Tatiana Troyanos (September 12, 1938 – August 21, 1993) was an American operatic mezzo-soprano remembered as "one of the defining singers of her generation".Dyer, Richard. Tatiana Troyanos obituary. "Busy Time for Williams." The Boston Globe, August 27, 1993. Her voice, "a paradoxical voice — larger than life yet intensely human, brilliant yet warm, lyric yet dramatic" — "was the kind you recognize after one bar, and never forget", wrote Cori Ellison in Opera News.Ellison, Cori. "Tatiana Troyanos: 1938-1993", Opera News, vol. 58, no. 5, November 1993.
Troyanos' performances "covered the full range of operatic history"Kozinn, Allan. "Tatiana Troyanos Is Dead at 54; Mezzo Star of Diverse Repertory", The New York Times, August 23, 1993, accessed June 18, 2009. in an international career of three decades that also produced a variety of operatic recordings, among them Carmen (co-starring Plácido Domingo and conducted by Georg Solti), cited almost four decades later as "the finest of all Carmens."Inverne, James. "Classicalite's Five Best: 'Carmen' Recordings". Classicalite, July 17, 2013, accessed August 11, 2016. After ten years based at the Hamburg State Opera, Troyanos became widely known for her work with the Metropolitan Opera beginning in 1976, with over 270 performances (several dozen of them broadcast or televised) spanning twenty-two major roles.
Early life Born in New York City, Troyanos spent her earliest days in the Manhattan neighborhood where Lincoln Center, the new home of the Metropolitan Opera, would arise a quarter century later. She grew up in Forest Hills, Queens, and attended Forest Hills High School. Her early childhood was clouded by a deep sense of abandonment; her parents, operatic hopefuls who, she said, "had beautiful voices"Jacobson, Robert. "Getting It Together." Opera News, vol. 47, no. 3, September 1982.—her father, born on the Greek island of Cephalonia, was a tenor, and her mother, from Stuttgart, was a coloratura soprano — had separated when she was an infant and later divorced, "ill-matched to each other and ill-suited to parenthood".Myers, Eric. "Fever Pitch". Opera News, vol. 65, no. 5, November 2002.
She was looked after by Greek relatives and lived for around a decade at the Brooklyn Home for Children, which had relocated to Forest Hills. She said of her childhood, "My past is hard to overcome." She described the children's home itself as "bleak but marvelous". It was there that her life in music began. She studied piano for seven years, first at the home, where her instructor was Metropolitan Opera bassoonist Louis Pietrini, who had volunteered to teach the children a variety of instruments — initially teaching them solfège, which Troyanos later called "the basis of my musical education"Matheopoulos, Helena. Diva: Great Sopranos and Mezzos Discuss Their Art. Boston: Northeastern University Press, 1991, p. 292. — and her studies continued, on scholarship, at the Brooklyn Music School. In several interviews she recalled early expectations of becoming a concert pianist. "Determined since childhood", by other accounts, "to become an opera singer,"Oliver, Myrna. "Tatiana Troyanos: Versatile Mezzo-Soprano". Los Angeles Times, August 24, 1993. she sang in school choirs and New York's All City High School Chorus; when she was sixteen, a teacher heard her voice in the chorus and took time "to find out who the voice belonged to ... and got me to the Juilliard Preparatory School and my first voice teacher".
In her late teens, she moved to the Girls' Service League in Manhattan and later to a co-ed boarding house not far from the old Met, which she frequently attended as a standee. She was employed as a secretary to the director of publicity at Random House, and performed in choruses, ranging from church choirs (with a scholarship at the First Presbyterian Church) to musical theater; "Tatiana Troyanos, almost hidden in the chorus, came soaring through with a pellucid and magnificent quality of tone as the Arab Singing Girl," proclaimed Kevin Kelly of The Boston Globe in his review of a summer stock production of Fanny in September 1958.Kelly, Kevin. "Fish Nets and Mussels: 'Fanny' at Carousel", Boston Globe, September 2, 1958.
Continuing at the Juilliard School, Troyanos was chosen as a soloist for Bach's St. John Passion in 1959"Tatiana Troyanos", biography in New York Philharmonic Digital Archives, 1967. and for the Verdi Requiem in 1962,"Juilliard School of Music presents The Verdi Requiem", The Juilliard Review, vol. IX, no. 1, Winter 1961-2, p. 16, accessed July 19, 2016. by which time she had begun vocal studies with Hans Heinz, who "understood my voice and helped me open it up at the top ... and gradually I found all my top notes." She described Heinz, with whom she continued to study after her graduation in 1963, as "the major influence in my life ... Our work together built the foundation that was so essential to my career."Speck, Gregory. "Troyanos Talks: A World-Class Prima Donna Discusses Opera Today" , The World and I, June 1987; accessed August 24, 2012.
Operatic career: 1963–93 New York City Opera and Hamburg years After a long run in the nuns' chorus in the original Broadway production of The Sound of Music,Troyanos is also credited in the ensemble on the original cast recording. Her exact tenure in the show has been variously reported, but a Playbill for the Mark Hellinger Theater dated January 7, 1963 shows her still in the cast at that time. Troyanos was engaged by the New York City Opera and made her professional operatic debut in April 1963, on the first night of the spring season, as Hippolyta in the New York premiere production of Britten's A Midsummer Night's Dream. She sang Jocasta in Stravinsky's Oedipus rex that season, Marina in the company's first production of Mussorgsky's Boris Godunov the following year, and various other roles through 1965.Sokol, Martin L. The New York City Opera: An American Adventure. New York: Macmillan, 1981. These years also saw performances of Dorabella in Così fan tutte at the Aspen Music Festival, Carmen at the Kentucky Opera,Kleber, John T., ed. The Encyclopedia of Louisville. University Press of Kentucky, 2015, p. 103, accessed July 26, 2016. the contralto roles in Iolanthe and The Yeomen of the Guard at the Boston Arts Festival,O'Neill, Paul. "A Memory of Early Tatiana Troyanos", Opera-L, Part One and Part Two , accessed June 30, 2016. as well as Herodias in Salome with the Toronto Symphony.Kraglund, John. "Music: Salome Performance Good, but Cut Short." The Globe and Mail, Toronto, March 18, 1964.
Offered a Metropolitan Opera contract with limited stage opportunities, but choosing a path also taken by other American singers at the time, she left in the summer of 1965 in quest of more intensive performing experience in Europe, where, having auditioned successfully for three companies, she was to make the Hamburg State Opera, led by the nurturing Rolf Liebermann, her home base for the next decade, first as a member of its renowned ensemble and later as a guest artist. "It made sense to go to Germany," she recalled. "I found an intendant [Liebermann] ... who encouraged me and who knew how to further my career slowly. That was really what I wanted. I wanted to be in the theater every day, learning roles slowly, not quickly, and certainly not under any kind of pressure. That's really what I got."Chute, James. "Opera Star Troyanos Happy to Find a Home at the Met", The Milwaukee Journal, January 15, 1984; accessed October 25, 2013. Her first parts there included Lola in Cavalleria rusticana and Preziosilla in the premiere of a new production of La forza del destino, and by year's end she was singing Carmen, a key role she would later bring to Geneva, London, and the Metropolitan Opera spring tour. Eventually at Hamburg she would sing, in her words, "just about every mezzo role around."
But it was the Aix-en-Provence Festival in 1966 (for which Liebermann himself had recommended her) that saw her breakthrough performance in Richard Strauss's Ariadne auf Naxos (to the Ariadne of Régine Crespin). In her role debut as the Composer, wrote Elizabeth Forbes, "she made a heart-breaking—and heart-broken—adolescent, whose voice, in Strauss's great paean to the power of music, soared into the warm, Provencal night and seemed to hang there like the stars of a rocket."Forbes, Elizabeth. "Obituary: Tatiana Troyanos". The Independent, August 26, 1993; accessed November 23, 2012.
That performance, followed by her first Octavian in Strauss's Der Rosenkavalier at London's Covent Garden in 1968 (to the Marschallin of Lisa Della Casa), effectively initiated her international career—although, said Liebermann, "she returned to Hamburg unspoiled" after her triumph at Aix and "'took up her modest engagements as if nothing had happened.'"Soria, Dorle J. "Musician of the Month: Tatiana Troyanos", High Fidelity & Musical America, vol. 27, no. 6, June 1977, p. MA-6. The early success at Aix was caught by French television and a kinescope has been preserved.Regine Crespin discography at Discogs, accessed March 14, 2017.
"Troyanos has a sumptuous voice, a very sharp intelligence, enormous ambition, and do-or-die determination to be a great artist," observed British record producer Walter Legge,Schwarzkopf, Elisabeth. On and Off the Record: A Memoir of Walter Legge. London: Faber, 1982, p. 81. whose laurels included many of Maria Callas's classic recordings. Troyanos concurred, "I have this do-or-die determination, probably to overcome past insecurities, difficulties, fears ... certain things never go away. There are things within me that I live with and channel into exciting performances." A 1967 Hamburg Opera tour first brought her to the stage of the Metropolitan Opera's new home at Lincoln Center in a selection of twentieth-century repertory including Stravinsky's The Rake's Progress, in which she "especially excelled with her rich voice" as Baba the Turk.Kirby, Fred. "'Maler,' 'Progress' OK, 'Visitation' Is Wanting". Billboard, July 15, 1967, p. 42, accessed May 9, 2013.
Her appearance as Handel's Ariodante opposite Beverly Sills in the opening week of the Kennedy Center in 1971 (under the baton of Julius Rudel, who had originally brought her to the New York City Opera) served to reintroduce her to American opera audiences. There followed debuts at the Lyric Opera of Chicago (as Charlotte in Massenet's Werther, 1971), Dallas Opera (Dido in Purcell's Dido and Aeneas, 1972), Opera Company of Boston (Romeo in Bellini's I Capuleti e i Montecchi, 1975), and notably at San Francisco Opera (Poppea in Monteverdi's L'incoronazione di Poppea, 1975—about which Chronicle reviewer Robert Commanday wrote, "The means by which Poppea seduces Nero ... could liquefy even stone the way the sensational new mezzo soprano Tatiana Troyanos sang").Quoted in Robert Wilder Blue, "Remembering Tatiana Troyanos", page 2; accessed September 22, 2012.
The Metropolitan Opera years