Opera Daily 🎶 — Teresa Berganza

A diva without being diva-like, a musician before being a singer

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Berganza consistently distinguished herself over the decades with two particular strengths: language and legato, with one dictating the use of the other.

— David Patrick Stearns

I had initially planned a post on Renée Fleming for today, but when I heard that Teresa Berganza had passed away this week, it felt important to honor her instead.

As an accomplished musician and a great singer, Teresa Berganza, a Spanish mezzo-soprano, started studying the piano, the organ, and composition in Madrid.

But at eighteen, she decided to become a singer.

Trained by Lola Rodriguez Aragòn, a student of Elisabeth Schumann, Teresa Berganza had two loves, Mozart and Rossini, who provided her with her favorite roles during her career.

We’re going to celebrate Teresa Berganza today by hearing her sing some Mozart, Rossini, and more.

🎧 Listening Example: (3 minute listen): “Voi Che Sapete” from Mozart’s Marriage of Figaro

🎧 Listening Example: (2 minute listen): “Nana” from Siete canciones populares españolas (“Seven Spanish Folksongs”) by Manuel de Falla, Félix Lavilla, Piano, 1975

🎧 Listening Example: (6 minute listen): “Una voce poco fa” from Rossini’s opera Il barbiere di Siviglia, Claudio Abbado, Conductor, Jean-Pierre Ponnelle, Director, filmed at Salzburg, Atelier Durer, 1972

🎧 Listening Example: (5 minute listen): “L’amour est un oiseau rebelle” (Habanera) from Bizet’s Carmen, Theatre nationale L’opera de Paris, Pierre Dervaux, Director, 1980

Do you have a favorite Berganza role, recording or memory? Please share in the comments!

To those who had the chance to experience Teresa Berganza and her voice in person, you are the lucky ones.

Thank you for reading (and listening),

Michele

PS. If you missed last week's selection, we listened to one of opera's most devoted mothers — Cio-Cio San from Madama Butterfly by Puccini.

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