Praise for soprano

Press, Volume CXI, Issue 32803, 31 December 1971, Page 5

Praise for soprano

(N.Z.P.A. Staff Correspondent) WASHINGTON, December 28. The New Zealand soprano, Kiri Te Kanawa, scored a “sensation” as the Princess in the recent Covent Garden production of “Figaro,” “Time” magazine says this week.

In a two column review of policies followed by the conductor, Colin Davis, since he took over artistic direction of 'London’s Royal Opera the magazine refers to his intention to draw on a “really good” generation of new British-trained singers. It says that, for example, his production of “The Marriage of Figaro” boasted several comparative youngsters who had never sung important roles at Covent Garden before.

Among them were the tenor, Robert Tear, and “pearly voiced” soprano, Kiri Te Kanawa. “If I find a dozen firstclass singers we shall have what we want,” the magazine quotes Davis as saying. “Then we can stimulate ourselves and our audiences by importing guests. But I don’t want international singers coming in here and fighting with their big voices for big fees.”

“Newsweek” magazine devotes one and a half columns to a review of Miss Te Kanawa’s performance in the opera under the heading “Maori Mozart.”

“Cinderella,” says the story, “strikes again. This time the place was London’s Royal Opera House and Cin-

derella’s real name is Kiri Tel Kanawa. She’s part-Maori, ptdescendant of the fierce! tribes that preceded the white man in New Zealand. And the unlikely role in which Miss Te Kanawa leaped from anonymity of the operatic outback to instant fame was that of the Countess in “The Marriage of Figaro.” Traditionally, the magazine says, the role is sung by a mature soprano with the weight of voice and the experience purchased by time. “But Kiri’s youthful interpretation, beautifully sung and dramatically developed, gave the evergreen Mozart opera a fresh viewpoint. Kiri portrayed not an experienced woman of the world but a

young and naive wife clinging to romantic ideals. Her youth gave a sisterly sheen to her relationship with Susanna and spiced with lust Cherubino’s adoration for her.”

Davis is quoted as saying her debqt was a gamble “but it turned out to be the most satisfying moment of my career.” Referring to the deluge of offers that have since been made to her he says: “We’re going to be very careful about what and how often she sings. We don’t want her caught up in the ‘jet stream.’ She has everything to be an international star. Luckily, she’s a nice girl with her feet i firmly on the ground.”

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