Word: gedda
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Dates: during 1960-1969
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...starts with a Tosca duet by Joan Sutherland and Tito Gobbi, grows into the trio from Faust, the Verdi quartet from Rigolctlo, a Wagner quintet from Die Meistersinger, and finally the sextet from Donizetti's Lucia di Lammcrmoor, in which the two are joined by Nicolai Gedda, Jerome Mines, Mildred Miller and Charles Anthony...
Primary Spark. Yet Mehta's motions are by no means shallow showmanship. They help make his performance "live all the time," in the words of Met Tenor Nicolai Gedda, who sings under Mehta in Carmen. Says Gedda: "He does not drag and he does not rush; he has the kind of pulse that is absolutely right." This is Mehta's essence as a musician: an instinct for the living pulse of a piece of music, along with a molten core of romantic feeling and a point-of-no-return commitment...
...company can long endure without a Carmen on its list, and last week, after six years' absence, Bizet's supple shocker returned to the Met in a new production. The Carmen was Grace Bumbry, a Negro mezzo-soprano from St. Louis; her Don Jose was Nicolai Gedda, a Swedish-Russian; the Escamillo was Justino Diaz, a Puerto Rican. The conductor was Zubin Mehta, an Indian from Bombay who now conducts the Los Angeles Philharmonic-and who last week touched off a furor by denying that he was the least bit interested in conducting the New York Philharmonic...
DONIZETTI: L'ELISIR D'AMORE (2 LPs; Angel). The Elixir of Love is an 1832 comic opera that is a delightful collection of bouncy silliness couched in florid melody. Mirella Freni and Nicolai Gedda reproduce their entrancing Metropolitan Opera performances of two seasons ago, and they are complemented by the astonishing bass of Renato Capecchi, who combines unbelievable agility with mahogany-like richness in the role of a quack selling a love potion...
...composed Orfeo for a chorus and orchestra much larger than he had previously used. The heavy dose of choral music and the numerous arias in sona ta form make much of the opera sound like an oratorio. The chorus, for example, joins in a love duet with Sutherland and Gedda in the early scenes, sings a lament for the dead Euridice, and in the third act consoles Orfeo with four lengthy passages. But the opera also sparkles with tuneful solos, and concludes with a scene of effective operatic violence: the Bacchanalians who have poisoned Orfeo are swept away...