Opera Career
An early appraisal of Gedda's singing was offered by Walter Legge, after first hearing Gedda sing for the role of Dmitry in a planned recording of Boris Godunov.
"On my arrival at the airport I was asked by a swarm of journalists if I were not interested in hearing their excellent young Swedish voices. Naturally I was interested, but I did not expect either the front page stories that appeared next morning or the mass of letters and almost incessant telephone calls asking to be heard. I had to ask the Director of the Opera for a room for a couple of days to hear about 100 young aspirants. The first to sing to me (at 9.30 in the morning) was Gedda who had I believe sung only once in public. He sang the Carmen Flower Song so tenderly yet passionately that I was moved almost to tears. He delivered the difficult rising scale ending with a clear and brilliant B flat. Almost apologetically I asked him to try to sing it as written -- pianissimo, rallentando and diminuendo. Without turning a hair he achieved the near-miracle, incredibly beautifully and without effort. I asked him to come back at 8 that evening and sent word to my wife that a great singer had fallen into my lap and to Dobrowen that, believe it or not, this 23-year-old Gedda was the heaven-sent Dmitry for our Boris."
He was understudy to Giuseppe Di Stefano at a performance of L'elisir d'amore at the Edinburgh Festival circa 1951.
In April 1952, at the age of 26, Gedda made his debut at the Royal Swedish Opera, performing the role of Chapelou in Adolphe Adam's Le postillon de Lonjumeau with Hjördis Schymberg. One of the arias in this opera, "Mes amis, écoutez l'histoire", is considered one of the most difficult tenor arias in all of opera, as it calls for a demanding high D from the soloist. In this same year Gedda also performed the role of Hoffmann in Offenbach's The Tales of Hoffmann and the tenor role in Der Rosenkavalier.
After an audition in Stockholm, Gedda gained the attention of conductor Herbert von Karajan, who took him to Italy. In 1953, he made his début at La Scala as Don Ottavio in Don Giovanni.
In 1954, he made his Paris Opéra debut in the tenor role in Weber's Oberon, and was given a permanent contract for several years. In 1957, Gedda made his Metropolitan Opera début in the title role of Gounod's Faust, and went on to sing 28 roles there over the next 26 years, including the world premieres of Barber's Vanessa and Menotti's The Last Savage. Gedda made his Royal Opera House Covent Garden début in 1954 as the Duke of Mantua in Verdi's Rigoletto and has since returned to sing Benvenuto Cellini, Alfredo, Gustavus III, Nemorino and Lensky.
Gedda's recordings span a wide variety of styles and several of the roles may be considered amongst the most challenging in the entire operatic repertoire, notably Arnold in Rossini's Guillaume Tell and Arturo in I puritani, both requiring stratospheric high notes and an easy legato line.
A singer of unusual longevity, Gedda has been active well into his late 70s; in May 2001 he recorded the role of the Emperor Altoum in Puccini's Turandot and the role of the High Priest in Mozart's Idomeneo in June 2003.
Read more about this topic: Nicolai Gedda
Famous quotes containing the words opera and/or career:
“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
—W.H. (Wystan Hugh)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)