LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Gilda Cruz-Romo (was Re: singers who should have had big international careers - but didnt)
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Wed, 4 Oct 2017 09:59:28 -0700
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (110 lines)


I heard Gilda Cruz-Romo many times at the Met.  What stands out in
particular is her superb Violetta - at times in the 2nd act she reminded me
of Tebaldi in the gorgeous quality of her voice and singing, her superb
Suor Angelica and her Desdemona.  I heard her as Maddalena, Aida, Tosca,
Amelia, Leonora, Manon Lescaut, Tosca.  She was one of the most
prodigiously gifted spintos I heard.  I remember meeting her long after she
retired in Stamford Connecticut.  The Connecticut Opera was doing Nabucco
at the Palace Theatre and she was in the audience. I remember what an
unpretentious, lovely person she was.  It was a major voice deserving of a
major career.  Yes, she had tremendous competition but vocally, she had few
equals and even fewer superiors.  A magnificent singer I remember with
fondness.  In the 70's the Met had three superb spinto/dramatic sopranos.
Gilda Cruz-Romo, Martina Arroyo and Elinor Ross.  None of the three really
had the great careers they deserved.  Arroyo, so uniquely gifted, made so
few recordings in relation to the quality of her voice and artistry.
Cruz-Romo and Ross, nothing except live performances that were broadcast
and later issued on CD.

Donald

On Wed, Oct 4, 2017 at 8:55 AM, Max D. Winter <[log in to unmask]> wrote:

> Bob Rideout wrote:
>
> "I saw [Cruz-Romo] twice, in the famous NYCO Treigle "Mefistofele" and
> once at the Met in
> "Trovatore". She was excellent both times. I actually think that her
> career, though it was
> solid, should have been better."
>
> In this country, Cruz-Romo (then Gilda Cruz) got her start at the Dallas
> Civic Opera, where
> she made her U.S. debut in 1966 as Giovanna in "Rigoletto" and sang mainly
> comprimario
> roles for the next several years, although she sang the title role in
> DCO's student
> performance of "Anna Bolena" in 1968.  (Suliotis sang Anna in the regular
> performances.)
> She met her husband, Bob Romo, in Dallas when he was singing in the DCO
> chorus.  Cruz-
> Romo returned to DCO as a leading singer in 1979, when she sang Aida (with
> McCracken
> and Horne).
>
> A friend of mine at the DCO, Charlotte Schumacher, knew Bob and Gilda
> well.  (Charlotte
> and some other people from Dallas flew to London for C-R's Covent Garden
> debut as Aida in
> the early 70s.)  Charlotte said that although C-R certainly had the vocal
> chops to have been
> a major star, she had a sweet but rather low-key personality and was not
> at all aggressive
> or inclined to push herself forward, and so, in the public perception at
> least, she remained a
> second-stringer rather than a star of the first rank.  (She also was
> devoted to her husband
> and children and was something of a homebody.)  I remember John Ardoin
> saying that
> Cruz-Romo's Butterfly, in a 1978 Met tour performance in Dallas, was one
> of the finest he
> had ever seen and had him in tears.
>
> Cruz-Romo sang many major roles at the Met (I saw her superb Suor Angelica
> in 1975) and
> she certainly had a significant international career, but my impression
> from Charlotte was
> that she had no desire to be a top-flight diva, which is probably why she
> never became one.
> We should also remember that in the biggest years of her career, the
> mid-70s through the
> early '80s, her big roles overlapped with Caballe, Price and Scotto, and
> they all had more
> star wattage than Cruz-Romo did.
>
> Given a fine voice, I think that the qualities that set a singer apart as
> a superstar or big box
> office draw (and gets recording contracts), are drive, ambition, and
> perhaps most
> important, personality and a unique vocal profile.  Cruz-Romo, fine singer
> though she was,
> did not have these qualities to any great degree.
>
> MDW
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager