Press [1965 - 1974]


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OPERA MAGAZINE                       
1965 February

Glyndebourne. Anna Bolena, Donizetti. With Leyla Gencer, Patricia Johnson, Maureen Morella, Juan Oncina, Carlo Cava, Don Garrard. c. Gianandrea Gavazzeni, p. Franco Enriquez, d. Lorenzo Ghiglia

OPERA MAGAZINE                       
1965 December

Naples. Teatro San Carlo. Season opens December 11 and continues until the end of May. Dates given below are first nights and are subject to alteration. Works marked are receiving first local performances. 
Guillaume Tell. With Leyla Gencer, Anna Maria Rota, Gianni Raimondi, Giangiacomo Guelfi, Paolo Washington, c. Fernando Previtali, p. Sandro Bolchi (December 11) Clitennestra (Pizzetti). With Clara Petrella, Luisa Malagrida, Floriana Cavalli, Nicola Tagger, c. Oliviero De Fabritiis, p. Mario Frigcrio (December 26)
Naples. Teatro San Carlo. Lucrezia Borgia. With Gencer, Rota, Giacomo Aragall, Mario Petri, c. Carlo Franci, p. Margherita Wallmann (January 29)
Naples. Teatro San Carlo. Roberto Devereux (Donizetti) With Leyla Gencer, Giulietta Simionato, Ruggero Bondino, Piero Cappuccilli, Franco Bonanome. c. Mario Rossi, p. Margherita Wallmann, d. Attilio Colonello (February 22, 24, 27, March 1) 

JORNAL DO BRASIL                    
1965.12.14

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OPERA MAGAZINE                       
1966 January

Naples. 19, Teatro San Carlo. Revival of Lucrezia Borgia, with Leyla Gencer.

OPERA MAGAZINE                       
1966 May

Florence. May 21, 24, 26 Alceste. With Leyla Gencer; c. Vittorio Gui.

OPERN WELT                    
1966 June

OPERN WELT                    
1966 June

LA STAMPA                   
1966.09.22

OPERA MAGAZINE                       
1966 October

Lausanne. The annual autumn festival of Italian opera at the Theatre de Beaulieu will open on October 6 with Norma with Leyla Gencer, Fiorenza Cossotto, Gastone Limarilli, Ivo Vince, c. Oliviero De Fabritiis, p. Enrico Frigerio (repeat performance on October 8).

NORDLANDPOSTEN
1966.10.30

THE PATRIOT NEWS
1966.11.11

ABILENE REPORTER-NEWS
1966.11.17

ANDERSON HERALD
1966.11.17

DAILY KENNEBEC JOURNAL              
1966.11.17

DANVILLE REGISTER          
1966.11.17

DES MOINES REGISTER      
1966.11.17

HUTCHINSON NEWS   
1966.11.17

JOPLIN GLOBE
1966.11.17

MORNING PIONEER     
1966.11.17

PORTLAND PRESS      
1966.11.17

SOMERSET DAILY AMERICAN
1966.11.17

SYRACUSE POST STANDARD
1966.11.17

THE DULUTH NEWS TRIBUNE             
1966.11.17

THE FRESNO BEE                     
1966.11.17

THE HERALD NEWS           
1966.11.17

THE MORNING UNION                     

1966.11.17

THE MUSKEGON CHRONICLE                
1966.11.17

THE PLAIN DEALER                     
1966.11.17

THE POST STANDARD              
1966.11.17

THE STAR LEDGER

1966.11.17

THE STATE                   
1966.11.17

BRADFORD ERA                 
1966.11.18

CUMBERLAND NEWS            
1966.11.18

OIL CITY DERRICK      
1966.11.18

THE FORUM    
1966.11.18

THE FREDERICK NEWS
1966.11.18

MADISON WISCONSIN STATE JOURNAL
1966.11.19

CORRIERE DELLA SERA                     
1966.11.28

OPERA MAGAZINE                       
1966 December

Napoli. Adriana Lecouvreur. With Leyla Gencer, Adriana Lazzarini, Amedeo Zambon, Enzo Sordello, Plinio Clabassi, c. Oliviero De Fabritiis, p. Attilio Colonnello, d. Camillo Parravacini (December 17)
Napoli. Saffo (Pacini). With Leyla Gencer, Franca Mattiucci, Del Bianco, Louis Quilico, c. Capuana, p. Margherita Wallmann, d. Attilio Collonello
Firenze. Alceste. With Leyla Gencer, Mirto Picchi, Attilio D'Orazi, c. Vittorio Gui, p. Giorgio Di Lullo, d. Pier Luigi Pizzi (March 7)
Napoli. Lucrezia Borgia. With Gencer, Anna Maria Rota, Renato Cioni, Ruggero Raimondi, c. Francesco Molinari-Pradelli, p. Carlo Piccinato, d. Orlando Di Collalto (June 3)

LOFOTPOSTEN
1966.12.03

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OPERA MAGAZINE                       
1967 February

Turin, Teatro Regio will continue with the following: Norma. With Leyla Gencer, Fiorenza Cossotto, Bruno Prevedi, Ivo Vince, c. Oliviero De Fabritiis, p. Margherita Wallmann

DIARIO DE PAMAMBUCO                    
1967.03.05

OPERA MAGAZINE                       
1967 May

Florence. May 2 Teatro Comunale. May Festival opens with Donizetti's Maria Stuarda, with Leyla Gencer in the title-role.

OPERA MAGAZINE                       
1967 June

Verona Arena, July 16 to August 15 La Forza del Destino. With Leyla Gencer, Adriana Lazzarini, Gianfranco Cecchele, Piero Cappuccilli, Ivo Vince, Renato Capecchi, c. Franco Capuana, p. Herbert Graf, d. Attilio Colonnello. July 15, 20, 23, 30, August 3, 6, 10

OPERA MAGAZINE                       
1967 September

San Francisco, War Memorial Opera House. Season opens with La Gioconda with Leyla Gencer and Grace Bumbry

LA STAMPA                      
1967.09.23

TIME MAGAZINE            
1967.09.29

OPERA MAGAZINE                       
1967 December

Milan. Teatro alla Scala The details of the 1967-8 season were announced by Gianandrea Gavazzeni, the theatre's artistic director, and are as follows: Idomeneo. With Leyla Gencer, Margherita Rinaldi, Peter Schreier, Domenico Trimarchi, Nicola Zaccaria, c. Wolfgang Sawallisch, p. Oscar Fritz Schuh.
Roma. The 1967-8 season at the Teatro dell’Opera, Don Carlo. With Leyla Gencer, Fiorenza Cossotto, Bruno Prevedi, Bruscantini, Nicolai Giaurov, Luigi Roni, c. Fernando Previtali, p. & d. Luchino Visconti. April 22, 24, 28, 30, May 2

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AVANTI                      
1968.04.28

RADIOCORRIERE.TV                      
1968.04.28

OPERA MAGAZINE                       
1968 June

Verona Arena: July 20, 25, 28, August 1, 4, 7, 10, 13, 16 II Trovatore. With Leyla Gencer, Adriana Lazzarini, Carlo Bergonzi, Piero Cappuccilli, Paolo Washington, c. Franco Capuana.

OPERA MAGAZINE                       
1968 July

Verona, Arena. 1968 season opens with Aida with Leyla Gencer in the title-

OPERA MAGAZINE                       
1968 August

Bilbao. The Seventh Festival of Opera will take place at the Coliseo Albia from September 3 to 13 and will consist of performances of: Ernani. With Leyla Gencer, Gianfranco Cecchele, Piero Cappuccilli, Ruggero Raimondi, c. Manno Wolf-Ferrari.
Miami. The Opera Guild of Greater Miami. La Forza del Destino with Leyla Gencer, Jane Berbie, Bruno Prevedi, Manuel Ausensi, Ruggero Raimondi, Andrew Foldi, and Voketaitis on March 17, 19, 22. Emerson Buckley will conduct all three operas and the producer will be Anthony Stivanello.

OPERA MAGAZINE                       
1968 September

Naples. We hear that... Leyla Gencer will sing the title-role in Donizetti's Maria Stuarda at the Teatro San Carlo, Naples, next season

DINO CIANI CD / LP ALBUMS Album de chaumiere ROSSINI

1968 September


OPERA MAGAZINE                       
1968 December

Roma. Macbeth. With Leyla Gencer, Giorgio Casellato Lamberti, Iacopucci, Mario Zanasi, Lotenzo Gaetani, Colella, c. Bruno Barcoletti, p. Giorgio De Lullo, d. Pier Luigi Pizzi. April 2, 5, 8, 10, 13, 16
Florence. The season at the Teatro Comunale is as follows: Macbeth. With Leyla Gencer, Angelo Mori, Cornell MacNeil, Luigi Roni, c. Bartoletti, p. Aldo Mirabella Vassallo, d. Mischia Scandella. January 12, 15, 19
Naples. The 1968/9 season at the Teatro San Carlo will consist of the following operas: Maria Stuarda. With Leyla Gencer, Shirley Verrett, Juan Oncina, Giulio Fioravanti, Plinio Clabassi, c. Francesco Molinari-Pradelli, p. Franco De Lullo. December 29, January 2 1

RADIOCORRIERE.TV                      
1968.12.01

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OPERA MAGAZINE                       
1969 January

Turin. The season at the Teatro Nuovo will last from January 2 to May 13. The operas and casts are as follows: Alceste. With Leyla Gencer, Mirto Picchi, Attilio D'Orazi, c. Franco Capuana, p. Alessandro Brissoni. March 4, 6, 9
Venezia. The 1968-9 season at the Teatro La Fenice Belisario (Donizetti). With Leyla Gencer, Umberto Grilli, Taddei, Nicola Zaccaria, c. Gianandrea Gavazzeni, p. Alberto Fassmi. May 6, 9, 11, 14, 17

OPERA MAGAZINE                       
1969 May

Venice. Teatro La Fenice. Revival of Donizetti's Belisario with Leyla Gencer and Giuseppe Taddei
Genoa. The season at the Teatro Margherita, which opened on March 11 with Ernani, followed by May 25, June 1 Medea (Cherubini). With Leyla Gencer, Rita Talarico, Aldo Bottion, Paolo Washington, c. Peloso, p. Alberto Fassini, d. Pier-Luigi Pizzi. June 4, 8, 10

OPERA MAGAZINE                       
1969 August

Florence. Florance Opera opens its season with Donizetti's Maria Stuarda with Leyla Gencer

HIGH FIDELITY                     
1969 September

OPERA MAGAZINE                       
1969 October

Naples. Teatro San Carlo. Aida with Leyla Gencer, Biserka Cvejic, Flaviano Labe, Giampiero Mastromei, c. Alberto Erode, p. Hans Busch; 

RADIOCORRIERE.TV                    
1969.10.12

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RADIOCORRIERE.TV                    
1970.07.19

OPERA MAGAZINE              
1970 August

Rome. Casts and operas for the remainder of the open-air season at the Terme di Caracalla are as follows: Mefistofele. With Lidia Nerozzi, Margherita Casals-Mantovani, Corinna Vozza, Giorgio Merighi, Gabriele De Julis, Carlo Cava, c. Bruno Bartoletti, p. Giovanni Poli, d. Mischa Scandella. August 1 Aida. With Leyla Gencer/Virginia Zeani, Franca Mattiucci / Mirella Pamtto, Angelo Mori / Amedeo Zambon, Mario Sereni / Walter Monachesi, Ivo Vinco / Mario Rinaudo, Carlo Micalucci / Paolo Dari, c. Francesco Crittofoli / Carlo Franci, p. Bruno Nofri, d. Giovanni Cruciani / Camillo Parravicini. August 3, 5, 8, 10, 12, 14

OPERA MAGAZINE              
1970 September

RADIOCORRIERE.TV                    
1970.09.20

OPERA MAGAZINE              
1970 October

RADIOCORRIERE.TV                    
1970.10.04

IL DRAMMA               
1970.10.11

OPERA MAGAZINE                 
1970 December

Napoli. 1970-71 season at the Teatro San Carlo are as follows: February 13 Cavalleria Rusticana. With Leyla Gencer, Amedeo Zambon, Giulio Fioravanti and Gianni Schicchi. With Elvidia Ferracuti, Carlo Frantini, Rolando Panerai, c. and p. to be announced.
Rome. 1970-71 season at the Teatro dell’Opera, are as follows: February 22 La Gioconda. With Leyla Gencer, Mattiucci, Gianni Raimondi, Giangiacomo Guelfi, Ruggero Raimondi, c. Nino Sanzogno, p. Gianrico Becher, d. Veniero Colosanti and John Moore.

RADIOCORRIERE.TV                    
1970.12.13

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OPERA MAGAZINE                 
1971 January

Milan. Full casts for the current season at La Scala have now been announced, and are as follows: Les Vepres Siciliennes. With Renata Scotto/Leyla Gencer, Gianni Raimondi/ Giorgio Casellato Lamberti, Piero Cappuccilli/Lorenzo Saccomani/Licinio Montefusco, Ruggero Raimondi/Carlo Cava/Paolo Washington, c. Gianandrea Gavazzeni, p. Giorgio Di Lullo, d. Pier Luigi Pizzi
Venezia. Teatro La Fenice: December 11, 13, 14, 17, 19 La Gioconda. With Leyla Gencer, Luisa Bordin Nave, Mirna Pecile, Umberto Grilli, Mario Zanasi, Ruggero Raimondi, c. Antonino Votto, p. Carlo Maestrini, d. Veniero Colasanti and John Moore. 

RADIOCORRIERE.TV                    
1971.01.31

RADIOCORRIERE.TV                    
1971.07.04

RADIOCORRIERE.TV                    
1971.10.31

RADIOCORRIERE.TV                    
1971.11.10

DINO CIANI CD / LP ALBUMS Nocturnes CHOPIN
1971 December


INTERVIEW BY MARCELLO BANDIERAMONTE
1971.12.09, PALERMO

Leyla Gencer Interviewed by Marcello Bandieramonte 

We are in the dressing room of Leyla Gencer, the celebrated soprano who has brought to life tonight, after more than a century, the forgotten Rossinian character, Queen Elizabeth of England. Rossini wrote Elizabeth to suit the exceptional gifts of the beautiful Isabella Colbran, who was later to become his wife. The writer, Stendhal, said of her interpretation: 'Everything was reflected in her Spanish eyes, so beautiful, yet at certain moments so fierce." After 137 years, we are again in the presence of another dark Mediterranean beauty, born on the shores of the Bosphorus, the Turkish soprano, Leyla Gencer, interpreter of the role of Elizabeth. We might say that Rossini wrote it also for you, Madame. Musically and visually, the character suits you well—that of Elizabeth.

Certainly. Elizabeth demands unusual vocal efforts. Yes, and I am very happy to perform it for the first time after a century of absolute silence.
Rossini made an innovation in this work by making a point of not leaving anything up to the singers—but by writing all the ornaments and coloratura, especially for your role.
Yes, very difficult.
Then you are one of the great merits of this revival of the Rossini masterpiece, because it is not easy to find a singer who rejects the usual standard roles, a successful artist who will commit herself to such difficult parts.
Truly, since the beginning of my career, I have always preferred to sing these rather rare and difficult operas, and because my curiosity drives me to discover new and difficult works—perhaps because of their difficulty! The difficulty attracts me. Of course, I am also very happy to have performed besides the Elizabeth of Rossini, other English queens of Donizetti, for instance Maria Stuarda, Donizetti's Queen Elizabeth of England, Anna Bolena again by Donizetti, and above all I am satisfied and happy to have contributed a little to the diffusion of these works in the international operatic world. And they have almost become standard repertory works. It is almost a duty for me to discover and sing and launch these rare operas that are very difficult to sing because they really require tremendous vocal work, much greater than the operas that are done regularly.
Let us hope that this Elisabetta will be launched internationally, since we know that it will go to the festival at...
Edinburgh.
Yes, Edinburgh, is it true?
We hope, certainly—this is our wish.
Then, apart from the similarity of the temperaments of the two artists already mentioned at the beginning—that of the artist of yesterday, Colbran, and that of today, Gencer, this is a work which is congenial visually because it is about a regal character, and you listed a while ago many queens, many princesses.
Yes, I have many queens in my repertory.
And even another Queen Elizabeth, it seems to me. Is it so, another Queen Elizabeth?
Yes, of Donizetti, Roberto Devereux, yes, it's called Roberto Devereux because there already existed this Elizabeth of England, already set to music by Rossini.
And where do you reside usually?
In Milan.
In Milan! Artistically, do you feel a little Italian?
Completely Italian because I have made my entire career in Italy. I made my debut in Italy in 1954.
I recall that last year there was a group of young people who came here specially to hear you.
They will return.
Indeed, they will return.
They are already here.
A group that has made itself known among the general public.
A group that follows me almost everywhere.
Indeed.
To Spain, America, and soon even to Edinburgh.
I thought these youths were all from Genoa.
They are not only from Genoa, but from all over Italy—from Florence, from Milano, from Genoa, from Naples.
And they are all here tonight to applaud in the theatre.
Yes, they are all here.
Thank you, Madame.
Thank you.


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50 YEARS OF SAN FRANCISCO OPERA            
1972 January
ARTHUR BLOOMFIELD

DISCOTECA ALTA FEDELTA'                
1972.01.02
RODOLFO CELETTI

The throne suits Gencer well

It’s rumoured that Leyla Gencer has about two hundred activist fans who often come to see her performances and organize “punishment acts” against her rivals from time to time. A year ago, before I met Signora Gencer, it was rumoured that these fans had declared a war against the Greek soprano Eleanor Suliotis during the Macbeth performances in Genoa. Whether they were true or false, that rumour awoke my imagination. We all know the concept of ten to twenty fanatics’ hostile acts. They seem ordinary and vulgar when they’re together. But a troop of two hundred guardsmen means a well-equipped organization. And what’s more to say about a woman who caused a war between Greeks and Turks and even made Italians fight under the Turkish flag?

Thereby, my plan of meeting Gencer- she had caught my attention since long time- was finally realized. And our conversation began shortly afterwards….
That night Leyla Gencer was feeling rather down. The flu temporarily quietened her.  She wore a black, theatrical dress. She had angry eyes that were more intense and questioning than usual. Anyway…Although it seemed a bit strange when she continuously stared at me while speaking in a deep, heavy voice and with a scenographically perfect smile, it didn’t stress me but calmed me. Actually, I have a soft spot for strong-willed people, “tremendous women” and furious fights.
Yes, Leyla Gencer was smiling and speaking kindly.  But in spite of her sweet and soft glances, the tension of her stubborn face, aggression and tendency to frown was felt anyway. I shall say that she was exactly how I’d expected her to be. Because by observing how she sang, talked and acted, I’d gathered enough information to know what kind of a woman she is. It was enough to portrait someone. Leyla Gencer could have spoken, smiled, moved and looked differently but no matter what, I planned to strictly hold on to the image that I had in my mind. 
Actually, that evening and during our subsequent conversations, a Piranello style game emerged between us. I saw her in a particular aspect which she immediately sensed and rapidly changed her ways, she acted and become different than before.  Because no matter how much she enjoys being watched and observed, principally she didn’t accept to be fully exposed. Surely, she will cheer up when she reads these pages and she will say that I completely misunderstood her, got confused and twisted the truth. And most probably she will prove it to me with dialectical, sarcastic and fun implications. And without making even a slightest compromise, I will say that her biggest weapon is her genius talent of transformation, and this game will go on like this.
That evening I was sitting peacefully on a chair. I was watching her when she headed for the record player. It was the first time that I saw her so closely. As I noticed her minuteness, I wondered how come she’d seemed so tall to me while she was portraying the tremendous fury of the queen in the opera Roberto Devereux.
Leyla Gencer suddenly shouted in a Kipling jungle style. She’d found the record that they wanted to listen. And that record wasn’t chosen randomly; it was “D’amor sull’ali rosee”. One of the first five arias that she had recorded at the beginning of her career and which she didn’t continue to do...She wanted everybody including me to listen to that recording and to underline the contrasts in her technique and style.  
In that extraordinary interpretation, the precision and the clarity of the vocal embellishments go head-to-head with a pathetic surrender. Meanwhile, the refined interpretation of the legatos, transitioning of the sounds, both clear and covert passages, the melancholic intensity in her voice reach perfection.  She has the lightness and the fragility of a moonlight-like quality that I’ve never heard from any other singer, which brings out the miracle that Verdi had accomplished by combining Bel Canto derived lyricism with a more realistic anguish. 
I guess Gencer smiled as the record kept on turning. She was well aware that she had unarmed me on our first encounter with one of the “broken spears” of the Bel Canto Renaissance. And since I was famous for listening to only Sutherland, Horne and Caballé, she was doing it by shouting like one of Kipling’s jungle characters. She was saying “We have the same blood!”. 
I know for sure that if I had been known differently, for example, if I’d been a fan of an expressionist style, she would definitely have chosen another record.
We kept silent for a few minutes. And when I said that “Signora Gencer, I know that you sing well but I’m surprised that you chose to play this recording”, she answered impetuously:
“When I came to Italy in 1954, I used to sing like this. At that time, this style of singing was found rather unfashion and dull. I forced myself to change my style and follow a different path.” she said. Gencer was well aware of her incompatibility at the time. Because in the beginning, she had to follow the path of Callas. She said “Fate” and nothing else.
When I think about it today, I’m not surprised at the fact that I still remember the vocality of the piece. Leyla Gencer’s voice becomes quite interesting when she’s exhibiting virtuosity or expressing dramatic tension. But her voice might be classified as normal and even ordinary. But it’s not actually an ugly voice as some say. It possesses an insufficient amount of metallicity and volume especially in the middle tones, but it has a wide range and reaches high notes with ease. And I’ve always liked her tone except for some rare rigidness and strains caused by stringent muscles. The only special quality of this voice is that: it’s so suitable to absorb and reflect Leyla Gencer’s personality. 
All female, vocalist and performer qualities are perfectly combined within Gencer. Some renowned female singers fully sacrifice their womanhood for the sake of art. Those singers who are famous for their natural or technical abilities don’t aim to be charming women. I think that Leyla Gencer is different from them.  Her artistic talent seems as if it’s in service of female power, wisdom and abilities.
And vocally; as I have mentioned before, if shall judge by the quality of the voice, I would say that ninety nine percent of singers with similar voices would only be able to perform in provinces.  But Gencer did exactly the opposite After only three years of professional experience, she went to La Scala and to Cologne to sing La Forza del Destino, to Los Angeles for Turandot and to San Francisco for La Travata and Lucia.
She had to bear the continuous confrontation between her and Callas. In an ambiance where she wasn’t treated quite amicably, some people appraised her less than that she had deserved. Even I’d thought that despite her technique, style, dramatic and musical intelligence which appealed to me, she had lost her path because of her ambition, and she was pushing herself too much. And that would destroy her voice in a short time. I must admit that I’d failed to make an authentic judgement because of my negligence and the conditions in that period. In the years of Callas’ dominance, it wasn’t easy to find pirate long plays and recordings. If I had been able to listen to Gencer’s Rigoletto and I Puritani recordings of Buenos Aires performances in 1961, I could have acknowledged her virtuosity and high-class interpretative skills much earlier.
The evening that we met, I had told Gencer that it was indeed early to make definite judgements about her capacity. And I was rather right. Because she has added more meaningful victories to her curriculum. For example, her interpretation of Gioconda in Venice in the spring of 1971 was one of her most astonishing performances. At least for the people who know the difficult structure and vocal demands of the opera of Ponchielli. But the range of Gencer’s God and prophet given technique, talent and temperament that help her to perform dramatic soprano roles with that light-lyric voice, seem almost endless.
Most of the audience in Italy and especially in the world listen to Rossini, Bellini, Donizetti, Verdi nowadays. And Gencer also had a role in this accomplishment.  She took over where Callas had prematurely left and supported by herself an operatic treasure that was at the risk of being forgotten.
I wonder if Macbeth performances would continue if Gencer hadn’t existed? Would we have known Pacini’s Saffo or Belisario? Who else do we owe rather than her for the revival of Donizetti’s Roberto Devereux?
All of these facts prove the historical importance of the artist.
All that’s left is Leyla Gencer’s reign, throne and this rumour: I wished the aggression of the two hundred fierce fans were real.  Because this victorious Queen’s strength and imagination is worthy of their glory! But most probably this rumour isn’t even true. It must be a consequence of the never-ending conflict between Turkish and Greek nations. 


OPERA MAGAZINE                 
1972 May

Milan, La Scala. Leyla Gencer sings title-role in Gluck's Alceste 13, 19, 21, 22, 24
Naples, San Carlo. Leyla Gencer sings the title-role in Donizetti's Caterina Cornaro, c. Carlo Felice Cillario

L'UNITA              
1972.05.03

OPERA MAGAZINE                 
1972 August

JORNAL DO BRASIL                    
1972.08.06

OPERA MAGAZINE                 
1972 September

New Jersey. The Opera Theatre of New Jersey’s 1972-3 season will include: Attila. With Leyla Gencer, Cesare Bardelli, Jerome Hines, c. Alfredo Silipigni, p. Franco Gratale.
Edinburgh. King's Theatre. Leyla Gencer sings title-role in Rossini's Elisabetta, Regina d'Inghilterra.


AFTER DARK              
1972 November
 
Date: November 1972 Cover: Simon WardContents: Simon Ward - featured in a 4-page movie review of "Young Winston" and "Savage Messiah" Siegfried & Roy 3-page article with 4 photos including a full-page photo.
The First Edition featuring Kenny Rogers & Terry Williams - 4 pages with 2 full-page photos--one is of Terry Williams, Jeff Fenholt - star of "Jesus Christ Superstar" - 4 pages with 3 photos--one a full-page shirtless photo Paul Lynde - 3 pages with 2 photos
Also: George Cukor, Lois Nettleton, Leyla Gencer, fashion, film reviews, and more!


RIO DE JENAIRO                   
1972.11.10

TALLAHASSEE DEMOCRAT               
1972.11.26

OPERA MAGAZINE                 
1972 December

Milan. April 2 Un Ballo in Maschera. With Leyla Gencer, Lazzarini / Anghelakova, Santelli / Elvina Ramella, Giorgio Merighi, Cappuccilli/ Fioravanti, c. Nino Verchi.
Naples. The 1972-3 season at the Teatro San Carlo December 26/29, January 3/7. Belisario. With Leyla Gencer, Bianca Maria Casoni, Ottavio Garaventa, Giuseppe Taddei, Silvano Pagliuca, c. Carlo Franci, p. Alberto Fassini, d. Pier Luigi Pizzi.
Rome. The 1972-3 season at the Teatro dell’Opera opened on November 23 with I Masnadieri followed by Lucia di Lammermoor on November 27. The repertory and casts for the rest of the season are as follows: April 14 La Vestale. With Leyla Gencer, Bianca Maria Casoni, Umberto Grilli, Carlo Cava, Mario Petri, c. Carlo Franci, p. Mauro Bolognini, d. Pier-Luigi Samaritani. 

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THE ORLANDO SENTINEL              
1973.03.20

OPERA MAGAZINE         
1973 August


OPERA MAGAZINE         
1973 September

LETRAS DA PROVINCIA               
1973.10.15

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THE RECORD            
1974.02.11

OPERA MAGAZINE                 
1974 June

Florence, May 9 to July 25 The festival opened on May 9 with Spontini's Agnese di Hohenstaufen with Leyla Gencer, Beverly Wolff, Veriano Luchetti, Mario Petri, Walter Alberti, Ferruccio Mazzoli, c. Riccardo Muti, p. Franco Enriquez, d. Corrado Cagli,

OPERA MAGAZINE                 
1974 August

Los Angeles. We hear that... Leyla Gencer will sing the title-role in Lucrezia Borgia in Los Angeles next month.

OPERA MAGAZINE                 
1974 September


Los Angeles. The newly-formed Los Angeles Opera Company, under the direction of Hugh Weathersby, opens its 1974-75 season on September 27 with Lucrezia Borgia. Leyla Gencer will sing the title-role, and the cast also includes Huguette Tourangeau, Giacomo Aragall, and Vladimiro Ganzarolli ; c. Richard Bonynge, p. Beppe De Tomasi.


RADIOCORRIERE.TV                 
1974.09.08
 

OPERA MAGAZINE                 
1974 December

Trieste. La Falena (Smareglia). With Leyla Gencer, Rita Lantieri, Ruggero Bondino, Aurio Tomicich, Mario D'Anna, c. Gianandrea Gavazzeni, p. Filippo Crivelli, d. Pierluigi Samaritani. March 18, 21, 23, 26 June 1957
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