Legends of Lyric

The Italian lyric soprano Rosanna Carteri (1930 –     ) shortened her career to devote herself to her family. But for 17 years she was adored by discerning audiences, who relished not just her luminous voice but also the exquisite beauty and personality that went with it. Lyric, in 1954 and 1955, got only a taste of her large repertoire. In Europe she ran the gamut from Handel to Prokofiev, and she excelled in works of many contemporary Italian composers.

Gifted with an instantly recognizable, sensuously beautiful instrument, the French dramatic soprano Régine Crespin (1927 - 2007) had an instinctive gift for the stage and enormous personal magnetism. She captivated Lyric audiences in Fidelio, Un ballo in maschera, Tannhäuser, Ariadne auf Naxos, and Tosca. In later years she moved into mezzo repertoire, extending her career with superb performances in Carmen, Werther, The Queen of Spades, and Dialogues of the Carmelites.

The Italian baritone Tito Gobbi (1913-1984) was an astoundingly versatile artist, with well over 100 roles in his repertoire. Among American companies, he was most closely associated with Lyric, where he sang 21 roles and for years was unofficially known as the "godfather" of the company. His devotion to Lyric was total, and his audiences here adored him. Triumphant in literally every major opera house internationally, he was also a stage director, a coach, and an inspiration to singers everywhere.

One of Spain's greatest gifts to singing, Alfredo Kraus, the lyric tenor (1927 - 1999) flourished at Lyric, singing 17 leading roles with the company. A master of bel canto style, he also excelled in French repertoire and was often referred to as the "grand seigneur of tenors." Kraus was renowned for his sovereign vocal technique, which enabled him to sing superbly even at age 70. A venerated figure in every company where he performed, he boasted an elegant stage presence that ideally matched his aristocratic vocalism.

The ravishingly beautiful American soprano Anna Moffo (1932 – 2006) began her stage career in Europe before making her American debut in 1957 as Mimì in La bohème. She made a vivid impression, too, in roles of Donizetti, Thomas, and Puccini. At the Met and all over the world she delighted audiences as Violetta, the role she sang more frequently than any other. With her luscious voice complemented by fabulous gifts as an actress, she was a natural for opera and operetta on film and television.

The French-Canadian tenor Léopold Simoneau (1916 -2006) earned one of the longest and most vociferous ovations in Lyric history for his singing of "Una furtiva lagrima" in L'elisir d'amore. He also shone in fabled Lyric performances of La traviata (opposite Maria Callas) and Così fan tutte. His name stands for the finest standards of singing, particularly in French repertoire and in the Mozart operas with which he made his name internationally.

Known worldwide as "La Stupenda," the Australian dramatic coloratura soprano Dame Joan Sutherland (1926 - 2010) possessed what was often referred to as "The Voice of the Century" – shining in tone, massive in size, and gifted with staggering agility. A standard-setter in a large number of bel canto operas, Sutherland was hailed at Lyric in four signature roles – Lucia, Semiramide, Marie (in La fille du régiment), and Anna Bolena.

The Canadian tenor Jon Vickers (1926 – 2015) riveted audiences with the blazing intensity of his portrayals. He was memorable in every performance he gave at Lyric in 10 roles during 13 seasons. Nearly all of them were among the most formidable roles in the repertoire and were signature roles for Vickers, from Otello and Tristan to Samson and Peter Grimes. His voluminous sound and his consuming involvement in his characterizations made him a unique, enormously sought-after artist worldwide.

This installment of "Legends of Lyric" highlights four Italian artists who began their association with Lyric in their American debuts: soprano Renata Scotto (1934 - ), who achieved huge renown internationally in a very wide repertoire during a stupendous four-decade stage career, and has forged new careers as a sought-after director and coach; Fiorenza Cossotto (1935 - ), for many years Lyric's mezzo-soprano of choice in dramatic Italian roles, as she was for all the other major houses internationally; Carlo Bergonzi (1924-2014), the immensely distinguished tenor who set new standards worldwide, especially in Verdi roles; and Sesto Bruscantini (1919 – 2003), a baritone of inexhaustible theatrical and musical resource who deeply impressed the Lyric public in both dramatic and comedic roles.