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Subject: Tatiana Troyanos:Reflections on an operatic career:Part VII
From: DAN KESSLER <[log in to unmask]>
Reply-To:DAN KESSLER <[log in to unmask]>
Date:Sun, 31 May 1998 15:25:13 -0400
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Troyanos appeared in her second Handel opera, GIULIO CESARE in the title
role opposite the Cleopatra of Gianna Rolandi at Geneva's Grand Theatre,
May 18, 1983 under the baton of Sir Charles Mackerras.  Andrew Hunziker for
British Opera reported that, ~QTatiana Troyanos was a marvelous Caesar, at
once youthfully ardent and authoritative'.   It was a borrowed John Copley
ENO production originally mounted for Janet Baker which some thought to be
~Qsuperb kitsch'.   Jean-Jacques Roth, writing for the Tribune de Geneve
said that Troyanos invested the role with an earnest presence--that her
bearing was evocative of one of a Shakespearean actor, torn and driven. He
went on to say that the agility of her vocal line was without fault, that
she achieved a far reaching homogeneity--the timbre comfortable as heard in
all the registers.

Opening night, September 26, 1983 at the Met of the 1983-84 season found
Troyanos in a new role--that of Dido in Berlioz's epic LES TROYENS under
the baton of Maestro Levine.  Although Jessye Norman appeared in the role
of Cassandra in the opening night performance, Norman later switched to the
role of Dido. Although I have to say that Troyanos was impressive, Norman
seemed more dominant and through her own artifice managed to give one of
her truly great performances that completely overshadowed both Troyanos and
even Christa Ludwig or Shirley Verrett, who had sung the role when LES
TROYENS was first done by the Met back in 1973 under Maestro Rafael
Kubelik.   Still, Troyanos gave a high quality performance, nonetheless.

In December, 1983 Troyanos again sang Brangaene to the Isolde of Hildegard
Behrens with Richard Cassily sharing the role of Tristan with Manfried
Jung, again under the baton of James Levine.  In the opinion of some,
Maestro Levine had gained significantly over his past effort with Gwyneth
Jones and Spas Wenkoff.  Some thought that Troyanos's Brangaene was vocally
a bit brusque and hard while opinion was mostly positive towards the other
principals but hardly unanimous.  On the other hand, there was something
very honest and appealing about Troyanos's Brangaene.  On February 27th,
1984 Troyanos rejoined the cast of the Met's TANNHAEUSER as Venus and
stayed on for the Met Saturday broadcast of the opera.

There was a Charlotte for the Paris Opera at the Palais Garnier on July 3,
1984 again opposite the WERTHER of Neil Shicoff under Georges Pretre.
Writing in the French Opera Int'l, Jean Cabourg noted,  ~QTroyanos did not
have the vocal mastery to make an entirely convincing Charlotte and found
her diction occasionally "cloudy". Otherwise, there was no mistaking that
her interpretation was eminently musical'.

On the following December 1984, Troyanos went on to the Gran Teatre del
Liceu for an Octavian opposite the Marschallin of Montserrat Caballe but
Troyanos's performance was deemed uneven and she withdrew from the last in
the run her performances in Barcelona.

March 4, 1985 Troyanos returned to the role of Romeo in the ROH Covent
Garden's production of Bellini's I CAPULETI ED ED I MONTECCHI opposite the
Giulietta of Katia Ricciarelli.  A pre-announcement was made to the effect
that Troyanos was suffering from a throat infection.  Harold Rosenthal of
British Opera wrote, ~Q [she] was not up to her best vocally, but sang with
feeling and commitment, and if not displaying the intensity that Agnes
Baltsa had brought to the role'.  Whereas,  Ricciarelli was thought to be
in better voice than she had been for some time.

Daniel Kessleer

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