The Art of Elaine Bonazzi
mezzo-soprano
"Best
of 2005" - Soundstage.com
Opera News' "Best of the Year"
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The Art of Elaine Bonazzi
Elaine Bonazzi, mezzo-soprano
From Scherzi Musicali
Messenger's scene from L'Orfeo
Claudio Monteverdi
A Charm of Lullabies, Op. 41
Benjamin Britten
Two Songs, Op. 91
Johannes Brahms
Chansons Madécasses
Maurice Ravel
Ellen Mack, piano; Karen Tuttle, viola
Timothy Day, flute; Stephen Kates, violoncello
BRIDGE 9176
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Bridge is pleased to release this superb vocal recital by the
great mezzo-soprano, Elaine Bonazzi. Recorded at the Peabody
Conservatory in 1985, this studio recording was never released, and is being
issued in a new re-mastering by engineer Adam Abeshouse.
The career of mezzo soprano Elaine Bonazzi has been an
extraordinary one. Called “a fantastically gifted actress and
singer” by The Washington Post, Bonazzi earned a singular reputation for her
vivid and memorable portrayals on the opera stage. As an oratorio and
orchestral soloist, she was one of the leading mezzos of her generation and
was equally at home on the recital and concert stage. Bonazzi made
her debut in Santa Fe in 1958 in the role of Meg Page in Falstaff.
In Santa Fe, over the next 35 years, she sang everything from the title roles
in Carmen, Regina, and The Grand Duchess of Gerolstein,
to important roles in the American premieres of Berg’s Lulu, and
Hindemith’s News of the Day (with Hindemith conducting).
It was at Santa Fe that she began her long association with Igor Stravinsky,
when she played Baba the Turk in The Rake’s Progress in a
production supervised by the composer. She was subsequently chosen by
Stravinsky for a number of premieres, including The Requiem
Canticles, which she recorded, and Le Rossignol at The
Washington Opera, which she also recorded. At New York City Opera,
Bonazzi made her debut in Ned Rorem’s Miss Julie, and she was cast
by Stephen Sondheim as Mrs. Lovett in his Sweeney Todd, and Madame
Armfeldt in A Little Night Music. Other American companies with
which Bonazzi appeared included the Metropolitan Opera at the Forum, and the
companies of Boston, Philadelphia, San Francisco, Baltimore, Pittsburgh,
Cleveland, Houston, Minnesota, Cincinnati, Wolf Trap, Seattle, Dallas,
Houston. In 1985, the year this recording was made, Byron Belt, writing
for Newhouse Newspapers, summed up what composers, audiences, and critics
alike had felt about this unique singer: “Elaine Bonazzi is the rarest
of artists—a superb performer who is admired deeply…as a singer and woman
who is sensitive, gifted and able to communicate music and the meaning of
words as few stars of the stage can achieve so consistently.”
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