OP0254. LOHENGRIN, Live Performance, 29 Jan., 1966, Stockholm, w.Varviso Cond. Kungliga Teaterns Ensemble; Nicolai Gedda (Gedda's sole Lohengrin), Aase Nordmo LÃ¸vberg, Barbro Ericson, Rolf Jupither, Bengt Rundgren, Ingvar Wixell, etc. (Czech Republic) 3-Ponto 1011. Outstanding sound! Final Sealed Copy! - 8717202250110
"Widely admired for his sensitive musicianship, masterly tonal control and impeccable diction in a spate of European languages, Mr. Gedda possessed a lyric tenor voice that shimmered like silver but was no less warm for that. He was one of the most versatile, and professionally long-lived, tenors of his era, with many dozens of roles to his name in a career that lasted until he was well into his 70s - a good two decades past a classical singer's customary retirement age. Over a quarter-century, he sang 367 performances with the Metropolitan Opera, from his debut in the title role of Gounod's FAUST in 1957 to his final performance, as Alfredo in Verdi's LA TRAVIATA, in 1983. But the role for which Mr. Gedda was very likely most famous was Russian: Lensky, the young poet in Tchaikovsky's EUGENE ONEGIN. Reviewing Mr. Gedda in a concert performance of ONEGIN with the Boston Symphony in 1976, Richard Dyer wrote in THE BOSTON GLOBE: 'The tenor's voicing of Lensky's aria - an ideal union of responsiveness to word and musical line, a demonstration of vocal and technical mastery and varied and beautiful tone, and an expression of wise and generous human feeling - was a classic demonstration of why, for some of us at least, operatic singing is the highest achievement of human art'.
Mr. Gedda made his United States debut in 1957, singing Faust with the Pittsburgh Opera. Reviewing his Met debut, in the same role later that year, under the baton of Jean Morel, Howard Taubman wrote in THE NEW YORK TIMES: 'His carriage is tall and straight and his movement buoyant. It is credible that he will attract Marguerite. Even more impressive than his appearance is the intelligence of his singing'.
With the Met, he also sang Anatol in the world premiere of Samuel Barber's VANESSA, conducted by Dimitri Mitropoulos in 1958, and Kodanda in the United States premiere of Gian Carlo Menotti's THE LAST SAVAGE, under Thomas Schippers, in 1964."
- Margalit Fox, THE NEW YORK TIMES, 10 Feb., 2017
"Of all the important tenors active during the latter half of the twentieth century, Nicolai Gedda was by far the most versatile and industrious, a questing musical spirit who left few areas of the operatic and song repertories unexplored. During a career that spanned nearly fifty years, Gedda was in demand the world over for the warm, sweet, silvery beauty of his voice, his patrician command of style, and an unshowy but dazzling technical virtuosity that was invariably in the service of the music.
Born to poor parents in Stockholm, Gedda was raised by his father's sister and her Russian husband, a Don Cossack singer and cantor in a Russian orthodox church. It was from his strict stepfather that Gedda picked up his facility with languages and reading music - as well as an innate shyness and a distaste for confrontation that did not serve him well in later dealings with opera managements, not to mention two unhappy early marriages. The vocal rudiments were there from the beginning, however, and while he was working at his first job, as a bank teller, one of his helpful customers recommended a teacher - Carl-Martin Oehman, a former lyric tenor at Stockholm Opera and mentor of Jussi Bjorling.
Oehman, Gedda once recalled in his typically modest way, 'taught me all the essentials, which I knew nothing about'. One can't help thinking that the perfect vocal placement, firm muscular support, smooth register management and sovereign musical instincts were already present, just waiting to be coaxed out. Additional studies at Stockholm Conservatory lasted just two years before Gedda - in 1952, at age twenty-six - was given the leading role in Adam's POSTILLON DE LONJUMEAU at the Royal Opera and created a sensation, especially with the brilliant high Ds that cap the coachman Chapelou's famous entrance aria. Walter Legge, EMI's legendary record impresario, and his wife, Elisabeth Schwarzkopf, were in town and demanded to hear the new tenor everyone was raving about. After a short audition, Legge immediately fired off cables to conductor Herbert von Karajan and Antonio Ghiringhelli, the intendant of La Scala: 'Just heard the greatest Mozart singer in my life: his name is Nicolai Gedda'.
What happened next would probably leave any young singer breathless. Gedda was instantly cast as Dimitri in EMI's splashy new recording of BORIS GODUNOV, starring Boris Christoff ('that BORIS recording opened the doors of the world to me', Gedda once remarked), and he made a La Scala debut as Don Ottavio in DON GIOVANNI under Karajan's baton. Gedda suddenly had invitations to sing everywhere - Faust and Weber's Oberon in Paris, the Duke of Mantua at Covent Garden and dozens of other requests from Rome, Vienna, Salzburg, Berlin, Munich and Tokyo.
Meanwhile Legge kept Gedda busy in the recording studios after BORIS with Bach's b-minor Mass under Karajan, rarities such as Cornelius' BARBIER VON BAGHDAD and the French version of Gluck's ORPHEE, Strauss' CAPRICCIO, Pinkerton in MADAMA BUTTERFLY, Faust, as well as solo recitals covering a wide range of repertory. One of the most impressive examples I know of the young Gedda on disc, at age twenty-eight, is Lehars LAND DES LACHELNS, in which he sings the mysterious yet passion-driven Prince Sou-Chong, a role made famous by Richard Tauber. It's a ravishing piece of singing, delicately shaded and exquisitely controlled until all the character's banked-up emotions come tumbling out in a glorious rendition of the Tauberlied, 'Dein ist mein ganzes Herz'. Even here, vocal connoisseurs will marvel at the singer's technical control when Gedda eases into the reprise of the big tune without so much as drawing a breath.
Rudolf Bing snapped up Gedda early on (an unusual move by this canny impresario, who usually liked to keep Metropolitan Opera audiences expectantly waiting, even for the most sensational new discoveries), and Gedda made his Met debut on 1 November, 1957, as Faust. Thereafter the tenor, like so many important singers of his generation, tended to base himself in New York, while reserving plenty of time to fulfill engagements in Europe and make hundreds of recordings. So New York heard Gedda display the full range of his vocal talents and language facility until he left the company in 1983 - classic roles (Don Ottavio, Adméto in ALCESTE), standard repertory (the Duke, Alfredo, Rodolfo, Pinkerton, Edgardo), French specialties (Hoffmann, Don José, des Grieux, Pelléas, Roméo), bel canto (LA SONNAMBULA, L'ELISIR D'AMORE, DON PASQUALE), Russian roles (Dmitri, Lenski, Gherman), new American opera (VANESSA and THE LAST SAVAGE) and even a touch of operetta (Johann Strauss' GYPSY BARON). Gedda never generated the hysterical fan response of, say, Franco Corelli, but few left his finely nuanced, vocally secure, emotionally generous performances feeling cheated.
Gedda wound down his career slowly during the 1990s, giving concerts, teaching and taking on occasional character roles, such as the ancient Abdisu, Patriarch of Assyria, in Covent Garden's 1997 production of Pfitzner's PALESTRINA. He also finally found marital contentment in 1997 with Aino Sellermark, who collaborated with Gedda on his memoirs, MY LIFE AND MY ART. The couple settled in what appeared to be an idyllic retirement in Tolochenaz, a Swiss villa, where Gedda could take pride in recalling an extraordinarily productive career that had made him one of the most admired and widely heard tenors of his generation. Gedda died 8 January, 2017, aged 91."
- Peter G. Davis, OPERA NEWS, 9 Feb., 2017
"More than twenty-five years after she retired, Aase Nordmo Lovberg remains a vocal enigma. The Norwegian soprano enjoyed a long and successful career in Scandinavia but, despite her handsome voice and solid musicianship, never established a lasting presence on international stages. A single season at Bayreuth is commemorated in live recordings of LOHENGRIN and DIE WALKURE. A broadcast of DIE WALKURE also documents her brief career at the Metropolitan Opera: two seasons, four roles, and thirteen performances. From her debut in 1957 until her final performance in 1965, Lovberg also sang only thirteen times in four roles at the Vienna Staatsoper: a single Amelia along with Leonore, Sieglinde, and Elisabeth. She sang in Hamburg, Munich, and London without achieving enduring success in any of those cities.
Lovberg began her career in the shadow of Kirsten Flagstad. But so did Ingrid Bjoner. Unlike Lovberg, Bjoner made an international career on major European and American stages...[regardless], Lovberg was an estimable singer."
- Robert Baxter, THE OPERA QUARTERLY, Vol. 20, #4, Autumn 2004, pp. 750-752
ï¿½Ingvar Wixell, a Swedish baritone whose intelligent, vivid performances in the Italian repertory made him a respected fixture on the worldï¿½s opera stages, was praised not just for his firm, grainy voice but also for his dramatic acuity, stage presence and sense of spontaneity. Reviewing his Metropolitan Opera debut in the title role of Verdiï¿½s RIGOLETTO in 1973, Raymond Ericson wrote in THE NEW YORK TIMES: ï¿½What gave Mr. Wixellï¿½s singing its distinction was his awareness of the text. His clear enunciation and concern for words charged the vocal line with vitalityï¿½.
Ingvar Wixell made his American debut in San Francisco in 1967 as Belcore in Donizettiï¿½s Lï¿½ELISIR Dï¿½AMORE and first appeared at Bayreuth in 1971 and at Londonï¿½s Royal Opera House in 1972. In the six years after his Met debut as Rigoletto he sang 81 performances with the company. He ended his career in 2003 singing the music teacher in Straussï¿½ ARIADNE AUF NAXOS at the Malmo Opera in Sweden. He was best known for his steady-toned, riveting portrayals of the major baritone roles of Verdi.ï¿½
- Zachary Woolfe, THE NEW YORK TIMES, 19 Oct., 2011