Teresa Berganza VargasOAXS (16 March 1933 – 13 May 2022) was a Spanish mezzo-soprano. She is most closely associated with roles such as Rossini's Rosina and La Cenerentola, and later Bizet's Carmen, admired for her technical virtuosity, musical intelligence, and beguiling stage presence. Berganza was a key singer in a Rossini renaissance which explored less performed operas and restored the leading roles to mezzo register. She appeared as Zerlina in Joseph Losey's Don Giovanni film in 1979. She participated in the opening ceremonies of the Expo '92 in Seville and of the 1992 Summer Olympics in Barcelona.
Teresa Berganza was born in Madrid on 16 March 1933.[1][2] She studied piano and voice at the Madrid Royal Conservatory, voice with Lola Rodríguez Aragón[es],[2] where she was awarded first prize for singing in 1954. She made her concert debut in Madrid in 1955.[3]
But the revival was really distinguished by the presence of Teresa Berganza as Rosina. The Spanish mezzo-soprano had not sung the role with the company before, although she has been a well-known recitalist here, and her way with Rossini's music is much admired. She is certainly the most charming Rosina at the Met since her compatriot Victoria de los Angeles. Like her, she sings the music in the low key, which makes it much more appealing to the ear than the constant chirping of coloratura sopranos one is usually subjected to. Short and dark, if not exactly petite, Miss Berganza is quite enchanting to look at, a pleasant if not volatile actress, and a singer of great style and skill. She lit the stage up whenever she was on it, without making any attempt to do so.[7]
Berganza was a leading singer for a renaissance of Rossini's operas, returning the roles to the original lower register according to critical editions by Alberto Zedda, promoted by conductors such as Claudio Abbado and Charles Mackerras.[2]
Teresa Berganza during a master class in May 2009
Berganza appeared at the 1977 Edinburgh Festival as Bizet's Carmen, conducted by Abbado,[8] regarded as one of her greatest successes on stage, and repeated the role at the Paris Opera.[3][9] She portrayed the character with intelligence, singing the Habanera with the flexibility of a lieder singer, and abrupt changes in timbre and dynamic, seemingly addressing the crowd but meaning one person, in a provokingly light tone demonstrating superiority.[2]
As a recitalist, Berganza made her Carnegie Hall debut in 1964.[10][11] Her concert repertoire includes Spanish, Italian, French, German, and Russian songs. From 1957 to 1977, Berganza was married to the composer and pianist Félix Lavilla, who accompanied her in recitals and recordings.[3][12] The couple had three children, including soprano Cecilia Lavilla Berganza.[3][13] She showcased songs from Spain, from medieval cantigas from the era of Alfonso X of Castile to miniatures by Manuel de Falla and Enrique Granados.[2]
Berganza appeared in nine motion pictures, including Il barbiere di Siviglia in 1972, as Zerlina in Joseph Losey's Don Giovanni in 1979, and both Massenet's Werther and Carmen in 1980.[16][17][18][19]
Teresa Berganza (in Italian and French), 2016, OCLC1004394623
Teresa Berganza (in Italian and Spanish), Decca; Distributed by Universal Music and Video, 2001, OCLC50596731
Berganza, Teresa (2020), Teresa Berganza: essentials (in French, Italian, Latin, and Spanish), OCLC1251412141
La leçon de chant de Teresa Berganza (in French), CLC Productions, 2003, OCLC881548562
Teresa Berganza (in Italian, French, and Latin), London, 1990, OCLC49420257
Teresa Berganza (in Italian), Decca, 1983, OCLC57394368
Teresa Berganza (in Spanish), EMI Classics, 2003, OCLC768119222
Teresa Berganza sings Rossini (in Italian), London: Distributed by Polygram Distribution, 1980, OCLC7419479
Canciones españolas (in Spanish), Deutsche Grammophon, 2007, OCLC181089717
Berganza, Teresa (1960), Teresa Berganza recital (in Italian), Decca, OCLC37838083
Teresa Berganza, mezzo-soprano (in Spanish), Claves, 1984, OCLC718128048
Brava Berganza! (in Spanish, Italian, and Basque), 2018, OCLC1050870656
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↑ Andrews, Jean (1 January 2014). "Teresa Berganza's re-appropriation of Carmen". Journal of Romance Studies. Liverpool University Press. 14 (1). doi:10.3167/jrs.2014.140102. ISSN1473-3536.
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