'That's what religion is!' I said to myself, and I learned what religion is through art. Afterwards, I felt this spiritual ascent while portraying every role. What is so profound about this experience is that I also notice the audience joins me when I reach that state.”
“Is there an art school that you admire and prefer?”
“Actually, I'm a bit conservative. That's why I've maintained my love for the paintings and statues of the Renaissance Period. I don't understand much about contemporary paintings, but I'm willing to try. I believe there's a decadence in art nowadays. Today's artists are constantly searching for something new, something they may never truly find.”
Leyla Gencer who always strives to give her best while practicing her art adds:
“I can't recall any performance or concert of mine that I liked. Never. I could never say: 'That's what I’d aimed for.' However, I think I give better performances during rehearsals. It's evident that one's potential is diminished by 50% during a performance.”
“Do you fully immerse yourself in a role while on stage, or are you influenced by events occurring outside of the stage?”
“I wonder what I could have achieved if I were as focused in real life as I am on stage. For example, I can't forget this: during a performance of The Consul, after I finished singing the paper aria, wherever I turned, I saw people who were crying. I was crying as well, and I strongly felt that moment was a crescendo.”
Photo 1: Leyla Gencer, who doesn't dwell on death but focuses on living on the stage, portrays the role of Aslı in the opera Kerem.
Photo 2: Leyla Gencer, who used to leave home with her right foot on opera days and have a glass of water poured after each concert performance, says she's given up these habits; portrays the role of Aslı in the opera Kerem.
“If you read a negative or positive critique about yourself in a newspaper before going on stage, does it have a positive or negative effect on your performance?”
“I had read a major negative critique about me before a performance of The Consul, which deeply upset me. However, three days later, I didn't remember it while I was performing The Consul. If an artist has confidence, criticism doesn't affect her creativity. Once I set foot on stage, I become the woman I'm portraying. If criticism is constructive, I try to learn from it. Attacks towards a person, rather than the art, are the ones that upset me. Until today, I've felt a strong connection with the audience. Many times, I've felt that I'm captivating them with me, and this feeling has been my greatest strength, upon which I've relied.”
Leyla Gencer, who leaves home with her right foot on opera days and has a glass of water poured when he leaves home for concerts and opera performances, also pays attention to entering the theater with her right foot.
“While playing Tosca, I used to ask my colleague Fikret to pray for me as well. But this year, I gave up this habit."
"Is there a particular role that you consider ideal, either one you've already performed or one you'd like to perform?”
“Once you work on them, all roles become ideal. However, our repertoires are unique. I love all the roles assigned to me. When the performances of an opera come to an end, I feel a sadness similar to leaving a child behind.”
As my last question for the esteemed artist:
“At the last step of the staircase you've been climbing, how do you feel?”
“There isn't a last step in the staircase that we climb” she answered.
“When you arrive at the last step of your life, what would you like to leave behind?”
“Honestly, I've never thought about death. That's why I've never had insurance. Above all, I'm focused on living on stage rather than contemplating death.”
Soprano Leyla Gencer, who says she's always wanted to become like Sarah Bernhardt or Leonore and who has always had a talent for choosing the best and most beautiful things, has had a passion for rhythmic dance since childhood. I suppose she owes the rhythmic quality of her recent portrayal of Aslı to that.
The artist who used to coerce her childhood friends into playing mute games, such as 'Le Bourgeois Gentilhomme', has been consistently reading Plato's books and wanted everyone around her to read them as well.
Leyla Gencer
Leyla Gencer, who gained attention for her roles as Santuzza in 'Cavalleria Rusticana,' Martha in 'Tiefland,' Tosca in 'Tosca,' and finally as Aslıhan in our first national opera 'Kerem,' shares insights into her education and her artistic philosophy in this interview.
The audience of Ankara first came to know and love Leyla Gencer as Santuzza in Cavalleria Rusticana. During these days when our first national opera, Kerem, is being performed at the State Theater, I had the privilege of speaking with the artist who portrays the role of Aslı in this opera.
Following her portrayal of Santuzza, Leyla Gencer went on to perform as Martha in Tiefland, Tosca in Tosca, and Magda Sorel in The Consul, all with significant success. Through these performances, as well as numerous concerts, Leyla Gencer has firmly established herself in the world of art.
The artist, who is originally from Istanbul, developed a love for dance, literature, and music by the age of 13. Leyla Gencer stated that she decided to become a tragedian when she began reading French literature and classics:
“My family was from Anatolia. None of them were interested in the arts, so I had to struggle a lot when I wanted to pursue art. Nevertheless, I was only able to enter the conservatory after getting married. When I first stepped onto the stage, my family and relatives were against it. Furthermore, they didn't speak to me for a long time. However, I would like to add that throughout my career in the arts, I have received significant support and encouragement from my husband. Thanks to him, I was able to withstand many unpleasant experiences that troubled me.”
I suppose that after witnessing her successes, everyone in her family is now content. They are so content that all the children growing up in the family are entering the conservatory, one by one.
I congratulate Leyla Gencer for her pioneering efforts within her family in the name of art. And I remember a saying that continues to echo throughout our country, spreading from mouth to mouth:
“How would you combat the use of the term 'Actors Herd” I asked.
“I have never heard a term like 'Actors Herd' nor have I ever been accused with such terminology. On the contrary, I have always received respect from people throughout my artistic journey. If there are individuals who use such words, I would say they are 'ignorant' and 'unaware of the seriousness of the art form’.
Leyla Gencer is exceptionally skilled at captivating the audience and immersing them into the world of her characters, to the extent that one wouldn’t want to believe that she is anyone other than the role she embodies. She is also conscious of her ability to deeply affect the audience. what about her daily life? I wonder…
“In my daily life, I find myself consumed by the new role I am portraying, especially during rehearsals. When I return home after a rehearsal, I often find myself silent. When I was preparing for the role of Magda, it felt as though I were psychologically unwell; the role continued to intrigue me even in my sleep. However, once I perform the role, I experience a sense of childlike purity and spiritual cleansing. For example, during my first performance as Santuzza in Cavalleria Rusticana, there's a scene where I was supposed to kneel and pray to God. At that precise moment, when I knelt, I didn't act; I genuinely prayed. Despite all the prior excitement and fear, I felt a profound sense of peace. I wasn't Leyla at that moment. I wasn't an ordinary person. 'That's what religion is!' I said to myself, and I learned what religion is through art. Afterwards, I felt this spiritual ascent while portraying every role. What is so profound about this experience is that I also notice the audience joins me when I reach that state.”
“Is there an art school that you admire and prefer?”
“Actually, I'm a bit conservative. That's why I've maintained my love for the paintings and statues of the Renaissance Period. I don't understand much about contemporary paintings, but I'm willing to try. I believe there's a decadence in art nowadays. Today's artists are constantly searching for something new, something they may never truly find.”
Leyla Gencer who always strives to give her best while practicing her art adds:
“I can't recall any performance or concert of mine that I liked. Never. I could never say: 'That's what I’d aimed for.' However, I think I give better performances during rehearsals. It's evident that one's potential is diminished by 50% during a performance.”
“Do you fully immerse yourself in a role while on stage, or are you influenced by events occurring outside of the stage?”
“I wonder what I could have achieved if I were as focused in real life as I am on stage. For example, I can't forget this: during a performance of The Consul, after I finished singing the paper aria, wherever I turned, I saw people who were crying. I was crying as well, and I strongly felt that moment was a crescendo.”
Photo 1: Leyla Gencer, who doesn't dwell on death but focuses on living on the stage, portrays the role of Aslı in the opera Kerem.
Photo 2: Leyla Gencer, who used to leave home with her right foot on opera days and have a glass of water poured after each concert performance, says she's given up these habits; portrays the role of Aslı in the opera Kerem.
“If you read a negative or positive critique about yourself in a newspaper before going on stage, does it have a positive or negative effect on your performance?”
“I had read a major negative critique about me before a performance of The Consul, which deeply upset me. However, three days later, I didn't remember it while I was performing The Consul. If an artist has confidence, criticism doesn't affect her creativity. Once I set foot on stage, I become the woman I'm portraying. If criticism is constructive, I try to learn from it. Attacks towards a person, rather than the art, are the ones that upset me. Until today, I've felt a strong connection with the audience. Many times, I've felt that I'm captivating them with me, and this feeling has been my greatest strength, upon which I've relied.”
Leyla Gencer, who leaves home with her right foot on opera days and has a glass of water poured when he leaves home for concerts and opera performances, also pays attention to entering the theater with her right foot.
“While playing Tosca, I used to ask my colleague Fikret to pray for me as well. But this year, I gave up this habit."
"Is there a particular role that you consider ideal, either one you've already performed or one you'd like to perform?”
“Once you work on them, all roles become ideal. However, our repertoires are unique. I love all the roles assigned to me. When the performances of an opera come to an end, I feel a sadness similar to leaving a child behind.”
As my last question for the esteemed artist:
“At the last step of the staircase you've been climbing, how do you feel?”
“There isn't a last step in the staircase that we climb” she answered.
“When you arrive at the last step of your life, what would you like to leave behind?”
“Honestly, I've never thought about death. That's why I've never had insurance. Above all, I'm focused on living on stage rather than contemplating death.”
Soprano Leyla Gencer, who says she's always wanted to become like Sarah Bernhardt or Leonore and who has always had a talent for choosing the best and most beautiful things, has had a passion for rhythmic dance since childhood. I suppose she owes the rhythmic quality of her recent portrayal of Aslı to that.
The artist who used to coerce her childhood friends into playing mute games, such as 'Le Bourgeois Gentilhomme', has been consistently reading Plato's books and wanted everyone around her to read them as well.
1 9 5 4
MİLLİYET DAILY NEWSPAPER
1954.02.10
HÜRRİYET DAILY NEWSPAPER
1954.04.02
UNKNOWN NEWSPAPER
1954.04.02
VATAN DAILY NEWSPAPER
1954.04.02
VATAN DAILY NEWSPAPER
1954.04.07
VATAN DAILY NEWSPAPER
1954.04.08
YELPAZE MONTHLY MAGAZINE
1954.04.21
VATAN DAILY NEWSPAPER
1954.05.14
VATAN DAILY NEWSPAPER
1954.05.27
INTERVIEW
Translation by © Ayşen Zülfikar
Photo: In the Tosca Opera: Leyla Gencer recently performed the role of Tosca in Switzerland with major success. She had first performed it two years ago at the Ankara State Opera. This photo is from a scene of that production.
In the World of Art
Leyla Gencer is narrating...
Our esteemed opera artist shares her impressions upon returning from Europe& Summaries of critiques written about her in the foreign press.
Leyla Gencer, the respected soprano of the State Opera, who has returned from a successful tour to Yugoslavia and Switzerland, has shared the following information with our colleague who interviewed her.
“My impressions of the Yugoslavian and Swiss theatres are rather positive. I was received very graciously. The Belgrade Opera has old traditions. The conductors are respectable, the artists are experienced and have beautiful voices, their staging techniques are sublime, and their orchestra is also very good.
Of all the performances I witnessed, the one that stood out the most was Prokofiev's ballet, 'Romeo and Juliet'. Their ballet ensemble is truly exquisite. There's discussion about them touring Turkey. Furthermore, they've expressed a keen interest in hosting our artists more frequently in their country. They are eagerly anticipating the first Yugoslavian-Turkish-Greek festival and are hopeful that it will garner international attention in the near future.
Marshal Tito and his wife, ministers, members of the diplomatic corps, and Turkish embassy officials were present at the first performance of 'Madam Butterfly' (April 26th). At the end of the performance, I had to return to the stage 14 times due to the enthusiastic applause from the audience. At a cocktail reception hosted by the Minister of Education, I had the opportunity to meet nearly all Yugoslavian artists and prominent government officials.
I departed from Belgrade on April 30th with wonderful impressions and the promise of returning to give more performances in the next season.
I received the same kind of attention and interest in Switzerland as well. The Lausanne Theatre is very organized and operates with great seriousness, they also have a cultured and discerning audience.
On May 4th, I gave the first performance of Tosca there. Our Ambassador, Mr. Yakup Kadri, and his wife, along with Cevat Açıkalın and his wife, as well as all embassy officials, and our cultural attaché, Necil Kazım Akses, were present. Additionally, Turkish students studying in Geneva, Bern, and Lausanne attended the performance. They sent me a letter wishing success, along with flowers, which deeply touched me. In fact, I was showered with these wildflowers in both countries. I am especially grateful for the attention of our ambassadors, both in Belgrade and in Switzerland. I left Lausanne with a promise of a longer tour in the next season as well.
While returning, I made a stop in Milan where I received an offer from the renowned conductor Mitropoulos to perform in Richard Strauss' Elektra, scheduled for June 3rd. Unfortunately, due to my commitments in Ankara, I had to decline the offer for now.”
We congratulate Leyla Gencer for her brilliant successes, both as an artist and as an ambassador of art and culture for Turkey.
SUMMARIES OF CRITIQUES ABOUT SOPRANO LEYLA GENCER IN THE FOREIGN PRESS
The music critique from "BORBA" Newspaper: Mihajlo Vukradgovic, former Director of Belgrade Music Academy, wrote:
The joyful musical connection with our Turkish friends, which began with the recent concert conducted by the esteemed musician Cemal Reşit, was further strengthened by the Turkish artist Leyla Gencer, who portrayed the protagonist in Puccini's opera "Madam Butterfly. The role of Cio-Cio-San is one of the most challenging in the classical opera repertoire. Only singers possessing a great capacity for voice, musical intelligence, and technique can manage to portray this role convincingly. Yet, Leyla Gencer is an artist of such remarkable capacity. In addition to her perfect grasp of the wide range of possibilities within the role, she managed to enrich her performance with her insightful ideas.
After this remark, he concludes his critique by analysing the beauties of Leyla Gencer's voice and her attributes with the following statements:
In the theatre, which was full to the last row, Marshal Tito was also present with his wife. The audience cheered for that sublime Turkish artist in an extremely warm and friendly manner. Leyla Gencer is an artist whom you'd always be delighted to watch on an opera stage.
The music critique from the "Politics" newspaper, written by Branko M. Dragutinović, includes this statement after thoroughly analysing and complimenting Leyla Gencer's voice and technique:
Leyla Gencer, who portrayed the protagonist of Puccini's opera "Madam Butterfly" on the stage of the Belgrade Opera, revived the poignant tragedy of the Japanese Geisha. With this role, she not only demonstrated her significant artistic capacity but also provided a shining example of Turkey's efforts and successes in the world of opera.
CRITIQUES FROM THE SWISS PRESS
The music critique from Gazette de Lausanne wrote the following statements after having watched Leyla Gencer in the opera Tosca:
Last night's opera performance had a seriously remarkable cast. Primarily, Leyla Gencer from Ankara Opera and Napoli's San Carlo Theatre stood out. Her dignified and sincere interpretation of Flora Tosca lacked any superficiality, and her voice, which displayed a perfect capacity to execute the "crescendo" of the musical action, succeeded in bringing a breath of fresh air to the opera tradition. This charming artist succeeds in impressing the audience with conventional traditions, without being overly sentimental. She has certainly earned the enthusiastic applause and all the flowers sent to her.
From the critique published in the Tribune de Lausanne newspaper:
The sublime and beautiful artist Leyla Gencer, who possesses an exquisite, velvety voice, has transported us away from the mediocrity that we often encounter.
AKİS WEEKLY MAGAZINE
1954.06.26
HİSAR WEEKLY MAGAZINE
1954 October
1 9 5 5
AKİS WEEKLY MAGAZINE
1955.03.19
AKİS WEEKLY MAGAZINE
1955.04.02
AKİS WEEKLY MAGAZINE
1955.07.02
HAKİMİYET DAILY NEWSPAPER
1955.11.04
SADİ GÜNEL
En küçük konserini bile büyük bir tempereman içinde veren Leyla ile övünmek, bizim için aynı zamanda milli bir hak olmuştur. Çünkü onun sınırlar aşırı sanat ülkelerinde kazandığı haklı takdir ve şöhret, ne yazık ki bizdekinden çok, hem de pek çok üstündür. Bu inancımın boş ümitlere ve hayallere dayanmadığını açıkça gözümüzün önüne seren, ünlü kritiklerin yazdıklarından birkaç örnek vereyim: ………….
Leyla Gencer’in her Batı yolculuğuna çıkışıyla dönüşü ne kadar sessiz ve gösterişsiz oluyorsa, ardından getirdiği şan ve şeref o nispette büyüyor ve biz güneşe göz yumarcasına bunları bilmezlikten gelmekte hala direniyoruz. Gülelim mi, acınalım mı huyumuza.
1 9 5 6
UNKNOWN NEWSPAPER
1956
UNKNOWN NEWSPAPER
1956
CUMHURİYET DAILY NEWSPAPER
1956
SON TELGRAM DAILY NEWSPAPER
1956.01.11
AKİS WEEKLY MAGAZINE
1956.01.12
AKİS WEEKLY MAGAZINE
1956.03.02
SES SANAT WEEKLY MAGAZINE
1956.03.17
YENİ SABAH DAILY NEWSPAPER
1956.06.03
TERCÜMAN DAILY NEWSPAPER
1956.07.25
MİLLİYET DAILY NEWSPAPER
1956.08.01
AKİS WEEKLY MAGAZINE
1956.08.25
Opera Başarılar zinciri İki yıl öncesine kadar Leylâ Gencer'in İtalya'daki başarılarını memleket namına gurur duyarak öğrenenlerin tek bir endişesi vardı: Bu başarının İtalya (hudutlarına münhasır kalması ve sopranonun cihanşümul bir şöhret kurmakta gecikmesi.
Şimdi aynı şahıslar, Leylâ Gencer'in "güneşli memleket" ötesine de ismini ulaştırdığını öğrenip müsterih oluyorlar. Yugoslavya ve Almanya'daki temsillerinden sonra Leylâ Gencer şimdi Polonya'dan taze başarılarla -ve hakkında yazılan övücü tenkitleri ihtiva eden birçok gazete kupürüyle- Ankara'ya dönmüştür. Burada uzun müddet kalmayacaktır. Zira gelecek ayın 14'ünde, sabah saat 10'da dünyanın öbür ucundaki opera binasında yapılacak provada hazır bulunması lâzım gelmektedir. Leylâ Gencer, bir opera sanatkârını dünya çapında şöhrete götüren merdivenin en mühim basamaklarından birine adım atmak üzeredir.
Amerika'nın, Metropolitan'dan hemen sonra gelen San Francisco operasında, o prova gününden bir hafta sonra, Zandonai'nin "Francesca dâ Rimini" operasında başrolü teganni edecektir. Kendisine bu hususta yapılan teklifi ihtiva eden telgraftaki kelimelerin de anlattığı gibi "Amerika'da kazanılacak bir başarı, şöhretini hudutsuz derecede arttıracaktır". İsyan arifesinde temsil Leylâ Gencer, yaz mevsimi zarfında, Polonya'nın üç şehrinde temsil verdi: Varşova, Poznan ve Lodz. Poznan, "Polonya'nın harpten az zarar görmüş şehirlerindendi. Operası, memleketin en eski bir geleneğe sahip olan opera binasıydı. Gencer orada temsilini verdiği sıralarda bir taraftan bir fuar devam ediyor, diğer taraftan halk arasında Komünist rejime karşı bir isyan hareketi içten içe gelişiyordu. Bir endüstri şehri olan Lodz'un operası ise yeni kurulmaktaydı. Verilen temsillerde, konservatuardan Leylâ Gencer Atlantik’i aşan ses yeni yetişen gençler rol alıyordu. Türk sopranosu, bu operada şarkı söyleyen ilk yabancı sanatkârdı. Leylâ Gencer orada, Varşova'da olduğu gibi, muazzam bir tezahüratla ağırlandı. Polonya'da verdiği dört temsilin – üç "Traviata" ve bir "Butterfly"- hepsinde Polonyalı sanatkârlar eserleri Lehçe, Leylâ Gencer ise İtalyanca teganni ediyordu. Soprano, Polonyalı ses sanatkârlarının, orkestra şeflerinin, orkestraların, memleketteki umumî musiki anlayışının ve musikiye karşı duyulan sevginin, nihayet münekkitlerin derin bir takdirkârı olarak Polonya’dan ayrıldı. "Zycie Warszawy" gazetesinin musiki münekkidi, Traviata temsilinden sonra şunları yazmıştı: "Leylâ Gencer, müzikal cümlelemeye olan hakimiyetini zengin, vüsatti bir sesle ve tiyatro mizacıyla birleştiriyor; istisnaî bir Violetta yaratıyor... Varşova halkı sadece her arya, her düet, her sahne ve her perde sonunda değil, temsil bittiğinde de Türk sanatkârını çılgınca bir tezahüratla ağırladı". Bir başka münekkit de Türk sopranosundan "Doğunun mücevheri" diye bahsetti.
İmparatorun aradığı Leylâ Gencer'in müteakip işi, Milano'daydı. Bu bir opera temsili değildi. Belki daha da mühim bir işti. New York Metropolitan operasının müdürü Rudolf Bing'le tanışacaktı. Bu opera imparatoru, Leylâ. Gencer'in şöhretini duymuş, onunla görüşmek, kendisini gelecek mevsim dünyanın en büyük operasına angaje etme tasavvuruyla dinlemek istemişti. Üç ay öncesinden tespit edilmiş bir randevuya uyarak, 11 Haziran akşamı saat 5.30'da Milano Konservatuarı binasında Türkiye'nin en şöhretli sopranosuyla dünyanın en şöhretli opera müdürü buluştular. Bing, Metropolitan için bir Butterfly aramaktaydı. Gencer'i dinledikten sonra; aradığım bulduğundan emindi. Hatta, Metropolitan'ın önümüzdeki mevsim için hazırlanmış repertuarında bir değişiklik yapmayı, Butterfiy'i ilâve etmeyi bile düşündü. Ama bu tasavvurun gerçekleşmesi, kuvvetli bir ihtimal sayılmamalıydı. Ne de olsa Metropolitan, Türkiye'nin Devlet Operası değildi, Oradaki usul, repertuarı bir yıl önceden tespit ve ilân etmek, sonra da bir daha değiştirmemekti. Maamafih Bing, mevsimi listesine, Metropolitan'da uzun zamandır oynanmayan Butterfly'ı koymayı ve başrolü Leylâ Gencer'e vermeyi aklına koymuştu. Böylece bir Türk sanatkârı ilk defa olarak Metropolitan sahnesine çıkacaktı. Bing'le görüşmenin müsbet neticesi, sopranonun San Francisco operası tarafından angaje edilmesini kolaylaştırdı.
Leylâ Gencer daha önce de San Francisco'dan teklif almış, fakat ödenecek ücreti az bulduğu (hafta da 450 dolar) için kabul etmekte tereddüt göstermişti. Türkiye'ye döndüğünde, Devlet Tiyatrosu'na Amerikalı bir artist ajanı tarafından gönderilmiş telgrafı buldu. Telgrafta şöyle deniyordu: "Leylâ Gencer'i San Francisco Operasında en az üç Francesca temsili vermeğe ikna e- derseniz çok müteşekkir kalırız". Bu telgraftan az bir müddet sonra New York Times gazetesi, Türk sopranosu Leylâ Gencer'in San Francisco Operasında Eylül ayında verilecek "Francesca da Rimini" temsilinde başrolü oynayacağım bildiriyordu. Tiyatro, ajana müsbet cevap vermiş, Millî Eğitim Bakanlığı sanatkârın iznini çıkarmıştı. Unutulmuş opera Francesca da Rimini, 1944 yılında ölen İtalyan bestekârı Riccardo Zandonai'nin operaları arasında en tanınmışıydı. Buna rağmen ismi çok duyulmuş bir opera değildi. Amerika'da ilk olarak 1916 yılında Metropolitan'da oynanmıştı. Verilen malûmata göre o zamandan beri de bir daha temsil edilmemişti. San Francisco Operası eseri ilk defa olarak sahneye koyacaktı, Zaten bu sıralarda bazı Avrupa operalarında da bu eseri canlandırma ihtimali vardı.
San Francisco Operası eseri ilk defa olarak sahneye koyacaktı, Zaten bu sıralarda bası Avrupa operalarında da bu eseri canlandırma temayülü vardı. Leylâ Gencer'in Amerika başlangıcım tanınmamış bir eserle yapması, dikkat çekme bakımından bilhassa müsait bir zemin hazırlıyordu. Eser rağbet görür de daha sık temsil e- dilmeğe başlanır ve repertuarın mutad operaları arasına girerse, Leyla Gencer de rolünde tam bir başarı gösterirse, sanatkârın "unutulmaz bir Francesca" olarak opera tarihine geçmesi bile mümkün olacaktır. Leylâ Gencer, San Francisco'da bir de repertuar operası oynayacaktır: muhtemel olarak "La Traviata''... Sanatkârın önümüzdeki mevsim için diğer angajmanlarının en mühimi, Milano'nun La Scala operasında vereceği temsillerdir. Ya, Ankara Devlet Operası'nda kendisini ne zaman, hangi eserde dinleyeceğiz?
Leyla Gencer "Yeni programı daha görmedim; bilmiyorum" diyor. Nitekim, yeni mevsimin açılmasına bir ay kadar bir zaman kaldığı halde, operanın programını henüz kimse bilmemektedir.
STATE THEATER MAGAZINE
1956 October
TERCÜMAN DAILY NEWSPAPER
1956.10.16
STATE THETER MAGAZINE No.31
1956 December
INTERVIEW BY LÜTFİ AY
Translation by © Ayşen Zülfikar
A Conversation with Leyla Gencer:
Our soprano who has achieved major success in the USA.
Photo 1: Leyla Gencer at the San Francisco Opera portraying Francesca da Rimini. (page 10)
Photo 2: We see Leyla Gencer with the artists and directors after a performance at the San Francisco Opera (page 13)
Leyla Gencer, our esteemed soprano, went to the USA to perform the role of the protagonist in Zandonai's opera 'Francesca da Rimini' upon the invitation of the San Francisco Opera. Our artist, who has performed this opera both in San Francisco and in Los Angeles several times, and has given concerts in both Washington and New York, returned to our country in the previous weeks. As you may know, Leyla Gencer had given successful opera performances and concerts in Italy, Switzerland, Germany, Yugoslavia, and Poland. However, it was her first time being invited to the USA. It is evident that this journey holds significance both for the artist and for our opera, which she represented. With this consideration, we have found it useful to share the interview below with our readers.
In her pleasantly decorated penthouse apartment, I found Leyla Gencer a bit tired from the long journey but also very content with the result. She responded to my questions gently, as always:
“What impressions did you bring back from America?”
“I can summarize my impressions of America like this: Journalists, interviews, the excitement of performances, and the receptions. First of all, New York had a strong effect on me with its buildings and its dense population. New York seemed like a racing machine that we wouldn't be able to keep up with. However, along with the dazzling speed, one is also compelled to wait at times. It's a necessity resulting from its crowdedness…Therefore, despite all the speed, I guess that work progresses slower than in Europe. Having stayed in that giant city, attended four instantaneously organized colloquiums, and one feast, I departed for San Francisco. Compared to New York, San Francisco is a very calm and charming city. It has abundant sunshine, light, and sea. I will always cherish San Francisco as a bright and luminous city. If I were obliged to live in America, I would choose to live there. Contrary to my expectations, Los Angeles isn't as appealing as I had imagined. Its messiness, grandeur, and flatness remind me of Ankara. But oh my God, there's so much smoke in that city. The overwhelming heat and constant smoke are very dangerous for singers like us. However, there I met my best American friend, the painter Marion Pike. And about Washington; it's been my second favourite city after San Francisco. There are breathtaking buildings, majestic trees, and boundless greenery in a spectacular park…Furthermore, American people are unexpectedly interested in art, especially opera.”
“In which cities have you performed operas and concerts?”
“As you know, I was engaged for the current season of one of America's major operas, the San Francisco Opera House, by its Art Director, Kurt Herbert Adler, to perform the protagonist in Zandonai's Francesca da Rimini. After the rehearsals that we did in a short time, such as 10 days, I gave the first performance. We gave three more performances of this opera, and once again in Los Angeles, in the Shrine Auditorium, which has a capacity of 6000 people. After that, I performed at three major concerts organized by the San Francisco Opera. I also performed concerts at our embassy in Washington and at the reception in New York hosted by our esteemed News Director, Nuri Eren. Besides these, I was asked to perform additional concerts at various concert halls and also on television. However, due to the regulations stipulated in my contract and the reasons suggested by the impresarios regarding business strategies, it wasn't possible for me to accept such sudden offers. I was also compelled to decline the invitation from the Chicago Opera to sing the lead role of Leonore in Il Trovatore due to the same reasons. The impresarios preferred to postpone a larger-scale tour program to the next year and begin working on creating better conditions by focusing on more advertising and publicity, which is a highly important concept in America”.
“What were the reactions to these opera performances and concerts?”
“The reactions were positive and much more than I had expected. This was particularly surprising given that the opera I performed is relatively unknown and hadn't been performed in a long time. Moreover, they didn't know me at all. It was going to be the first time they'd hear my voice. Despite these initial challenges, I received warm interest and sympathy from both the audience and the press. The critics all praised me unanimously, as if they had agreed upon it. And they didn't hesitate to compare me to legendary actresses like Eleonora Duse or Sarah Bernhardt, giving me more credit than I deserved. Honestly, since the opera text I sung belonged to Gabriel d'Annunzio and it was interpreted in Italian, I quite enjoyed being likened to the famous Duse, the actress who interpreted all of the poet's works. Perhaps it was my acting, which focused on embodying the soul of the opera and its poetic essence. Because during one of the rehearsals, Dorothy Bourne, the music critic from Time Magazine who had come from New York to listen to me, burst into tears. After my concert in Washington, one of America's famous critics, Paul Hume, and Patterson Greene from Los Angeles also wrote very positive comments about me. They were the articles that made me the happiest.”
“How did you find the opera scene in America?”
In America, they don't exclusively feature American performers in operas. Thanks to their financial resources, Americans are able to attract some of the most beautiful voices from around the world, as well as renowned conductors and instrumentalists. As a result, opera seasons in America are very rich and qualified in every aspect. Because of this, the American audience gets the chance to see and listen to the best performances and interpretations of every opera. For example, I think that the Opera Theatre of San Francisco operates at a world-class standard. Even though they have a short season every year, running for two and a half months from September to mid-November, they manage to include 16 operas in their repertory. These operas are directed by world-renowned conductors. For example, the permanent conductor of the Rome Opera, Oliviero de Fabritiis, was invited to conduct the opera Francesca da Rimini, in which I performed. And for the Wagner operas, the most renowned German conductors were engaged. As soloists for this season, there were Soprano Renata Tebaldi, Tenor Campara, Bass Boris Christoff from Italy, Tenor Richard Lewis from England, the famous Mozartian soprano Elisabeth Schwarzkopf from Germany, Soprano Licia Albanese from the Metropolitan Opera, the famous baritone Leonard Warren, and the Swedish tenor Jussi Björling…Americans don't discriminate based on nationality in art. They aim for nothing but to have the most eminent artists on their stage, regardless of what it takes. It’s clear that, because of this fact, they consistently produce magnificent opera seasons.”
“In which languages are operas performed in America?”
“From what I observed, in America, every opera is performed in its original language, meaning in the language in which it was written and composed. For example, German operas are performed in German, Italian operas are performed in Italian and even Russian operas are performed in Russian. Americans are practical; they have understood that music transcends national boundaries. As a result, they have found a way to eliminate the difficulties and inadequacies of translating librettos. Additionally, they alleviate the burden on the artists they invite by allowing them to perform in their original language. This allows any foreign artist who can memorize and include each opera in their repertoire in its original language to perform freely on American stages.”
“What kind of connections and engagements have you established in America?”
“During this tour, I had the chance to meet the most important opera directors and impresarios in America. I also became very good friends with one of New York's most renowned impresarios, Olga Troughton. From now on, she's going to organize all my operatic tours in America. I also signed a contract with Columbia Artists Management, one of America's major concert organizations. As a result, I will return to perform at the San Francisco Opera season once again next year, and in addition, I will give 14 concert performances in various cities. Furthermore, we also have some interesting projects with the Metropolitan Opera and some major television channels, which haven't been concluded yet."
“As our first artistic representative in America, who provided you with the most assistance?”
“First of all, I would like to mention our esteemed News Director of San Francisco, Mr. Nejat Sönmez, and Vice Director, Mr. Erdoğan Ulus, who supported me every step of the way and helped me the most during my communication with both the press and the art scene. I must also mention the unforgettable interest and unparalleled hospitality shown by our ambassador and his esteemed wife during the five-day period they hosted me in Washington on my return journey. I had the chance to meet America's most renowned diplomats, artists, and journalists at the grand reception held in my honour at the embassy, attended by 300 people, where I performed for them. The concert I performed at the embassy that night had significant and impactful outcomes. Our press attaché in Washington, Mr. Altemur Kılıç, has been a precious guide to me. Additionally, in New York, I received the selfless care and assistance of our News Office Director, Mr. Nuri Eren, and his wife. I would also like to gratefully mention other individuals who showed valuable assistance and care, such as Nüzhet Baba, Faruk Fenik, and our young critic Tunç Yalman. The reception hosted by Nuri Eren for members of the press and the art scene to mark my departure concluded my journey in America in a very impactful way. There, I also met with the Mayor of New York and gave a concert performance. My tour in America resulted in more than a hundred articles and photos in newspapers, for which I owe most of the credit to the efforts and assistance of our press members in San Francisco, Washington, and New York, and their friendly relations with the American press. I must proudly mention that our Press Organization in America is working rather perfectly.”
“Will you return to America?”
“I believe it's inevitable, as I'm already receiving engagements that would keep me in America for months. Undoubtedly, if the Ankara State Opera sees it beneficial for me to accept these invitations as their representative artist, I will return. We also shouldn't forget that in every critic written about me, it's mentioned that I'm an artist of the Ankara State Opera and was educated there, which raises great interest in our opera and country.”
“What's the most memorable experience from your tour in America?”
“My best memory is from the premiere of Francesca da Rimini, when Maestro O. de Fabritiis left the orchestra pit and ran to the stage as soon as the curtains closed at the end of the first act and a major applause began; we hugged each other, crying. Because: it was the first time in 40 years that this opera was staged again. It wasn't predictable whether the opera would be appreciated, especially considering it was my first opera performance in America. This moment was particularly significant as it would determine the fate of its composer, Zandonai, as well as my own. Zandonai had recently passed away, and his close friend Fabritiis had begun a major effort to reestablish his works. Because of all these factors, the storm of applause at the end of the first act saved us both and brought tears of joy to our eyes. That's why I can't easily forget the tears of excitement from Maestro and the soprano, which blended together.”
“What kind of ideas do Americans have about our country and our opera?”
“Among Americans who are familiar with our country, there isn't much awareness about us and our opera. This can be excused because America is a vast continent-sized country, and Americans tend to focus on the realities they see firsthand. Therefore, we must put more effort into promoting our art and country in America. However, Americans who have the chance to visit our country and get to know us and our art, appreciate us a lot. They love us, and they don't hesitate to show this affection. A very clear example of this fact was when I was having lunch at a restaurant in Washington and experienced the sincere interest shown by Vice President Mr. Nixon, whom I saw from afar and was informed about. I suppose when Mr. Nixon rose from his table, he was informed by the maitre d'hotel about who I was. He then returned from the main entrance and uttered these words to me:
Welcome to America. I have followed your successes in the newspapers of my home country, San Francisco, and I congratulate you. I hope that you'll leave America with positive impressions, just as I left your country with very nice impressions after a short visit last April, which I can't forget. I have never experienced the warmth and hospitality that I received in Ankara, which I will always cherish with pleasure.”
“What are your projects for this season?”
“For now, shortly I will go to Italy to fulfil a promise which I made last season. I will give a few performances at the San Carlo Theatre and concerts on television. On the way back, it will be a pleasant duty to perform once again with my colleagues in Ankara and Istanbul.”
On behalf of our readers, I thanked Leyla Gencer, who patiently and kindly answered my questions, and left her presence wishing her success for her performances in Italy.
TERCÜMAN DAILY NEWSPAPER
1956.12.01
PAZAR WEEKLY MAGAZINE
1956.12.02
INTERVIEW BY KAMURAN ÖZBİR
Translation by © Ayşen Zülfikar
It's currently the best season in Nagasaki. Spring has embraced this Far Eastern city with all its charm. In the middle of a room adorned with pink plum flowers and chrysanthemums, the charming Cio-Cio-San (Madam Butterfly) lies down. Among the flowers, a blood-stained dagger is visible. The day is about to come to an end. After the curtains fell, I was among the audience enthusiastically applauding this lovely Japanese girl who killed herself upon the betrayal of her loved one. And that was the first time I saw Leyla Gencer. Much later, I felt an endless desire: to speak to her and explore the depths of her artistic life. Finally, on a rainy late afternoon in the year 1953, I got the chance to meet her in person. I could never forget the excitement of that day. It's been months since that encounter, and I've only been able to read about her. Leyla Gencer went to Europe and has returned. And she'll be leaving again shortly. One day, I heard that she was invited to America. I felt happy because it was clear that the Turkish artist would enchant the people of the far continent, just as she had enchanted the European audience. Everybody shared my thoughts. I confidently awaited Gencer's return, and she did come back—with even greater success than we had hoped for. It was such a triumph that journalists covered it extensively in the most prominent columns of the best-selling newspapers for days. I immediately called her upon her arrival in Ankara. She surely had stories to share, and we were eager to hear them.
How did we climb the stairs? How did we knock on the door? How did we get inside? And how did we sit? I don't recall any of these. I suddenly saw our esteemed artist before me. And that was it! After a brief pause, Gencer spoke to me with a respectable modesty.
“We came here to listen to you.”
“I must confess, when I was invited by Mr. Kurt Herbert Adler, the Director of the San Francisco Opera, to perform in the opera 'Francesca da Rimini,' I felt a mixture of excitement and fear. Moreover, this opera had been staged once before in America but was canceled due to poor reception from the audience. Additionally, the renowned soprano Renata Tebaldi was invited to sing this role, but she also refused. Even today, I still wonder how I managed to summon such courage. What truly mattered was the interest of the people. I must emphasize this. Perhaps it was that very interest that gave me the courage.”
“Ah, exactly. I can't even begin to describe it. There were auditions, concerts, performances, and receptions every day. Everything happens swiftly in that country with its high-paced lifestyle.”
“I will be traveling to Italy shortly, and next year, I plan to visit many cities across America.”
“No, absolutely not!”
