• La Traviata: They were Violetta - the 1980s



    Teresa Stratas


    Violetta is a role that, like few others, requires from the singer a very hard to attain combination of vocal beauty and a rare expressive intensity balancing apparent strength with evident vulnerability. Ms. Stratas was really fantastic on the expressive area. You can watch her and feel you were watching Violetta herself. Regrettably, if you close your eyes and just listen, Violetta suddenly shrinks and is at times on the verge of complete obliteration.

    Un di felice eterea - Stratas with Fritz Wunderlich, 1965

    Amami, Alfredo - Stratas with Placido Domingo, 1982

    Addio del passato - Stratas, 1982




    Edita Gruberova

    Almost like a mirror image of Ms. Stratas, Edita Gruberova was (still is) a peerless vocalist, but her Violetta was missing some depth in the expressive area. Her first act, with an incredible "Sempre Libera" is fantastic, nonetheless, one of the greatest ever. She dropped the role just last year, in 2010. It's widely known that the recorded Gruberova has never been up to the stage artist. In the theater, she grows, and grows a lot. The impact of her voice that seems to be singing just there, floating on air, at your side, even if you are in the fifth floor of a large house, is unforgettable.


    Sempre Libera - Gruberova, 1982

    Amami, Alfredo - Gruberova, with Neil Shicoff, 1992

    Finale - Gruberova with Neil Shicoff and Giorgio Zancanaro, 1992




    Lucia Aliberti

    Another Callas 'clone', but also a fine artist in her own merits. During some years (admittedly, too few), she was also an exciting singer to watch. Her Violetta won't be remembered as one of the best, true, but is a much better one than her black legend will have us to believe.

    Un di felice - Aliberti with Peter Dvorsky, 1989

    E strano...Sempre libera - Aliberti, 1989

    Madamigella Valery - Aliberti with Renato Bruson, 1989


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