While Kiri Te Kanawa was still preparing for that career-defining debut as the Countess in Le nozze di Figaro, she made her first Mozart disc under Colin Davis: a collection of sacred music, including the Solemn Vespers, KV 339, with its serene setting of ‘Laudate Dominum’, and Exsultate, jubilate. The Countess became the singer’s calling-card, and she repeated the role immediately in San Francisco and at Glyndebourne. The thwarted Donna Elvira in Don Giovanni followed, again under Davis at Covent Garden, before Kiri took her Countess to the Met in New York in February 1976, and sang her first Fiordiligi in Paris, in a production by Jean-Pierre Ponnelle. The Paris Opera was also the location of Kiri’s debut as Pamina in Die Zauberflöte in 1977. Her leap into superstardom came when she sang at the wedding of Prince Charles and Diana in July 1981…
Original arrangements of Gershwin tunes are rare these days, but that's what you'll hear in this album by Kiri Te Kanawa. Granted, the arrangements sound somewhat dated according to 21st century tastes, but that's what makes them fascinating. These were like nothing anyone else was writing when the George and Ira first brought them to life. Kiri uses a different, somewhat breathier voice than you might be used to on her classical albums, probably not the type of voice Gershwin had in mind, but I think it generally works pretty well.By Dennis Brightwell
Dame Kiri Janette Te Kanawa ONZ DBE AC (born 6 March 1944) is a New Zealand/Māori soprano who has had a highly successful international opera career since 1968. Acclaimed as one of the most beloved sopranos in both the United States and Britain she possesses a warm full lyric soprano voice, singing a wide array of works in multiple languages from the 17th to the 20th centuries. She is particularly associated with the works of Mozart, Strauss, Verdi, Handel and Puccini…
Dame Kiri Te Kanawa's magnificent soprano breathes a fresh spirit into operatic favorites by Mozart, Puccini and Wagner in this collection of arias and other songs. Per Piate, Ben Mio, O Mio Bambino Caro and Vissi D'Arte are joined by Gustav Holst's In the Bleak Midwinter and the pop classic "The Windmills of Your Mind," among others. A diverse and exciting collection from one of the finest voices of our age.
The operetta Die Fledermaus is Johann Strauss' most brilliant and best-known stage work. It's a glittering comedy packed with Viennese music that has become a firm favourite in opera houses all over the world. A top international cast really have a ball in this highly-acclaimed 1984 New Year's Eve performance from the Royal Opera House, Covent Garden, in which Placido Domingo makes a very stylish British conducting debut. Kiri Te Kanawa stars with her celebrated performance as Rosalinde, and the charismatic Austrian baritone Hermann Prey is Eisenstein, one of his trademark roles. The cast also includes Benjamin Luxon as Dr Falke and Hildegarde Heichele as Adele. The magnificent stage designs by Julia Trevelyan Oman recreate all the style and opulence of Viennese society in its golden period before the First World War. This production also features some very surprising celebrity guests at Prince Orlofsky's special gala performance party including comedians Hinge and Bracket, French singer Charles Aznavour and Merle Park and Wayne Eagling in Sir Frederick Ashton's specially choreographed pas de deux.
The discography of Strauss’s last opera is not exactly crowded, but the two existing accounts provide formidable competition for any newcomer. First there was Sawallisch, conducting the Philharmonia for EMI in 1957 (unfortunately in mono) and a cast led by Schwarzkopf, Ludwig and Fischer-Dieskau. Then, in 1971, came that other supreme Straussian, Karl Böhm, with Janowitz, Troyanos and (again) Fischer-Dieskau, recorded in Munich for DG. The new Decca set brings together many of today’s leading exponents of Strauss’s roles, dominated, for me, by the unsurpassed Clairon of Brigitte Fassbaender, now alas, never to be heard on stage again following her retirement. Heilmann and Bär make an ardent pair of rival suitors, Hagegård an admirable Count and Halem a sonorous, characterful La Roche. (There is a delightful link with the past history of the opera in the person of Hans Hotter: he sang Olivier in the 1942 premiere, La Roche in the 1957 Sawallisch set, and here, at 84 when recorded in December 1993, a one-line cameo as a servant.) For many, though, the set’s desirability will rest on Te Kanawa’s Countess.
This famous production of Manon Lescaut from The Royal Opera, recorded in 1983, features two of the biggest stars in opera, Placido Domingo and Kiri Te Kanawa, in their vocal prime. Placido Domingo’s performance of Des Grieux is considered to be unsurpassed. Conductor Guiseppe Sinopoli made his British operatic debut with this production. Puccini’s first masterpiece was rapturously received on its first night. It has his hallmark sensuality and also a youthful freshness, its untamed outpouring of melody just as passionate as his more famous operas, La Boheme, Tosca and Madame Butterfly. The role of Des Grieux is one of the most taxing in the tenor repertoire and Domingo’s passionate portrayal is one of his greatest achievements.
Sir Georg Solti conducts an outstanding cast - led by Kiri Te Kanawa in one of her most celebrated stage roles - in Elijah Moshinsky's acclaimed production from the Royal Opera House, Covent Garden. Michael Yeargan's designs beautifully evoke fourteenth-century Genoa - the setting for one of Verdi's most heartfelt operas of public and private passion.
A dream team had been assembled at London’s Royal Opera House for this 1992 performance of Verdi’s Otello. Placido Domingo, uninhibited in the use of his vast vocal power, was the commanding Otello; Kiri Te Kanawa a more sturdy Desdemona than the fragile female often portrayed, while Sergei Leiferkus’s Iago is totally convincing by avoiding those sneering gestures that are too often seen. In the pit was Georg Solti whipping the orchestra into a fury as the opening storm is unleashed, but later on can show some impatience in his choice of tempos. The production was, in the best use of the term, ‘traditional’ and came from Elijah Moshinsky, his set designer, Timothy O’Brian, creating a massive edifice that has to serve all of four acts, leaving the final bedroom scene working in an area that is too large.
Capriccio is somewhat unique in the opera repertoire. this "conversation piece for music in one act" was written in 1942 during Strauss' later years and concerns an intellectual discussion at a soiree about whether words or music are the most important in opera, thus an opera itself. Strauss himself feared that the public at large would not know how to take this "treat for cultural connoisseurs" - but he was wrong. His theatrical "thatrical fugue" was to become one of the most frequently performed of his late works. This production provides a wonderful showcase for the inimitable Kiri Te Kanawa, a Strauss specialist, who sparkles her way through the role of the humoured and charming contess torn between two suitors.