On days like today, it’s hard to be consistent when writing in the past about someone who continues to cover the present. Someone as great as Teresa Berganza, who enriched her relationship with love, humor and, always, the truth ahead. Love has squandered it in abundance with its own, but also with other characters who seem to elude the confines of someone who tends to be stigmatized in the classical music landscape as an absolute. A testament to her love of family is what happened after the historic recital at the Teatro de la Zarzuela, a prelude to her return to the Coliseum in Madrid in an operatic format: in 1991 with Rinaldo, and a year later in the role of Carmen raising her up. in Opera History That evening, after handing out nine tips to the public to quench Berganza’s thirst, he said goodbye to his traditional sympathy by saying, “I’m leaving because I have to feed my granddaughter dinner.”
Of those who later entered his life, it is impossible to forget the devotion with which he spoke of Luz Casal, which always reciprocated in the same coin. “If you ask Teresa how she feels when she sings Carmen, she will answer:“ I am Carmen, ”the Galician singer once said. Teresa Berganza needed to make herself known in order to take on any project. A few years ago, when I sent him a photograph of the island of Naxos, he replied: “When, like Ariadne, I called Theseus, I imagined Naxos like this.” Teresa was faithful in every way. By protecting Mozart, he was able to resist even the untouchable Karajan. Although if there was a composer with whom he primarily identified himself, then it is undoubtedly Rossini (it is no coincidence that he called his house Rossiniana).
Mezzo-soprano Teresa Berganza.
In connection with this anecdote, the episode remains that he lived with the famous director Charles Mackerras, with whom he worked so much, who after the meeting asked me to convey my love to him. Laughing, Berganza remembered an anecdote that happened at the San Francisco Opera. “After the first rehearsal of Cinderella, he showed me the embellishments he had added to the score and told me to learn them so I could apply them to the next one. I took the notes with me and at the subsequent rehearsal, when the time came, I sang it exactly as I did the first time I played the part. Mackerras stopped the orchestra and, turning to me, asked why I didn’t do what he told me to do. Neither short nor lazy, I answered: “You will not believe, teacher, but tonight Rossini appeared to me and said: Teresa, do not do what Mackerras tells you. You play the role, as always. That’s why I chose you to sing to me.” The musicians in the orchestra burst out laughing, applauding my joke. And he did not get angry, because he was always very rich and very affectionate with me. It was Teresa: loyalty above all else. We will miss her very much.
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