OP2998. LA DAME BLANCHE (Boieldieu), Live Performance, 1964, w.Jean Fournet Cond.Hilversum Radio Ensemble; Mimi Aarden, Erna Spoorenberg, Nicolai Gedda, Frans Vroons, etc.; MA TANTE AURORE, [ou, Le roman impromptu] (Boieldieu), Broadcast Performance, 1963, w.Courand Cond.Françoise Ogéas, Janine Collard, Jean Mollien, etc. (France) 2-Malibran 774. Very long out-of-print, Final Copy! - 7600003777744
"LA DAME BLANCHE was one of the most successful operas in the world when it began life in 1825 at lï¿½Opï¿½ra-Comique, Paris. By 1862 it had received 1,000 performances at that house alone. It premiered in London in 1826, and New York in 1827. In 1904 the Met revived it with Johanna Gadski and Franz Naval, conducted by Felix Mottl. Sadly, this genre of French opera has pretty much vanished from our international opera scene and we have lost the charms of Boieldieu and Adam, not to mention the more grandiose Meyerbeer as well.
James Miller wrote a wonderfully insightful review of this recording when it was issued on the Golden Melodram label (in Fanfare 26:6). As he pointed out, Fournet abridged the opera by elminiating the recitatives and a few musical numbers. Miller pointed to the more complete Minkowski recording on EMI, in more modern sound as well (though the 1964 Dutch broadcast is in quite good stereo for its era). The Minkowski features Rockwell Blake in the fiendishly difficult tenor role of George Brown, and Blake copes brilliantly with the demands of the score. So does Gedda in this performance, and to my ears he does so with a more consistently pleasant voice.
The rest of this performance is excellent, with Erna Spoorenberg and Mimi Aarden both singing with genuine tonal beauty and with plenty of nuance. I find Fournetï¿½s conducting more naturally flowing than Minkowskiï¿½s on EMI. However, if the opera really interests you, you need the EMI because of its completeness, and because it supplies a libretto and good notes. Neither the Malibran release nor the earlier version on Golden Melodram supply anything beyond a cast list and track listing.
Malibran, though, does have a bonus not found on Golden Melodran: Excerpts from Boieldieuï¿½s MA TANTE AURORE. The Overture and eight vocal numbers make a charming filler, though I was unable to find out anything about the opera. This performance seems more than adequate, though without the kind of star turn we get from Gedda in LA DAME BLANCHE. These excerpts have been issued before, on Philips and on Vox/Turnabout, but I donï¿½t have either prior edition and there are no notes in the Malibran. LA DAME BLANCHE is much easier to research; not only are there good plot synopses on the internet, but an excellent one can be found in Kobbeï¿½s Opera Book.
Serious collectors of vocal music will want to obtain this because of Gedda's brilliant performance, and Fournetï¿½s atmospheric conducting of a lovely score that deserves more exposure than it has had in recent times."
- Henry Fogel, FANFARE
"Boieldieu's score is highly expressive and full of striking numbers. Of particular note are Jenny's ballad, Brown's entrance aria and the music sung by Anna, which is highly florid and preceded by harp arpeggios whenever the Dame Blanche (White Lady) appears. The central dramatic focus of the opera is the auction scene, an ensemble in the Italian style which has an intensity not equalled or surpassed by any other opéra comique of that period, either by Boieldieu or his contemporaries. The aria from the opera that is most often performed today in recital is the tenor aria, 'Viens, gentille dame'."
- Ned Ludd
"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 Lehar's 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
"Erna Spoorenberg was a Dutch soprano who was born in Yogyakarta, Java, now part of Indonesia. As a child, she studied the violin and singing and, at the age of 14, she studied under Isa Neuhaus, a singer with the Düsseldorf Opera. Spoorenberg then studied singing under Aaltje Noordewier until she was 17, whilst continuing her violin lessons under Julius Röntgen. At the conservatory, she decided to pursue singing in preference to the violin.
In 1947, she made her debut on Radio Hilversum, singing Mozart's motet EXSULTATE, JUBILATE. In 1949, she auditioned for Karl Böhm and was given a guest contract at the Vienna State Opera, soon becoming a permanent member. Returning to the Netherlands, she was eventually offered a contract with De Nederlandse Opera for 25 performances per season. Her debut on 15 September 1955 was as Violetta in LA TRAVIATA. She performed in Hamburg and Berlin and concert tours throughout Europe. In 1963 and 1965, she toured the Soviet Union, appearing at the Kirov and the Bolshoi Theatre. In 1968, she debuted in the United States.
Parallel to her opera career, she gave many recitals, often with Geza Frid, and also as a soloist. In a 1957 recording of Bach's ST MATTHEW PASSION with De Nederlandse Bachvereniging, conducted by Anthon van der Horst, she was the soprano soloist. From 1970 to 1977, she taught at the Royal Academy in Brussels, and from 1971 to 1988 in the Sweelinck Academy of Music in Amsterdam. After 1978, she worked as a private teacher."
- Zillah D. Akron