Recordings [General Information]

RECORDINGS [General Information]

PIRATES OF THE HIGH Cs

2020
NICOLAS E. LIMANSKY
Opera Bootlegging in the 20th Century 

Leyla Gencer

From the 1960s to the 1980s Leyla Gencer (1928-2008) was known as the "Queen of the Pirates." Different from Magda Olivero, Gencer never made a commercial recording of a complete opera. This is one of the reasons why her pirate legacy is of such importance.

Her very name is exotic. She was an artist of Turkish ancestry who, during the 1950s and 60s, held her own despite the presence of Maria Callas, Renata Tebaldi, Renata Scotto, Montserrat Caballe, and Magda Olivero. All of whom shared roles in her repertoire. Ironically, Gencer had a number of important credits to her name that many tend to forget. Wrongly viewed as the poor man's Callas, the Turkish soprano actually showed more artistic versatility.
There was something about that voice...something about the oddness of the mezzo-tinged middle and low registers contrasted by a pure and sweet, flute-like, high pianissimo. It was not only the voice, but also the way in which it was used. The commitment, her poised, almost noble grandeur was contrasted by moments of frailty or demonic fury. Seen objectively, the soprano was very clever. She did not have the genius of Callas nor the natural endowment of Tebaldi.

So why was she so popular?

Born in 1928, in Istanbul to a Polish (Catholic) mother and a well-off Turkish, Muslim father, Gencer readily accredits her Nanny for introducing her to the fine arts when young. She studied with Italian soprano Giannina Arangi-Lombardi, and, after Arangi-Lombardi's death, with Italian baritone Apollo Granforte, who was teaching in Ankara. (Although it has been reported that she studied with Elvira de Hidalgo, Gencer maintained that to be not true.)

Gencer made her professional debut in 1950 at Ankara's State Theater, as Santuzza in a Turkish-language Cavalleria rusticana. The famous conductor, Tullio Serafin, heard the soprano and offered her the opportunity to make her Italian debut as Cio-Cio-San in Madama Butterfly at the Teatro San Carlo, conducted by Gabriele Santini (1954). In 1956, she made her U.S. debut, singing Francesca da Rimini in San Francisco. In 1957, Gencer made her La Scala debut as Mme. Lidoine in the world premiere of Poulenc's Dialogues des Carmélites.
Between 1957 and 1983, Gencer sang 19 roles at La Scala, including Leonora in Forza del Destino and Il trovatore, Elisabetta in Don Carlos, Aïda, Lady Macbeth, Norma, Ottavia in L'Incoronazione di Poppea, and Gluck's Alceste. The company's 1958 world premiere of Pizzetti's L'Assassinio Nella Cattedrale found Gencer performing by the composer's request-the First Woman of Canterbury. She made her London debut during the 1962 season at Covent Garden in Don Carlo and Don Giovanni. Other roles include Liu in Turandot, La Gioconda, Tatiana in Eugene Onegin, La Vestale, Elvira in Ernani, Odabella in Attila, Beatrice di Tenda, Adriana Lecouvreur. Because of the similarity of some of their repertoire, and the fact that she also sang at La Scala, Gencer was often compared, unfavourably, to Maria Callas.
Although her repertoire was quite large and embraced works from Monteverdi to Pizzetti, she became primarily known for her bel canto revivals-Anna Bolena, Roberto Devereux, Maria Stuarda, Caterina Cornaro, Belisario, Lucrezia Borgia, Bellini's I puritani, and Norma, as well as roles in Verdi operas: Macbeth, La traviata, La battaglia di Legnano, Gerusalemm, I Vespri Siciliani, and I due Foscari. As she once remarked herself:

My specialty, she smiles, is revivals. For many years I did bel canto and Puccini, but now I've made a specialty of four Italian composers. I've launched many operas and received the Commendatore for it. I am very proud of this because I am not Italian and yet I received it for reviving these operas and for reviving the international interest in these national operas. (Leyla Gencer: The Belle of Bel Canto, Robert Jacobson After Dark November 1972)

Gencer retired from the stage in 1985, with Gnecco's La Prova di un'Opera Seria at La Fenice. She did, however, continue to do recitals and concerts until 1992. After her retirement she sat on various juries of competitions, giving masterclasses, and serving as the jury chairwoman of Istanbul's Yapi Kredi International Leyla Gencer Voice Competition. Maestro Riccardo Muti selected Leyla Gencer to oversee La Scala's School for Young Artists in the late 1990s.

During the early part of her career, she was known as a champion of modern works and sang in the world premiere of a number of operas, including works mentioned earlier by Pizzetti and Poulenc as well as Prokofiev's Fiery Angel (the Italian premiere at Spoleto) and Rocca's Monte Ivnor. During her career, she had a repertoire of about 70 roles.
Vocally, Leyla Gencer was a collection of disparate contrasts. Initially she was a lovely lyric-coloratura. In order to remain in the "vocal race" dominated by Maria Callas (in the bel canto repertoire) and Renata Tebaldi (in the verismo repertoire) Gencer took her basically sweet, light, voice twisted it, shoved it, and pushed it to extremes, molding her voice into the instrument that she sought at that time.
There was a price to pay. Because of the pressure she put on her voice, registers segregated, and a resulting coarseness invaded her singing. She was left with an odd, unequal instrument, but one of infinite colours and capable of large volume gradations which contrasted an often wild, unfocused quality of the top register.
She had a serviceable high E-flat, but she rarely strayed above high D. Considering how she pushed and pulled at her voice it is surprising that Gencer's pianissimi were so elegant.
It wasn't until 1957 that she began to branch out and embrace the more dramatic bel canto works that had become so favoured by Maria Callas. By the mid-1960s,
Gencer had established herself as the leading Donizetti specialist. Indeed, the aural documents of her performances of works such as Belisario, Anna Bolena, Roberto Devereux, Maria Stuarda, Caterina Cornaro, Lucrezia Borgia, are models of their kind. During an extremely fertile period of distinct soprano artists, Gencer remained a unique entity offering listeners the (at times confusing) combination of a Greek Fury's intensity and the fragile, delicate, hauntingly sweet pianissimi of an Amelita Galli-Curci. At her best she represented the glory and frailty of humanity in opera.
There were problems with the Gencer instrument from the beginning. Especially "iffy" was the passaggio area into her top register—the area of F and G at the top of the staff. It was always a bit suspect as to pitch. She also had a tendency, when excited and in the midst of dramatic utterances, to sing off the breath so that her tone not only curdled but also completely dissipated. Like other great artists, however, she bent her faults to her will, incorporating them into the fabric of her interpretations. She is a perfect example of both the merits and detriments of vocal compromise. By the mid-1970s, her vibrato had begun to unravel and display wide oscillations that, depending on the area of her voice, often failed to centre on the correct pitch. She would often cleverly rectify this problem by suddenly pulling the voice back to pianissimo—thus removing all pressure.
Gencer was an artist who often went over the top. By this I do not mean to imply that she could not be a singer of restraint and finesse. Many of her performances offer classic examples of bel canto phrasing and articulate musicianship. She was, however, a creature of the stage, often erratic even during the same performance.
And yet, oddly, it is that very inconsistency that draws one back to her performances time and time again. As William Ashbrook wrote of her: “[She is] a singing actress of imagination, one who pushes herself to the limits, one who prowls a stage like a wild thing confined behind bars, and that restless energy permeates what she does." Indeed the 5' 4" soprano hurled imprecations like no one else in the business.
Like Magda Olivero, Leyla Gencer was an intellectual singer. By that I mean that although her vocal and dramatic effects may seem spontaneous and immediate, they were actually very well plotted. Had they had not been, she would never have made it through performances of such dramatic works as Macbeth or Medea.
Gencer intuitively knew the value and emotional impact of such commonplace things as the intake of breath, the length and silence of rests, initial guttural attack, and contrasting vivid, guttural vocalism with soft, elegant pianissimi. Her pianissimi were her most appealing feature. One often has difficulty in describing vocal sounds, but in her case, it is easy: Leyla Gencer's softest high notes resemble the wispy, sweet pianissimo sounds Amelita Galli-Curci (1882-1963) made on many of her late-1920 recordings. This peculiar sound, coming from such a dramatic instrument, is as striking as it is odd, as was her peculiar way of thrusting up to such tones with force only to suddenly float and suspend them. As a mannerism, it was extremely clever for its shock effect. There was also Gencer's liberal use of glottal stroke. When it comes to the unique combination of both coarse and elegant soft singing, you can't beat Gencer.
Perhaps contributing to her preference to perform primarily on Italian stages was her dislike of travel. As she said in interviews, "Io son pigra" which means she considered herself lazy because she does not like to travel. Financially comfortable, she was in a position to pick and choose what and where she sang. It remains unfortunate that even though negotiations began with the Metropolitan as early as 1956, they eventually fizzled out and never were concluded. She did sing in concert, Donizetti's Caterina Cornaro in New York, and in New Jersey, Verdi's Attila. Gencer's rise during the 1950s and '60s paralleled the rise of pirate tape recording and specifically the ability to tape performances on portable tape recorders inside an opera house. Although never considered a particularly great stage actress, because of her "visible" manner of singing, Leyla Gencer was a perfect singer for the medium of recording. Ironically, this went largely unnoticed by the larger recording companies. (A 10" disc of arias recorded in 1956, by Cetra seems little more than an extended "test" for the artist. Another 10" disc of songs and a few arias recorded in 1974, toward the beginning of a rather long decline, did little to affix her name or reputation in the record books.) As if to compensate for that gross error, her work on stage was faithfully captured by fans and "professional" pirates and fortunately now provides us with a remarkably honest portrait of this proud diva.
Her kaleidoscopic voice lent itself extremely well to the new medium, allowing listeners to be swept away by the force of her colourful interpretations. As her reputation rose, so did the number of Gencer recordings on "pirate labels" or on tape mail-order listings. Because her studio recording activity was practically nothing, her live recordings are highly prized. More than 100 of her performances exist on tape and/or CD.
As of this writing, around 45 of her performances are on CD. Because of the nature of pirate opera recordings as a small business, releases regularly go in and out of print. Created in smaller lots than would commercial labels, pirate CDs are often not reprinted after the first run is depleted. You will have to look hard to find her Aïda, Monte Ivnor, La Vestale, Poliuto, Attila, Lucrezia Borgia, Dialogue of the Carmelites, Beatrice di Tenda, I due Foscari, Schwanda the Bagpiper, I puritani, Rigoletto, La forza del destino, Tosca, Adriana Lecouvreur, and Madama Butterfly. Gencerians should be alert, however, because those performances will undoubtedly reappear in other editions at some point.
Gencer, herself, condoned the pirated recordings made of her work. When interviewed about her lack of studio recordings, she said:

...I have never been really preoccupied with this problem, and at least there are all the pirate tapes and records. I keep quite a collection myself, supplied by my friends, and although I realize the risk that a bad performance might end up on records (we all have our bad nights!) I am still delighted that these documents of my art exist (Susan Gould, Leyla Gencer Queen of Pirate Recordings, High Fidelity, September 1976, page 75)

Interestingly, Gencer's career can be divided into segments: from 1954 to 1957 she pretty much sang whatever she was offered, moving from Madama Butterfly to Dialogues of the Carmelites, and other modern works, to Francesca da Rimini. 1957 seemed to be a turning point in her career when she was hired (at the last minute) to sing Lucia di Lammermoor in San Francisco in November of 1957, and in the Venice revival of Verdi's I due Foscari. It is after that, that one notices her beginning to concentrate on revivals of long-unheard works by Donizetti, Bellini, and Verdi. Works such as Anna Bolena in 1958, I puritani (1961) Rigoletto (1961), Battaglia di Legano (1963) Gerusalemm (1963), I Vespri Siciliani (1964), Roberto Devereux (1964), Lucrezia Borgia (1966), Maria Sutarda (1967), Belisario (1969), Elisabetta Regina d'Inghilterra (1970), and Caterina Cornaro (1972).

Many Gencer performances can be found on the labels MYTO, from Italy, arguably the finest pirate label in today's market, Opera D'Oro, a budget label which is rapidly vying with the Dutch label, Gala, as one of the best buys around for opera lovers.

Suggested Recordings

 
Bellini Norma: Complete performance from Milan, January 13, 1965, plus excerpts from performances in Buenos Aires (7/18/64), Verona (7/24/65) and Naples (1/30/65) MYTO (3 CDs)

Norma has had an interesting recording history. Although various single excerpts appeared on 78 r.p.m. disks in the early 1900s, especially the famous "Casta diva," the first complete commercial recording of Norma did not appear until 1937, when the Italian firm Cetra recorded the work with the then-famous dramatic soprano, Gina Cigna and the conductor, Vittorio Gui. Cigna also sang a Metropolitan Opera broadcast of the work that same year (available on CD). Hers is a rough-and- ready, veristic interpretation that was typical of the time.

The next complete recording was made in 1954, the famous Callas/Serafin, Angel release. It was this recording that began to alter modern perceptions about Bellini's work. In the artistic hands and voice of Maria Callas, the work was returned to the province of the dramatic coloratura. Soon there were recordings by Dame Joan Sutherland, Montserrat Caballe, Elena Suliotis, Beverly Sills, Renata Scotto, Maria Bieshu, and Edita Gruberova. Live performances captured all these singers in the role as well as even the Wagnerian specialist Gwyneth Jones. Even mezzo sopranos such as Grace Bumbry, Shirley Verrett, and Cecillia Bartoli have essayed the role. Today you can find many recordings of the work (both live and studio) on amazon.com
Edita Gruberova's assumption of Norma exemplifies problems we face today with this opera, including some tricky grey areas. In April 2003, Gruberova (at age 57) surprised everyone by undertaking the role of Norma for three Tokyo concert performances. During the next number of years, she gave other performances of the opera as well. In March 2005 Nightingale Records released a CD of one of them.
Some critics were horrified at the idea of a "Zerbinetta" and former Norina in Don Pasquale undertaking such a dramatically taxing role. When it comes to singers of longevity like Placido Domingo (his operatic debut was in 1959) and Edita Gruberova (her operatic debut was in 1968), the fact remains that their voices must be approached and evaluated as the individual gifts they are. Taking into consideration Gruberova's career choices, her role preparation, her rock-solid technique, her previous cleverness in dealing with "killer roles" (like Elisabetta in Roberto Devereux and Anna Bolena) her decision should not have surprised anyone.
One might not agree with Gruberova's interpretation or how she negotiates some of the role's more complex emotional or dramatic moments but one cannot deny the authority and individuality she brings to the role. When Cecilia Bartoli undertook the role, even more criticism came her way, although the role never became an integral part of her performance repertoire.
As with any role, there are only a handful of artists whose voices truly fit Norma in all the right places. During the 1960s the list was quite short, but it did include Joan Sutherland, Montserrat Caballe, and the heroine of this MYTO set, Leyla Gencer.

Bellini Norma: Complete performance in Milan, January 13, 1965, plus excerpts from performances in Buenos Aires (7/18/64), Verona (7/24/65) and Naples
(1/30/65). MYTO (3 CDs)

MYTO has always been a champion of Leyla Gencer's. In this recording they also provide fans with the rare opportunity to compare contrasting performances of the same opera within the same CD release.

After the "main" performance, the listener is offered about an hour-and-a-half of excerpts from three other performances. I love this kind of release because it gives you the opportunity to learn so much about a singer. One quibble, however. I realize that MYTO was trying to be organized in presenting music from these four performances, but I would have preferred a slightly different way of handling the layout. First, we are given the complete performance from Milan, January 13, 1965.
This appears on CD #1 and part of CD #2. This is supplemented by selections (carried over onto CD #3) from the July 18, 1964, Teatro Colon (Buenos Aires) performance, which is followed by selections from a July 24, 1965, Verona performance and a January 30, 1965, Naples performance. What is even more confusing is that in MYTO's printed layout of the track listing, everything looks the same.
The sound is not bad in the central Milan performance, but it varies during the others. (I found the Naples performance a bit too dark for my taste. I like to be able to hear the "bite" of a singer's natural timbre.) Generally, however, the sound is quite acceptable. There are occasional glitches in the recordings, but none that detract from the performances.
As this release proves, Norma was one of Gencer's great roles and she had an excellent instinct for Bellini's music as well as a requisite inherent sense of drama which enabled her to illuminate the character's public and private emotional struggles. Although the score does not rise above high C, it was Gencer's habit to conclude the final Act I trio with an interpolated high D. At one time this was a huge deal in performances of this opera. Nowadays throwing in a penultimate high D at this spot is almost expected-even an occasional mezzo who has essayed the role, has interpolated that note. More unusual is the interpolation of a penultimate high E-flat at the end of the duet with Pollione in the last-act confrontation. Some singers who have used this interpolation include Joan Sutherland, Cristina Deutekom, Marisa Galvany, Beverly Sills, and Edita Gruberova.
In the La Scala performance, all Gencer-trademarked effects are present. I tend to think of Leyla Gencer as a "belcanto" Magda Olivero. Both singers had distinctive voices and an uncanny ability to grab high pianissimi out of thin air, spinning (or floating) them with great beauty. Both could also utter unbelievably ugly sounds to support their theatrical interpretations. Different voices, of course, but both were extremely savvy in their expressive vocalism, had strong musical temperaments, took the same kind of vocal chances, and sang with an almost animal savagery that could be aurally riveting. With both singers there are moments within their performances in which they sound as if in extremis, but don't let that fool you. Both Gencer and Olivero knew exactly what they were doing. That was their art.
A passage early in the Milan performance shows just how clever Gencer was: at the end of Norma's opening recitative, "Sendizioze voci," on the word "mieto," she makes a huge upward "lunge" to a pianissimo high A that she endlessly suspends. This was one of her most clever tricks. It is in the approach to the high A that her secret lies. If one looks closely at this effect, what Gencer does is to preface the soft high note with a tremendous thrust-rather like a feint move in boxing. Because of her approach, the listener expects a loud, high note. Gencer shocks the listener instead, by immediately pulling back the voice and doing the exact opposite. It is an effect that, in the hands of such a creative and clever singer as Gencer, is extremely powerful and works on a number of levels: it is a brilliant interpretive device; it highlights the beauty of Gencer's soft singing; it lends an elegance to the note itself; and, most interestingly, provides intimacy to the phrase. It was a favourite trick of hers.
There are other examples of trademark-Gencer vocalism as well, including guttural, choked glottal stops, and chested, dramatic singing. There are also suspect pitches, occasional misjudgements of placement, and flat singing. The area between F at the top of the staff and high B-flat often posed a problem for this soprano in terms of keeping a loud tone focused and attractive. There are a few moments during the performance that fall short of perfection-the finish of the Norma/Adalgisa duet, "O rimembranza!" finds the singers finishing almost a half-step flat. Similar pitch problems occur during the famous "Mira o Norma" duet. (The problem may actually be with Giulietta Simionato and would be unusual for that excellent singer.)
As one might expect, the outstanding moments of Gencer's performance include two of the most difficult: the "Qual cor tradisti" and the "Deh non volerli vittime," both from the last act. These are moments when she can (and does) offer some of her special, thrusted pianissimi. This section also finds Gencer cleverly emphasizing the different registers of her voice by digging deep into a raw chest register and then, in a split second, moving into a heady register. On the written page, that hardly sounds moving or artistic, but when experienced, it can have an overwhelming emotional impact on the listener. One such moment can be found on track 8 of CD #2 in the bridge between "Deh! con te" and "Mira o Norma." In that section there are certain sounds that Gencer makes that are peculiarly hers and that add much to the intensity of the moment. They flesh out the portrait of Norma that she carefully creates for the listener. Like similarly gifted singers such as Maria Callas, Hildegard Behrens, Marta Mödl, and Leonie Rysanek, there are certain phrases Gencer sings that are unique and become indelible in one's memory.
Most importantly, Gencer provides a character with a vivid face. When it comes to listening to opera without the benefit of stage, costumes, or other visuals, such "aural faces" become extremely important. It is through such creativity that a listener is swept away by a singer's interpretation. During a time when Callas, Sutherland, and Caballe were each placing their own stamps on this role, it is to Gencer's credit that she manages to do the same without encroaching on the interpretations of the others.
I do not mean to sound dismissive by saying this, but all of her colleagues are excellent. Prevedi offers an often-suave Pollione. Giulietta Simionato and Fiorenza Cossotto, as Adalgisa, both have their moments. With them it is a matter of one's personal preference for vocal sound whether one chooses the round, vibrant voice of Simionato or the steelier bite of Cossotto. Despite occasional pitch problems, I favour the more sympathetic timbre of Simionato. Zaccaria is a good and dependable, if wooly, Oroveso. Their contributions to the success of these performances are considerable. No less important is the leadership of Gianandrea Gavazzeni who provides strong support for one of his preferred sopranos. No matter what, however, this is Gencer's show and what a grand show it is.

Cherubini Medea 12/15/68 Venice (Claque, Mondo Musica, Gala)

This Medea is one of my favourites. At least when it comes to the "theatre of the ear."

Ironically, in reviewing the performance in Opera magazine in March 1969, Alessandro Comuto found much less to enjoy:
 

The Turkish soprano, much appreciated for her emotional intensity and keen insight into character, now seems to be concerned entirely with the incisive, penetrating accents and burning impetuosity of Romantic phrasing. This she carries to the limits of parlando in recitative, whereas Cherubini's music demands a severe, absolutely cold vocal line, that is to say the complete opposite of these artists, though she was quite effective dramatically and gave a well-integrated portrayal of the character. She was not in good voice, and this may have contributed to an excessive harshness from time to time.

Generally known as "The Gencer Medea" it has been available in various pirated formats since the time of its performance. The wonderful and enterprising CD budget label, Gala (GL 100.555) has made it more accessible to the public at a budget price. Like the "Callas in Dallas" Medea (1958) and the "Olivero in Dallas" (1967) I believe that this is one of those must-own performances, especially if you are a fan of the titular artist. Different from both Callas and Olivero, Gencer did not sing the role after this production. Like the Callas and Olivero performances, Gencer's performance makes use of the Lachner recitatives. Leyla Gencer turns in a gutsy, powerhouse performance that is an unforgettable aural experience. Supported by Aldo Bottion (Giasone), Daniella Mazzucato (Glauce), Ruggero Raimondi (Creonte), and conducted by that friend of singers, Carlo Franci, this is a classic live performance.

The sound quality of the mono broadcast is very good. Gencer brings innumerable personal touches to a role that, for the most part, had been considered Maria Callas' personal property. Admittedly, much of Gencer's interpretation involves guttural growls, but, like Magda Olivero who sang the role the year before in Dallas, Gencer uses her uneven instrument with imagination and makes her vocal attributes (as well as her flaws) work to advantage in creating a vivid portrait of the conniving, vengeance-mad Medea. And, importantly for the listener, she creates a vivid aural portrait. There is a familiarity, an abandon and commitment to her singing that is rarely heard today. For that reason alone, it is worth hearing. The strength and variety of her nuance provide an unusually illuminating tapestry and, in that, a rewarding listening experience. Gencer provides more tonal beauty than either Callas or Olivero, with some truly stunning pianissimi, but she is just as dramatic. The big moments do not disappoint! Like Callas, Leyla Gencer often takes her chest voice dangerously high, lending a thrill of its own. There are many moments of fascination on this recording. For example, listen to the differing ways Gencer sings "fuggir" during the Act I duet with Jason. Her final, desperate "fuggir" perfectly evokes shock, incredulity, and disgust-all this within a single word. The opening of act III is as harrowing as one might expect. Indeed, the entirety of act III is a frightening exhibition of pure vehemence. Gencer's use of her well- produced chest voice is almost psychotic in its delivery.
The cast is excellent, providing suitable foil to this fiery Medea, but Gencer's commitment and dynamic singing towers over the production and dwarfs the others. This performance has also been released on CD by Mondo Musica as part of the La Fenice series. Priced at about $10, however, the Gala issue is a bargain you should not miss.

Donizetti Belisario 5/14/69 Venice (Mondo Musica LC1507)

Another Gencer favourite, Antonina in Belisario. This was one of her greatest role assumptions. It was an important revival and fortunately, it is one of her best- preserved performances (now available on Mondo Musica CD). Actually, Gencer sang in two more revivals of this opera; one the next year, in 1970, in Bergamo, and one in Naples in January of 1973. In November 2013 Opera Rara released the first commercial recording of the opera with Nicola Alaimo and Joyce El-Khoury as Antonina, conducted by Sir Mark Elder.

In his review of a DVD of this opera, David Shengold wrote:

Donizetti's uneven but worthwhile three-act lyric tragedy-the opera that followed Lucia di Lammermoor (which also had Salvatore Cammarano as librettist)-was a success at its 1836 Venice premiere. The work concerns heroism and betrayal mixed with thorny family drama worthy of the House of Thebes. Set in Justinian's bellicose Byzantine Empire, Belisario follows in the bel canto subgenre of classically set plots with stately, noble musica trend ushered in by Médée and La Vestale, with Norma perhaps its pinnacle... (Opera News, February 2015, Vol. 79, #8) 

If you don't know this work or Gencer's contributions, you can sample its considerable merits on YouTube. It will be a pleasant surprise. A reviewer for Opera magazine at the time mentioned that Gencer was a regular participant in revivals and the reviewer's only reservation was the excessively dramatic excitement that Gencer brings to her portrayals.

Antonina's opening scene (recorded commercially by Montserrat Caballe on her Donizetti Rarities album) is arresting for its intense declamation and forceful delivery which, within moments, establishes the character. Her singing covers all; from excitingly coarse, to sweetly elegant, to virtuosic and brilliant. A vocal highlight is the way Gencer launches into the Act II finale, compellingly emphatic with its four high Cs. The final scene, one of the great works of its type, is a complex, extended scena with a double aria and a final cabaletta for the contra-heroine. Gencer delivers the goods and more. Of special note is the Galli-Curci-like high pianissimo suspended over the chorus, the smooth-flowing legato, the gutteral, dramatic accents, and a mighty, exalted finish that is capped by a stunning, very long high D (16 seconds). Taddei is a vocal powerhouse as Belisario, beautiful and rich in tone while dramatic in his accents.
In 1990, Hunt CD released the 1970 Bergamo performance with Leyla Gencer and Renato Bruson as Belisario, with Gencer's major scenes from the 1969 Venice Belisario thrown in as a bonus. Although Bruson's work in that performance is wonderful, Gencer fans prefer the 1969 Venice performance with Taddei. Mondo Musica's mono sound is excellent, clean, and clear. If you can find the Hunt release (on eBay) that is the one to get.
 
Donizetti Lucia di Lammermoor (excerpts) 12/13/57 Trieste (Melodram) 

Leyla Gencer learned the role of Lucia di Lammermoor in five days when she was called upon to replace an ailing Maria Callas in San Francisco in 1957. Although she had put the role on the resume that she originally gave to the administration of the San Francisco Opera, she did not, in fact, know the role (she knew only the mad scene). This "padding" of one's resume is not an uncommon practice for young singers in order to boost their repertoire and make their resume look more impressive. David E. Stevens, reviewing Gencer's performance for Opera News noted that "The attractive Turkish artist projected in clear, lyric tones a heroine who seemed to have a sombre premonition of her fate." (Opera News, 1957) Taken from a broadcast in December of 1957, this Trieste performance is a valuable document of Gencer in a role she sang only a few times in the early years of her career. Although not a Lucia in the same league as Callas or Sutherland, Gencer brings to the part her own ideas and haunting lyrical singing. Available on both Melodram and Arkadia CDs (and as filler for the MYTO issue of Donizetti's Les Martyres [1975]). This is a worthy addition to any Gencerian's library. The "Regnava nel silenzio" is quite successful with nice ornamentation as well as some surprisingly delicate staccato work. In the mad scene, Gencer uses the traditional Liebling cadenza with flute (as do most of her contemporary colleagues at the time) which promotes the heady sweetness of her high register. Despite a quick learning of the role, Gencer has a secure grasp of who the character is and what parts of her persona she wants to highlight. Those listeners familiar with Gencer's furious outbursts in such works as Pacini's Sapho, Donizetti's Belisario and Lucrezia Borgia will be surprised at the sweet and gentle manner she has with Lucia di Lammermoor. Overall, Gencer offers a basic, lovely, lyric interpretation of the role. Although high E-flat is the obvious limit of her top register, her delivery of them in the mad scene are excellent in this performance.

Another Gencer performance of the mad scene can be heard on a Melodram CD of highlights from the Trieste performance. It was taken from an RAI concert given in Milan during the same year. Her program for that concert also included "Senza mama" from Suor Angelica and "Martern aller arten" from Die Entführung aud dem Serail), the only recording of Gencer of this dramatically pyrotechnical music. Interestingly, the varied repertoire of the concert reflects the daring concerts given by Maria Callas a few years before.

The Donizetti Queens

Given the American furor in the 1970s, when Beverly Sills first sang the trio of Donizetti queens, many people do not credit that Leyla Gencer did it first-years before! Between 1958 and 1967 the Turkish diva sang all three heroines.

She once remarked with irony: "I discover the opera, Sills sings them, and Montserrat records them." Leyla Gencer can now receive full credit for her important pioneering work with these particular operas due to surviving pirate recordings. At the time of their performance, however, many found fault with the Turkish diva.
Gencer's 1964 Naples revival of Roberto Devereux did not get good reviews, but time has put a different patina on the performance. Writing of the pirated performance 20 years later, in Opera on Record Volume III, Richard Fairman noted:

The opera was given almost complete (only a few minor cuts) and was well cast. Leyla Gencer is a regal Queen Elizabeth; she really commands the role Her voice, especially at the beginning of the evening, lacks ease and a sure centre, but by the Norma-like trio she has built up an imposing presence. The shadow of Callas is with us, as always. Glottal stops covered tones and flashing of a growling chest register pay homage to her influence. (Longwood Press, 1984, page 64)

 
Fairman concludes that of the five performances (recordings) available at the time it is Gencer's that is to be recommended.
At one time, Gencer must have heard Beverly Sills's recording of Roberto Devereux. Without mentioning names, she condemned the lighter soprano's portrayal:

(Roberto Devereux)... is another opera Gencer would like to record commercially, 'to show the public what were the composer's real interpretive intentions... These have nothing to do with the embellishments he did not write, nor with the exaggeration of florid vocalism that destroys the drama of the musical text.

Maria Stuarda, Gencer's original 1967 revival was reviewed by William Weaver for Opera (autumn, 1967):


Her performance in the Donizetti opera was again a mixture of intense acting, musical intelligence, and frequently ugly sounds. One has the feeling that her voice simply cannot meet the demands she (and Donizetti) makes on it. As Mary of Scotland, she looked and behaved with the suitable mixture of pride and despair, and when her voice was under control, chiefly in the quieter scenes, she had moments of real efficacy.

Looking back some twenty years, Richard Fairman commented on Gencer's RAI broadcast of Anna Bolena which was given the year after Maria Callas's La Scala revival:


In general, this is a less compelling performance. Gencer is an impressive Anna Bolena, very much in the Callas tradition even down to details of phrasing. (Gavazzeni presumably coached them both.) The attack is true, and the voice has brilliance and weight; but Gencer lacks the full vocal quality of her rival, and also her depth and memorability. (Opera on Record Volume III, Longwood Press, 1984)

At this writing, Roberto Devereux (Naples, 1964) and Anna Bolena (Milan, 1958) are available (both only about $10.00 on Opera D'Oro). I am sure the Maria Stuarda (Florence, 1967, Naples, Edinburgh, 1969) and the Glyndebourne Anna Bolena (1965) will eventually become available again. Gencer's performances in any of these operas are certainly worthy of close inspection. By this time Gencer was gaining renown as a Donizetti specialist. Although in these roles I prefer the imaginative but admittedly ornate and highly individual recordings (and the live performances) of Beverly Sills and Edita Gruberova, it is an idiosyncratic preference on my part. You should definitely listen to the Gencer performances if only to remind yourself how well-constructed these roles are when they are sung (for the most part) come scritto. Aside from an occasional top D or so, Gencer indulges in little ornamentation or interpolations. Maria Stuarda was especially well-suited to her voice and in at least one performance Gencer is partnered by a forceful, exciting Shirley Verrett as Elisabeth. Their scenes together are worth any price.

Donizetti Addendum:

Interested Gencer fans should look for another special Gencer performance-the Archipel CD issue of The Donizetti Requiem from Milan, March 26, 1961 (ARPCD 0475). Gencer sings with Mirna Pecile, Armando Moretti and Alessandro Cassis with Gianandrea Gavazzeni leading a beautifully sculpted performance. Donizetti's requiem was a quick composition in 1835 (during frantic final rehearsals for the premiere of Lucia di Lammermoor), in honor of the death of his friend Vincenzo Bellini. It was not performed until 1870, years after Donizetti's death in 1848.

There is some remarkably elegant soft singing from Gencer in this performance. Generally, the soprano has little to do in this Requiem. In this performance, however, Gavazzeni gave the "Ingemisco" (originally written for the tenor) to her. She does a remarkable job, sensitively twining her soft-grained voice in between the string lines, offering perfect soft attacks and smooth legato. She crowns the finish with a spectacularly beautiful high A suspended over the orchestra. The "Dies Irae," sung by the quartet, is a rousing, dramatic reading. (How different is Donizetti's concept of the requiem from Verdi's, although one suspects that Verdi may have taken some hints from Donizetti's composition.) Gencer finishes the "Dies irae" with a 17-second pianissimo high G suspended over the ensemble. It is a re- markable moment.

Pacini Saffo 4/7/67 Naples (Arcadia, Opera D'oro)

Premiered in 1840, Saffo falls in the middle of Pacini's operatic compositions. This 1967 Naples performance was an important revival, and the first in the 20th century. Ironically, after this performance the work was not revived again until the 1980s when it was sung by another fascinatingly flawed singer, Adelaide Negri. In 1982, it received its New York concert premiere at Town Hall (in a cast which included Louis Quilico who sang in the original 1967 revival) and in 1995 it was given in Wexford with Francesca Pedaci.

In 1967, Capuana and Gencer made a strong case for future revivals of the work. Also excellent was the young Louis Quilico, whose softly grained, beautiful voice is a definite plus. As is true with any Gencer performance, she illuminates the role from within with phrases of individual, unforgettable colorations and various vocal tricks that go toward highlighting aspects of the character. Her pianissimo was in an especially good state that evening and she gives many examples of its haunting quality. Like Montserrat Caballe, Gencer's pianissimo was a sound that hovered in an opera house's acoustics. Of special note is the extended Norma-like Act II, duet "Di quai soavi lagrime" between the two female protagonists, Saffo and Climene (Franca Mattiucci). It is followed by a rousing cabaletta, which Gencer caps with another of her wonderful high Ds. Pacini follows this with a long, white-hot, Donizettian-like ensemble that concludes the act, with Gencer at her most ferocious. After hearing it once, who could forget her desperate singing of the line: "D'altra donna...no Giammai" with its intentional shifts of register, or her furious, strangulated denunciation:
"Infame altar!" The Naples audience certainly enjoyed it. (This performance is available to hear on YouTube.)
A contemporary of Bellini and Donizetti, Pacini's score is an interesting setting of the Greek poetess Saffo's story with some novel orchestral effects. Like Mercadante, Pacini often surprises the listener with his modulations and orchestration. The extended finale to the opera, "Teco dall'are pronube," with its harp accompaniment, is delicately sung by Gencer and then concluded with a rousing cabaletta-like finish in which Gencer interpolates yet another strong top D. If you don't know this work, but like Donizetti and the early-Verdi period of operatic writing, you should enjoy this opera.
 
Rossini Elisabetta Regina d'Inghilterra Palermo 1970 (Opera D'Oro)

One of the fun things about this work is recognizing the music that Rossini stole from himself. Although not stated, this was taped in-house and is actually the dress rehearsal of the production, not the premiere. In this recording, Sylvia Gestzy sings the secondary role of Matilde. Just before the premiere, however, Gestzy became ill and was replaced by Margherita Guglielmi.

Gencer acquits herself with honor in this, one of Rossini's most florid scores, and manages to convey a strong, realistic character as well. Indeed, the final aria is an intricate show of florid work that demonstrates Gencer's superb ability to sensitively phrase such music and invest it with meaning. One intricate sequence of pianissimi melimas is outstanding. The only drawback is the evident encroaching unravelling of her top register when singing at anything close to forte. Pianissimi are still exquisite but forte high notes can be a trial. Much of this suggests that the soprano might have been having an off night. This can be especially trying if one is not familiar with her voice and its idiosyncratic faults. Gencer manages a loud, if not pretty, top D at the end of the very long act I. This is a fascinating performance and like so much of her live legacy was an important revival at the time.

Verdi Gerusalemme 9/24/63 Venice (Phoenix)

This performance is one of Gencer's favorites of her pirate recordings. It is also one of mine. It was the first revival of the work in the twentieth century. Gerusalemm is actually a significant 1847 revision of Verdi's 1843 I Lombardi. It was Verdi's first grand opera in French at the Paris Opera.

This version is an Italian translation of the original French. Gencer was always a favourite with Venetian audiences and this September 24, 1963, performance explains why. It is one of the most remarkable performances in the Gencer canon. In good mono broadcast sound for the time, it presents Gencer at her best. She is having an extraordinary night with her voice completely responsive to all of the dramatic demands she makes of it. She shows herself to be an imaginative, contrastive artist showing both elegance and earthy thrusts. Along with her peculiar, "thrusted" pianissimi and elegant glissandi there are glottal strokes and the rough shifting of registers-she cleverly weaves all of these into the fabric of her interpretation. The interpolated high Cs and Ds are superbly done. The act I prayer of Giselda (track 4) and the act II duet with Giacomo Aragall (tracks 23 and 24) are magnificent, containing pianissimo shadings and dramatic, glottal fortes. The "D'un padre oime! l'imagine" section of the duet (with its Aida-like high, piano finish) is a very special moment. The following, short "Fuggiamo" duet-cabaletta is a perfect finish to the act, excitingly propulsive, with Gencer finishing on a spectacular final high D. Act II has the massive, dramatic scena "Son vanni i lamenti." It is a vocal obstacle course of great difficulty. Gencer sails through it with exquisite pianissimo high notes and elegant phrasing, followed by a cabaletta of frightening ferocity capped with a magnificent, penultimate high C, which she offers at the conclusion of the opera as well. Gavazzeni leads the remarkable performance. Two years after this production, the la Fenice opera guested in Munich where they gave a performance of this work with Giacomo Aragall and Leyla Gencer reprising their roles, but with Ettore Gracis conducting. (This is available on MYTO CD.)
A bonus to this release is excerpts from a December 13, 1957 Venice performance of I Due Foscari with Gencer and Tullio Serafin. Taking place six months after the Il trovatore below, it shows the changes beginning to occur to the Gencer instrument, a certain intractability and coarseness cleverly contrasted by an unsuspected elegance and authority of delivery that other sopranos can rarely match. Singing the score come scritto, Gencer's opening aria "Tu al cui squardo," with its gentle harp accompaniment and supportive women's chorus, is memorable for her suspended high pianissimi. Also included is a riveting performance of the Gran Duet with Il Doge (admirably sung with Guelfi) and an excerpt from act II. It whets one's appetite for a CD of the complete performance. Available at one time, I am sure it will return to the catalogue in the future. Gencer's voice is everything: shimmering, suffocated, dramatic, lyrical, sweet, and ugly. An important revival at the time, Serafin leads a taut, vivid performance.

Verdi Macbeth 1/14/60 Palermo (Pantheon)

This Palermo performance was the first time Gencer essayed the famous donna. Although Mondo Musica recently released the more famous 1968 performance, I prefer this 1960 revival with the wonderful Giuseppe Taddei and Vittorio Gui's magisterial conducting. Gencer performed this role just a few times during her career, but she was famous for her interpretation. It was one of her favourites and one can hear that she is having a wonderful time. Different from the performance eight years later, her voice is more unified, and her interpretation relies less on awkward shifts into registers (which quickly became her trademark) to supply drama. Instead, she concentrates on singing the role. Another difference of little consequence is that in the later, 1968 performance, Gencer eschews the written high D-flat in the sleepwalking scene.


Verdi Il trovatore RAI 5/29/57 Milan (Arcadia)

Recorded as the soundtrack for the 1957 RAI film, Il trovatore, this recording captures the 29-year-old Gencer voice in its youth. One can hear, however, that she is already pushing her light instrument to its limits in order to match (what she perceives to be) the role's weight. There is enough of her naturally youthful sound, however, to create a sympathetic and colourful character. Her famous glottal stroke is less in evidence here than it would be later in the 1960s but appears at some well-judged moments. In the opening "Tacea la notte placida" she surprises the listener with a beautifully floated high D-flat plucked out of the air and decides to interpolate the note again at the close of the act. Surrounded by such veterans as Ettore Bastianini, Fedora Barbieri and Mario Del Monaco, the performance is idiomatic and white hot. Gencer's finest moments come in act IV with a moving "D'amor sull' ali rosee" and a rousing "Miserere." Although Gencer never had a true trill, she makes an acceptable nod in its direction and, instead, concentrates on a sweet, lyrical, flowing line that caresses the listener's ear. There are many beautiful pianissimi, not the least being another sustained top D-flat. Once heard, one cannot forget her emotional singing of such lines as "le pene, le pene dell' mio cor" with its deliberate shifting in and out of deep chest voice.


Leyla Gencer MYTO Volumes
Volume 1 (1954-1957); Volume II (1957-1958); Volume III (1958-1959)

There are three volumes in the Leyla Gencer recital series on the MYTO label. The selections take the listener from the year of her Italian debut (1954) to just before her ascendancy as a Donizetti specialist. Gencer, like Callas and Olivero, was not a miniaturist, but painted in broad strokes. To get the full flavor of her art one needs to hear an entire scene. MYTO has been extremely clever in their selections. There are many wonderful tracks throughout the three discs, but I would like to mention a few surprises on volumes one and two.

Volume one has an "Un bel di" from her Italian debut in 1954, as well as selections from some unusual repertoire for this diva-Eugene Onegin, Die Entfuhrung aus dem Serail (an excellent "Martern aller Arten" from a 1957 concert) as well as a creator's recording from Dialogues of the Carmelites, and an exquisite aria from Rocca's Monte Ivnor. This last is the sleeper of the album. It is an odd, exotic piece full of Moorish, chant-like inflections that is capped by a remarkably beautiful pianissimo high C.
Volume two has another creator's performance, Pizzetti's Assassinio nella Cattedrale. Perhaps the most important excerpts, however, are from Naples performances of Suor Angelica and Il Tabarro. They leave one wishing that the complete performances had been released. The Suor Angelica is especially moving. It takes the listener from a lovely "Senza mama" to the end of the opera where Gencer is incredibly moving, providing not only hefty top Cs, but also a softly spun high C that puts to shame a number of commercially recorded efforts. Conducted by Serafin, these excerpts alone are worth the price of the disc.

A much-abbreviated version of this text first appeared in parterre box # 38, 1999


THE CLEVELAND PRESS
1975.11.21
TOM VILLELLA
Another Price is right for Met

NATIONAL UNION CATALOGUE [1978]

1978.08.18 THE HOUSTON POST

HENRYSRECORDINGS.COM

Composer: BEETHOVEN
Title: Partenza, La
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 1:26
Label and Number: Bongiovanni GB 2523-3
Type: song

Composer: BELLINI
Title: Beatrice di Tenda
Soloists: Gencer; Oncina; Zanasi; Sgourda
Conductor: Gui
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1964/01/10
Date Catalogued: 2007/06/03
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2MCD 065.334
Type: opera

Composer: BELLINI
Title: Beatrice di Tenda
Soloists: Leyla Gencer; Juan Oncina; Mario Zanasi;
Conductor: Gui
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1964
Date Catalogued: 1989/10/22
Live/Studio: L
LP or CD: CD
Timing: 149:18
Label and Number: Nuovo Era 2333/34
Type: opera

Composer: BELLINI
Title: Dolente immagine di Fille mia
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:04
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: BELLINI
Title: Fervido desiderio, Il
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 2:16
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: BELLINI
Title: Norma
Soloists: Gencer; Limarilli; Cossotto; Vinco
Conductor: Fabritiis
Orchestra: Bologna Communale Orchestra / Orchestra Teatro Communale, Bologna
Date: 1966/10/06
Date Catalogued: 1998/03/01
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2MCD 981.177
Type: opera

Composer: BELLINI
Title: Norma
Soloists: Gencer; Simionato; Prevedi; Zaccaria; Sca Chorus
Conductor: Gavazzeni
Orchestra: La Scala Orchestra
Date: 1965/01/13
Date Catalogued: 1989/01/07
Live/Studio: L
LP or CD: LP
Timing: N/A
Label and Number: Melodram MEL 468 (3)
Type: opera

Composer: BELLINI
Title: Puritani, I
Soloists: Gencer; Raimondi; Ausensi
Conductor: Quadri
Orchestra: Colon (Teatro), Buenos Aires / Orquestra Teatro Colon, Buenos Aires / Teatro Colon, Buenos Aires
Date: 1961
Date Catalogued: 1993/12/26
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto MCD 923.63
Type: opera

Composer: BELLINI
Title: Sonnambula, La: Ah! non credea
Soloists: Gencer
Conductor: Muller (pno)
Date: 1980
Date Catalogued: 2001/01/01
Live/Studio: S
LP or CD: CD
Timing: 4:41
Label and Number: Bongiovanni GB 2536-2
Type: opera

Composer: BELLINI
Title: Vaga luna
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 2:49
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: BIZET
Title: Matin, Le
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 3:57
Label and Number: Bongiovanni GB 2523-2
Type: song

Composer: CARISSIMI
Title: Lamento e morte di Maria Stuarda
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 12:16
Label and Number: Bongiovanni GB 2523-2
Type: song

Composer: CHERUBINI
Title: Medea
Soloists: Leyla Gencer; Aldo Bottion; Ruggero Raimondi; Daniela Mazzuccato
Conductor: Franci
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1968/12/15
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 112:24
Label and Number: Claque GM 2005/6
Type: opera

Composer: CHOPIN
Title: Ballad (Dumla)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 1:37
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Betrothed, The (Narzeczony)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:36
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Falling Leaves (Leci Liscie z Drzeva)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 5:47
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Far from the Eyes (Precz z moich oczu)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 3:51
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Handsome Lad, The (Sliczny Chlopiec)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:38
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Hansome Lad, The (Sliczny chlopiec)
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 2:40
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: CHOPIN
Title: Her Absence (Nie ma czego trzeba)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 5:30
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Lithuanian Song (Piosnka Litewska)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:56
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Maiden's Wish (Zyczenie)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 1:52
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Maiden's Wish (Zyczenie)
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 1:54
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: CHOPIN
Title: Melody (Melodia)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:32
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: My Joys (Moja Pieszczotka)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:15
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Ring, The (Pierscien)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 1:50
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Sad River (Smutna Rzeka)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 3:30
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Spiew grobowy
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 5:24
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: CHOPIN
Title: Spring (Wiosna)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:34
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Swallow, The (Posel)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:38
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Toast (Hulanka)
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 1:55
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: CHOPIN
Title: Toast (Hulanka)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:35
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Two Destinies (Dwojaki Koniec)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:01
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Warrior, The (Wojak)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 2:20
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Witchcraft (Czary)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 1:55
Label and Number: Hunt CDAK 101
Type: song

Composer: CHOPIN
Title: Youth (Gdzie Lubi)
Soloists: Leyla Gencer
Accompanist: Nikita Magaloff
Date Catalogued: 1989/11/26
Live/Studio: S
LP or CD: CD
Timing: 1:14
Label and Number: Hunt CDAK 101
Type: song

Composer: CILEA
Title: Adriana Lecouvreur
Soloists: Gencer; Zambon; Zerbini; Lazzarini; Sordello
Conductor: Fabritiis
Orchestra: RAI Naples
Date: 1966/12/17
Date Catalogued: 1994/01/29
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: GAO 143/44
Type: opera

Composer: DONIZETTI
Title: A mezzanote
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 2:31
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: DONIZETTI
Title: Anna Bolena
Soloists: Gencer; Johnson; Cava; Morelle
Conductor: Gavazzeni
Orchestra: Glyndebourne Festival Orchestra
Date: 1965/11/06
Date Catalogued: 1989/01/04
Live/Studio: S
LP or CD: CD
Timing: N/A
Label and Number: 2 Hunt CD 554
Type: opera

Composer: DONIZETTI
Title: Anna Bolena
Soloists: Gencer; Simionato; Clabassi; maionica
Conductor: Gavazzeni
Orchestra: Academy of Milan / Gli Accademici di Milano / Milan Academy Orchestra / RAI Orchestra, Milan
Date: 1958/08/11
Date Catalogued: 2012/06/30
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 00294
Type: opera

Composer: DONIZETTI
Title: Anna Bolena: Al dolce guidami
Soloists: Gencer
Conductor: Muller (pno)
Date: 1980
Date Catalogued: 2001/01/01
Live/Studio: S
LP or CD: CD
Timing: 4:19
Label and Number: Bongiovanni GB 2536-2
Type: opera

Composer: DONIZETTI
Title: Belisario
Soloists: Gencer; Taddei; Zaccaria; Grilli; Pecile
Conductor: Gavazzeni
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1969/05/09
Date Catalogued: 1989/03/22
Live/Studio: L
LP or CD: CD
Timing: 117:33
Label and Number: Mondo Musica MFOH 10301
Type: opera

Composer: DONIZETTI
Title: Belisario
Soloists: Gencer; Grilli; Bruson; Zaccaria
Conductor: Comozzo
Orchestra: Bergamo Teatro Donizetti Orchestra / Orchestra del Teatro Donizetti, Bergamo / Teatro Donizetti, Bergamo
Date: 1970/10/07
Date Catalogued: 1994/08/07
Live/Studio: L
LP or CD: CD
Timing: 149:53
Label and Number: Arkadia CDHP 586.2
Type: opera

Composer: DONIZETTI
Title: Caterina Cornaro
Soloists: Gencer; Aragall; Bruson
Conductor: Cillario
Orchestra: Orchestra of Teatro San Carlo, Naples / San Carlo Theatre, Naples / Teatro San Carlo, Naples
Date: 1972/05/28
Date Catalogued: 1996/02/04
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto MCD 921.53
Type: opera

Composer: DONIZETTI
Title: Caterina Cornaro: Vieni o tu, che ognora io chiamo
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 3:24
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: DONIZETTI
Title: Corrispondenza amorosa, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:01
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: DONIZETTI
Title: Fausta: Tu che voli gia spirto beato
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 7:33
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: DONIZETTI
Title: Lucia di Lammermoor
Soloists: Gencer; Prandelli; Carta; Massari
Conductor: Fabritiis
Orchestra: Orchestra of Teatro Communique Giuseppe Verdi, Trieste / Teatro Communale Verdi, Trieste / Trieste Teatro Communale / Trieste Teatro Lirico Verdi
Date: 1957
Date Catalogued: 2007/06/03
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Bongiovanni GB 1198/99
Type: opera

Composer: DONIZETTI
Title: Lucrezia Borgia
Soloists: Gencer; Grilli; Rota; Casarini
Conductor: Camozzo
Orchestra: Bergamo Teatro Donizetti Orchestra / Orchestra del Teatro Donizetti, Bergamo / Teatro Donizetti, Bergamo
Date: 1971/10/06
Date Catalogued: 2002/09/02
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2MCD 013.246
Type: opera

Composer: DONIZETTI
Title: Lucrezia Borgia
Soloists: Gencer; Petri; Aragall; Rota;
Conductor: Franci
Orchestra: Orchestra of Teatro San Carlo, Naples / San Carlo Theatre, Naples / Teatro San Carlo, Naples
Date: 1966/01/29
Date Catalogued: 1989/03/22
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Hunt CD 544
Type: opera

Composer: DONIZETTI
Title: Maria Stuarda
Soloists: Gencer; Verrett; Franco Tagliavini; Masini
Conductor: Molinari Pradelli
Orchestra: Florence May Festival / Maggio Musicale Fiorentino / Teatro Comunale, Florence
Date: 1967
Date Catalogued: 1993/12/26
Live/Studio: L
LP or CD: CD
Timing: 121:18
Label and Number: Memories HR 4504/05
Type: opera

Composer: DONIZETTI
Title: Maria Stuarda: Di un cor che muore
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 3:46
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: DONIZETTI
Title: Martyrs, Les
Soloists: Gencer; Bruson; Di Felici; Roni
Conductor: Camozzo
Orchestra: Bergamo Teatro Donizetti Orchestra / Orchestra del Teatro Donizetti, Bergamo / Teatro Donizetti, Bergamo
Date: 1975/09/22
Date Catalogued: 1997/07/05
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 3MCD 972.154
Type: opera

Composer: DONIZETTI
Title: Martyrs, Les
Soloists: Fen Chorus; Leyla Gencer; Ottavio Garaventa; Renato Bruson; Ferruccio Furlanetto
Conductor: Gelmetti
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1978/06/24
Date Catalogued: 1989/03/22
Live/Studio: L
LP or CD: LP
Timing: 189:24
Label and Number: VOCE-16
Type: opera

Composer: DONIZETTI
Title: Requiem
Soloists: Gencer; Pecile; Moretti; Cassis; Michalopoulos; Teatro la Fenice Chorus
Conductor: Gavazzeni
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1970/06/20
Hall: Teatro la Fenice, Venice
Date Catalogued: 1999/03/21
Live/Studio: L
LP or CD: CD
Timing: 66:30
Label and Number: Mondo MusicaMFOH 10201
Nationality: Italian
Type: orchestral

Composer: DONIZETTI
Title: Requiem
Soloists: Gencer; Pecile; Moretti; Cassis
Conductor: Gavazzeni
Orchestra: Academy of Milan / Gli Accademici di Milano / Milan Academy Orchestra / RAI Orchestra, Milan
Date: 1961/03/26
Date Catalogued: 2017/09/04
Live/Studio: L
LP or CD: CD
Timing: 66:34
Label and Number: Archipel 0475
Nationality: Italian
Type: orchestral

Composer: DONIZETTI
Title: Roberto Devereux
Soloists: Gencer; Cappuccilli; Bondino; Rota
Conductor: Rossi
Orchestra: Orchestra of Teatro San Carlo, Naples / San Carlo Theatre, Naples / Teatro San Carlo, Naples
Date: 1964/05/02
Date Catalogued: 1989/03/23
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Hardy Classics HCA 6011-2
Type: opera

Composer: DONIZETTI
Title: Roberto Devereux: Vivi ingrato
Soloists: Gencer
Conductor: Muller (pno)
Date: 1980
Date Catalogued: 2001/01/01
Live/Studio: S
LP or CD: CD
Timing: 7:47
Label and Number: Bongiovanni GB 2536-2
Type: opera

Composer: DONIZETTI
Title: Saffo
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 8:33
Label and Number: Bongiovanni GB 2523-2
Type: song

Composer: DONIZETTI
Title: Sultana, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 4:25
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: HANDEL
Title: Alcina: Tornami a vagheggiar
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 4:50
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: MASSENET
Title: Werther
Soloists: Tagliavini; Gencer; Tavolaccini; Borrielo
Conductor: Cillaro
Orchestra: Orchestra of Teatro Communique Giuseppe Verdi, Trieste / Teatro Communale Verdi, Trieste / Trieste Teatro Communale / Trieste Teatro Lirico Verdi
Date: 1959/01/20
Date Catalogued: 1989/03/23
Live/Studio: L
LP or CD: CD
Timing: 120:56
Label and Number: Opera D'Oro OPD 1234
Type: opera

Composer: MAYR
Title: Medea in Corinto: O furie, che un giorno
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 4:40
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: MONTEVERDI
Title: Mia turca, La
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 2:21
Label and Number: Bongiovanni GNB 2523-2
Type: song

Composer: MOZART
Title: Don Giovanni
Soloists: Petri; Bruscantini; Gencer; Stich-Randall; Sciutti; Alva
Conductor: Molinari-Pradelli
Orchestra: Academy of Milan / Gli Accademici di Milano / Milan Academy Orchestra / RAI Orchestra, Milan
Date: 1960/04/26
Date Catalogued: 2004/05/08
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Opera d'Oro OPD-1389
Type: opera

Composer: PACINI
Title: Saffo
Soloists: Gencer; Del Bianco; L. Quilico; Mattiucci
Conductor: Capuana
Orchestra: Orchestra of Teatro San Carlo, Naples / San Carlo Theatre, Naples / Teatro San Carlo, Naples
Date: 1967/08/07
Date Catalogued: 2009/06/11
Live/Studio: L
LP or CD: CD
Timing: 130:51
Label and Number: Opera D'Oro OPD 7068
Type: opera

Composer: PACINI
Title: Saffo: Ai mortali, o crudo, ni numi
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 3:10
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: PONCHIELLI
Title: Gioconda, La
Soloists: Gencer; Raimondi; Guelfi; Matiucci; DiStasio; Raimondi, R.
Conductor: Bartoletti
Orchestra: Rome Opera Orchestra
Date: 1971/03/17
Date Catalogued: 1996/11/28
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Melodram CDM 37092
Type: opera

Composer: PONCHIELLI
Title: Gioconda, La
Soloists: Gencer; Grilli; Zanasi; Raimondi; Nave; Pecile
Conductor: Fabritiis
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1971/01/07
Date Catalogued: 1998/04/20
Live/Studio: L
LP or CD: CD
Timing: 161:08
Label and Number: Mondo Musica MFOH 10081
Type: opera

Composer: PUCCINI
Title: Tosca
Soloists: Gencer; De Santis; Taddei
Conductor: Belezza
Orchestra: Orchestra of Teatro San Carlo, Naples / San Carlo Theatre, Naples / Teatro San Carlo, Naples
Date: 1955/01/21
Date Catalogued: 1998/03/01
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Great Opera Performances 66.331
Type: opera

Composer: ROSSINI
Title: Danza, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:09
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Gita in gondola, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 6:45
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Invito, L'
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:27
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Orgia, L'
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:24
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Partenza, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 4:14
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Partenza, La
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 4:34
Label and Number: Bongiovanni GB 2523-2
Type: song

Composer: ROSSINI
Title: Pastorella delle Alpi, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 2:16
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Pastorella delle Alpi, La
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 2:23
Label and Number: Bongiovanni GB 2523-2
Type: song

Composer: ROSSINI
Title: Promessa, La
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:35
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: Rimprovero, Il
Soloists: Gencer
Accompanist: Muller
Date: 1980/10/20
Date Catalogued: 2001/01/01
Live/Studio: L
LP or CD: CD
Timing: 3:14
Label and Number: Bongiovanni GB 2536-2
Type: song

Composer: ROSSINI
Title: William Tell
Soloists: Guelfi; Gencer; Raimondi; Washington
Conductor: Previtali
Orchestra: La Scala Orchestra
Date: 1965/12/12
Date Catalogued: 1990/02/23
Live/Studio: L
LP or CD: CD
Timing: 178:49
Label and Number: Great Opera Performances GOP 715-CD; Opera D'Oro OPD 1461
Type: opera

Composer: SPONTINI
Title: Vestale, La
Soloists: Gencer; Bruson; Merola; Ferrin; Gulin
Conductor: Previtali
Orchestra: Orchestra del Teatro Massimo, Palermo / Palermo Theatro Massimo / Teatro Massimo, Palermo
Date: 1969/12/04
Date Catalogued: 1993/12/26
Live/Studio: L
LP or CD: CD
Timing: 121:27
Label and Number: Living Stage 4035163
Type: opera

Composer: SPONTINI
Title: Vestale, La: Caro oggetto
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 4:02
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: VERDI
Title: Aida
Soloists: Gencer; Cossotto; Bergonzi; Colzani; Giaiotto
Conductor: Capuana
Orchestra: Verona Opera Orchestra
Date: 1966/07/16
Date Catalogued: 1991/04/29
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Di Stefano GDS 21032
Type: opera

Composer: VERDI
Title: Attila
Soloists: Gencer; Ghiaurov; Luchetti
Conductor: Muti
Orchestra: Florence May Festival / Maggio Musicale Fiorentino / Teatro Comunale, Florence
Date: 1972/12/31
Date Catalogued: 1992/11/02
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Foyer CF 2053
Type: opera

Composer: VERDI
Title: Attila
Soloists: Hines; Bardelli; Gencer; Martinucci
Conductor: Sipipigni
Orchestra: New Jersey Opera Orchestra
Date: 1972/10/20
Date Catalogued: 2011/11/27
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2 MDCD 0014
Type: opera

Composer: VERDI
Title: Ballo in Maschera, Un
Soloists: Carlo Bergonzi; Leyla Gencer; Mario Zanasi; Adriana Lazzarini; Bga Chorus
Conductor: Fabritiis
Orchestra: Bologna Communale Orchestra / Orchestra Teatro Communale, Bologna
Date: 1961/11/28
Date Catalogued: 1989/04/03
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2CD 00283
Type: opera

Composer: VERDI
Title: Battaglia di Legnano, La
Soloists: Gencer; Gibin; Savarese
Conductor: Molinari-Pradelli
Orchestra: Orchestra of Teatro Communique Giuseppe Verdi, Trieste / Teatro Communale Verdi, Trieste / Trieste Teatro Communale / Trieste Teatro Lirico Verdi
Date: 1963/03/08
Date Catalogued: 1989/04/03
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Gala GL 100.591
Type: opera

Composer: VERDI
Title: Battaglia di Legnano, La
Soloists: Gencer; Taddei; Limarilli; Washington; Flo Chorus
Conductor: Gui
Orchestra: Florence May Festival / Maggio Musicale Fiorentino / Teatro Comunale, Florence
Date: 1959/05/10
Date Catalogued: 1989/04/03
Live/Studio: L
LP or CD: CD
Timing: 110:00
Label and Number: Myto 2MCD 033.281
Type: opera

Composer: VERDI
Title: Don Carlos
Soloists: Leyla Gencer; Nicolai Ghiaurov; Sesto Bruscantini; Fiorenza Cossotto; Bruno Prevedi; ROO Chorus
Conductor: Previtali
Orchestra: Rome Opera Orchestra
Date: 1968/04/24
Date Catalogued: 1989/04/03
Live/Studio: L
LP or CD: CD
Timing: 183:51
Label and Number: Melodram MEL 37022
Type: opera

Composer: VERDI
Title: Due Foscari, I
Soloists: Guelfi; Picchi; Gencer; Maddelena; Fen Chorus
Conductor: Serafin
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1957/12/21
Date Catalogued: 1989/04/03
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2MCD 031.273
Type: opera

Composer: VERDI
Title: Ernani
Soloists: Bergonzi; Gencer; Cappuccilli; Raimondi
Conductor: Gavazzeni
Orchestra: Catania Bellini Theatre Orchestra / Teatro Bellini Catania / Vienna Cathedral Orchestra
Date: 1972/01/15
Date Catalogued: 1995/08/20
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: GOP GOP 879; Arkadia HP 621.2
Type: opera

Composer: VERDI
Title: Ernani
Soloists: Gencer; Cecchele; Taddei; Raimondi
Conductor: Wolf-Ferrari, M.
Orchestra: Bilbao Orchestra / Orchestra of Bilbao
Date: 1968/03/09
Date Catalogued: 1991/04/29
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: DiStefano GDS 21031
Type: opera

Composer: VERDI
Title: Forza Del Destino, La
Soloists: Gencer; Bergonzi; Cappuccilli; Cava; Lazzarini; Bga Chorus
Conductor: Molinari-Pradelli
Orchestra: Bologna Communale Orchestra / Orchestra Teatro Communale, Bologna
Date: 1964/02/09
Date Catalogued: 1989/04/04
Live/Studio: L
LP or CD: LP
Timing: N/A
Label and Number: GFC 013/15
Type: opera

Composer: VERDI
Title: Forza del Destino, La
Soloists: Gencer; Di Stefano; Protti; Siepi; Carturan
Conductor: Votto
Orchestra: La Scala Orchestra
Date: 1957/07/05
Date Catalogued: 1999/03/24
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Phoenix PX 510.3
Type: opera

Composer: VERDI
Title: Forza del Destino, La
Soloists: Gencer; Di Stefano; Protti; Carturan; Siepi; Sca Chorus
Conductor: Votto
Orchestra: La Scala Orchestra
Date: 1957/07/05
Date Catalogued: 1989/04/03
Live/Studio: L
LP or CD: CD
Timing: 172:40
Label and Number: Melodram MEL 37010; Pantheon PHE 6627-29
Type: opera

Composer: VERDI
Title: Jerusalem
Soloists: Gencer; Aragall; Guelfi
Conductor: Gavazzeni
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1963/09/24
Date Catalogued: 1995/12/21
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Phoenix PX 506.9; Melodram 27004
Type: opera

Composer: VERDI
Title: Macbeth
Soloists: Gencer; Guelfi; Lamberti; Gaetani
Conductor: Gavazzeni
Orchestra: Teatro alla Fenice / Venice Opera Theatre (Teatro Fenice)
Date: 1968/04/09
Date Catalogued: 1998/03/01
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Mondo Musica MFOH 10101; Mondo Musicale MFOH 10101
Type: opera

Composer: VERDI
Title: Macbeth
Soloists: Gencer; Taddei; Picchi; Mas Chorus
Conductor: Gui
Orchestra: Orchestra del Teatro Massimo, Palermo / Palermo Theatro Massimo / Teatro Massimo, Palermo
Date: 1960/01/14
Date Catalogued: 1989/04/04
Live/Studio: L
LP or CD: LP
Timing: N/A
Label and Number: Rodolphe RP 12440/41/42
Type: opera

Composer: VERDI
Title: Rigoletto
Soloists: MacNeil; Raimondi; Gencer
Conductor: Quadri
Orchestra: Colon (Teatro), Buenos Aires / Orquestra Teatro Colon, Buenos Aires / Teatro Colon, Buenos Aires
Date: 1961
Date Catalogued: 2000/12/30
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Myto 2MCD 003.225
Type: opera

Composer: VERDI
Title: Simon Boccanegra
Soloists: Gobbi; Tozzi; Panerai; Gencer; Zampieri; Vienna State Op Chorus
Conductor: Gavazzeni
Orchestra: Vienna Philharmonic
Date: 1961/08/19
Date Catalogued: 1989/04/04
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Gala GL 100.508
Type: opera

Composer: VERDI
Title: Simon Boccanegra
Soloists: Gencer; Gobbi; Picchi; Mazzoli
Conductor: Rossi
Orchestra: Orchestra of Teatro San Carlo, Naples / San Carlo Theatre, Naples / Teatro San Carlo, Naples
Date: 1958/12/26
Date Catalogued: 1999/03/23
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Hardy/Teatro San Carlo HCA 6002-2
Type: opera

Composer: VERDI
Title: Traviata, La
Soloists: Gencer; Labo; Cappuccilli
Conductor: Rescigno
Orchestra: Rio de Janeiro Opera / Theatro Municipal do Rio de Janeiro Orchestra
Date: 1964/08/08
Date Catalogued: 1997/02/02
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Golden Age of Opera GAO 120
Type: opera

Composer: VERDI
Title: Trovatore, Il
Soloists: Leyla Gencer; Mario Del Monaco; Ettore Bastianini; Fedora Barbieri; Mil Chorus
Conductor: Previtali
Orchestra: Academy of Milan / Gli Accademici di Milano / Milan Academy Orchestra / RAI Orchestra, Milan
Date: 1957/05/18
Date Catalogued: 1989/04/04
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Arkadia MP 483.2
Type: opera

Composer: VERDI
Title: Vespri Siciliani, I
Soloists: Gencer; Guelfi; Limarilli; Rossi-Lemeni; Rom Chorus
Conductor: Gavazzeni
Orchestra: RAI Rome Orchestra
Date: 1964/12/05
Date Catalogued: 1989/06/06
Live/Studio: L
LP or CD: CD
Timing: 149:13
Label and Number: Melodram MEL 27032; Pantheon PPHE 6770-71
Type: opera

Composer: VERDI
Title: Zingara, La
Soloists: Gencer
Accompanist: Scalera
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 2:51
Label and Number: Bongiovanni GB 2523-2
Type: song

Composer: VIVALDI
Title: Olimpiade, L': Se cerca, se dice
Soloists: Gencer
Conductor: Scalera [pno]
Date: 1981/10/05
Date Catalogued: 1998/10/18
Live/Studio: S
LP or CD: CD
Timing: 4:37
Label and Number: Bongiovanni GB 2523-2
Type: opera

Composer: ZANDONAI
Title: Francesca Da Rimini
Soloists: Leyla Gencer; Anselmo Colzani; Renato Cioni; Tri Chorus
Conductor: Capuana
Orchestra: Orchestra of Teatro Communique Giuseppe Verdi, Trieste / Teatro Communale Verdi, Trieste / Trieste Teatro Communale / Trieste Teatro Lirico Verdi
Date: 1961/03/16
Date Catalogued: 1989/04/05
Live/Studio: L
LP or CD: CD
Timing: N/A
Label and Number: Arkadia CDHP 597.2
Type: opera



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