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Subject: Gilda Cruz-Romo in Chile.
From: Juan Dzazopulos <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Wed, 4 Oct 2017 17:03:10 -0400
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Gilda Cruz-Romo visited Chile four times to sing in Santiago's Teatro 
Municipal.
In 1976 she sang "Aida" (3 performances), with an all Latin-American 
cast: a Mexican soprano (Aida), Chilean mezzo Marta Rose (Amneris), 
Venezuelan tenor Rubén Domínguez (Radames), Brazilian baritone Nelson 
Portella (Amonasro), Argentinean bass Víctor de Narké (Ramfis) . Then 
she was "Tosca" (2 performances) with Bruno Prevedi (wonderful 
Cavaradossi), and Nelson Portella.
In 1977 she sang "Madama Butterfly" (4 performances) with Aida Reyes 
(Suzuki), Rubén Domínguez (Pinkerton) and Lorenzo Saccomani 
(Sharpless). She also sang Maddalena in "Andrea Chenier" (3 
performances) with Rubén Domínguez (Andrea), Renato Bruson (1) and 
Lorenzo Saccomani (2) (Gerard) and the astonishing Andrea Velis 
(Incredibile).
In 1981 Gilda returned to sing "Adriana Lecouvreur" (4 performances) 
with the Bulgarian mezzo Mariana Paunova, the Canadian tenor Ermanno 
Mauro and the Portorican baritone Pablo Elvira.
The last time she sang in Chile was in 1982 Desdemona with three 
Otellos (!): Carlo Cossutta, Angelo Marenzi and Gilbert Py, and the 
Finnish baritone Kari Nurmela as Iago.

Though Prevedi, Bruson, Paunova and Elvira obtained a tremendous 
success, Gilda was a always warmly received and acclaimed in all the 
roles she sang.

Those were still the good old days of opera!

Juan

----------------------





El Wed, 4 Oct 2017 09:59:28 -0700
  Donald Levine <[log in to unmask]> escribió:

> 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
>>
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