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Tatiana Troyanos, Mezzo-Soprano (1938-1993)

Georges Bizet - Carmen
Seguedille
with Placido Domingo, Tenor (born 1941)
Conducted by Sir Georg Solti
(Recorded 1976)

My personal opinion: "Our Metropolitan Opera family has lost one of the most important, beloved artists and friends in its entire history!", said James Levine in the opening of a memory-concert for Tatiana Troyanos, who died in 1993, age 54. At Wikipedia you can read, she was internationally revered for her uniquely sensual, burnished sound, her versatility and beauty, as well as the thrilling intensity of all her performances. Miss Troyanos was a versatile artist with a complex repertoire, and she impersonated the type of a modern singer, accordingly to the demands of a modern music-life. Her way was very long. After her study at Julliard School she went to Europe, where Rolf Liebermann engaged her as Lola in Hamburg - and sometimes she even was Carmen too. In 1966 she was recommended to Aix-en-Provence-Festival to sing the composer in "Ariadne", and after this she came in the maelstrom of international musiclife. In 1967 Karl Böhm gave her Cherubino in his second recording of "Nozze di Figaro". In her own view, the Metropolitan Opera (not until 1976 she made her debut there) was her homestage. After a 1985 performance of Haendel´s "Ariodante" (with specialist Raymond Leppard), Robert Jacobson praised in "Opera News" one of Troyanos most spectacular evenings, she´d sung with effortlessly remarkable splendour. Her recording-legacy is equally spectacular, and more differentiated as that of most other Mezzo-sopranos. But with mass-produced goods the dilemma of many singers began, the default of a characterization with subtlety. Miss Troyanos always impressed me, but is there any single portrait to associate with her? For example her Carmen-Recording is the typically realization of Georg Solti´s self-expression. What a great pity, because Troyanos performance possessed most of what I missed with Baltsa: She´s feminine, teasingly, passionate and far apart from cheap behaviour. Anyhow, her Carmen remains fair average without sophisticated nuances (occasionally her diction is a little bit vague even against mushy singing Domingo.) Finally I think, Miss Troyanos was a great Mezzo-soprano with sometimes unfold qualities, or in other words: A victim of circumstances.
46 votings and place position 19 for the great American-greek Mezzo-soprano.

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