Shirley Verrett (1931-2010) - II

(Shirley Verret em Os Troianos, Met - 1973)

Shirley Verrett foi uma extraordinária intérprete lírica, que marcou o mundo operático com soberbas incarnações, ora no registo mezzo – Dalila, Carmen, Eboli, Amneris, Adalgisa -, ora no registo soprano – Norma, Tosca, Lady Macbeth e Aïda. À semelhança de Bumbry – outra black Diva -, sua rival assumida, Verrett enveredou pelo mundo soprano numa fase de plenitude.

Era, essencialmente, uma cantora drammatica di agilità, com meios poderosos. Ousou o belcanto, com alguns êxitos – Donizetti e Bellini. Possuía uma volume assinalável e uma capacidade interpretativa notável, que enobrecia as suas interpretações.

Mezzo ou soprano, who cares? Brilhava, tout court!

Pessoalmente, entrou-me no coração via Verdi, compondo uma Lady Macbeth absolutamente magistral, apenas ladeada pela Callas, como referi.

«Shirley Verrett, the vocally lustrous and dramatically compelling American opera singer who began as a mezzo-soprano and went on to sing soprano roles to international acclaim, died Friday morning at her home in Ann Arbor, Mich. She was 79.

The cause was heart failure after several months of illness, said her daughter, Francesca LoMonaco.

In her prime years Ms. Verrett was a remarkably complete and distinctive operatic artist. She had a plush, rich and powerful voice, thorough musicianship, insightful dramatic skills, charisma and beauty. If she never quite reached mythic status, she came close.

After singing the soprano role of Lady Macbeth in a landmark 1975 production of Verdi’s “Macbeth” at La Scala in Milan, demanding Milanese critics and impassioned Italian opera fans called her La Nera Callas (the Black Callas) and flocked to her every performance.

Her Lady Macbeth is preserved on a classic 1976 Deutsche Grammophon recording, conducted by Claudio Abbado. And in the early 1980s, she was so popular in Paris that she lived there with her family for three years.

In the early days, like black artists before her, she experienced racial prejudice, as she recounts in her memoir, “I Never Walked Alone.” In 1959 the conductor Leopold Stokowski hired her to sing the Wood Dove in a performance of Schoenberg’s “Gurrelieder” with the Houston Symphony, but the orchestra’s board would not allow a black soloist to appear. To make amends, a shaken Stokowski took Ms. Verrett to the Philadelphia Orchestra for a performance of Falla’s “Amor Brujo,” which led to a fine recording.

By her own admission, Ms. Verrett’s singing was inconsistent. Even some admiring critics thought that she made a mistake by singing soprano repertory after establishing herself as one of the premiere mezzo-sopranos of her generation, riveting as Bizet’s Carmen and Saint-Saëns’s Delila. A contingent of vocal buffs thought that her voice developed breaks and separated into distinct registers.

To Ms. Verrett the problem was not the nature of her voice but health issues. During the peak years she suffered from allergies to mold spores that could clog her bronchial tubes. She could not predict when her allergies would erupt. In 1976, just six weeks after singing Adalgisa in Bellini’s “Norma” at the Metropolitan Opera (a role traditionally performed by mezzo-sopranos), she sang the daunting soprano title role on tour with the Met, including a performance in Boston that earned a frenzied ovation. In his Boston Globe review, the critic Richard Dyer wrote that “what Verrett did added her Norma to that select company of contemporary performances that have enlarged the dimensions of operatic legend.”

Yet, in 1979, when New Yorkers finally had the chance to hear Ms. Verrett’s Norma at the Met, her allergies acted up and undermined her singing, as Ms. Verrett recalled in her memoir. Among her 126 performances with the Met, however, were many triumphs.

In 1973, when the company opened its historic production of Berlioz’s “Troyens,” starring Jon Vickers as Aeneas, Ms. Verrett sang not only the role of Cassandra in Part I of this epic opera, but also Dido in Part II, taking the place of the mezzo-soprano Christa Ludwig, who had withdrawn because of an illness, a tour de force that entered Met annals.

In his New York magazine review the critic Alan Rich wrote that Ms. Verrett was “glorious to behold, and her luscious, pliant voice is at this moment in prime estate.” And in the Met’s 1978-79 season Ms. Verrett sang Tosca to Luciano Pavarotti’s Cavaradossi in a production of Puccini’s “Tosca” that was broadcast live on public television, which is available on a Decca DVD.

At her best, Ms. Verrett could sing with both mellow richness and chilling power. Her full-voiced top notes easily cut through the orchestral outbursts in Verdi’s “Aida.” Yet as Lady Macbeth, during the “Sleepwalking Scene,” she could end the character’s haunting music with an ethereal final phrase capped by soft, shimmering high D-flat.

Shirley Verrett was born on May 31, 1931, in New Orleans, one of five children. Her parents were strict Seventh-day Adventists. Her father, who ran a construction company and moved the family to Los Angeles when Ms. Verrett was a young girl, was a decent man, Ms. Verrett recalled in her book, though he routinely punished his children by strapping them on the legs.

Her parents encouraged Ms. Verrett’s talent, but wanted her to pursue a concert career in the mold of Marian Anderson. They disapproved of opera. When they made their first trip to Europe in 1962 to hear their daughter sing the title role in “Carmen” at the Spoleto Festival, they “got down on their knees and prayed for forgiveness,” Ms. Verrett wrote.

In 1951, she married James Carter, who was 14 years her senior and proved a controlling and abusive husband. Ms. Verrett left that impulsive marriage when she discovered a gun under her husband’s pillow. During the first years of her career she was known as Shirley Verrett-Carter.

In 1963 she married Lou LoMonaco, an artist, who survives her, along with her daughter, who was adopted, and a granddaughter.

Her happy marriage came two years after she won the Metropolitan Opera National Council Auditions, having studied at the Juilliard School. Carmen was the role of her 1968 Met debut. Other important roles with the Met included Azucena from Verdi’s “Trovatore,” Eboli from Verdi’s “Don Carlo” and Leonora in Donizetti’s “Favorita” in 1978, a new production mounted for Ms. Verrett and Pavarotti.

During the late 1970s and 1980s, Ms. Verrett had a close association with Sarah Caldwell, the conductor and stage director who ran the Opera Company of Boston, winning devoted fans among Boston opera buffs for her Aida, Norma, Tosca and other roles.

In 1981, in what was then a bold act of colorblind casting, Ms. Caldwell had Ms. Verrett sing Desdemona in Verdi’s “Otello,” opposite the tenor James McCracken in the title role. Ms. Verrett’s skin color was only somewhat lightened to portray Desdemona. The intensity and vulnerability of her singing cut to the core of the character of the winsome, naïve Desdemona.

Ms. Verrett also sustained a lively rivalry with another black mezzo-soprano-turned-soprano, Grace Bumbry. In later years, she was a professor of voice at the University of Michigan.

In 1994, about to turn 63 and with opera well behind her, Ms. Verrett made her Broadway debut as Nettie Fowler in the Tony Award-winning production of Rodgers and Hammerstein’s “Carousel” at Lincoln Center. Nettie’s defining moment comes when she sings “You’ll Never Walk Alone,” which Ms. Verrett adapted for the title of her memoir.»