Trajan Grosavescu Vídeos
cantante de ópera
Conmemoraciones 2025 (Nacimiento: Trajan Grosavescu)
- tenor
- Imperio austrohúngaro, Rumania
Última actualización
2024-05-06
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Traian Grozăvescu Steiner Caruso Maschera Assad Saba Bern Bizet Romanian National Opera Vienna Volksoper Odeon Staatsoper 1876 1895 1896 1920 1923 1924 1926 1927 1954 1958
Traian Grozăvescu +••.••(...)) was a gifted Austro-Hungarian (later Romanian) tenor whose promising career was cut short by his tragic and untimely death. Born in Lugoj to a choral singer and his wife, Grozăvescu enrolled in law school in Budapest, but soon switched his focus to music. His studies were interrupted by the outbreak of WWI and the aspiring singer found himself at the European front serving as an artillery officer. Grozăvescu was captured as an enemy spy and spent a year in a POW camp. After his release, he made his way to Cluj, where he resumed his studies and began singing in the chorus of the newly formed Romanian National Opera. The tenor’s solo debut with the company occurred on Christmas Day, 1920 as Pinkerton in Madama Butterfly. Grozăvescu spent the next three seasons in Cluj, singing a variety of roles including Cavaradossi in Tosca, Don José in Carmen, the title role in Faust, Canio in Pagliacci and Turiddu in Cavalleria Rusticana. It was the last pair of roles that led to Grozăvescu leaving the National Opera in 1923. When management expected him to sing both roles in the same evening (for the same pay as a single role!), the tenor refused to appear, creating quite a scandal. Although Grozăvescu remained popular with the public in Cluj, he never sang with Romanian National Opera again. After the scandal in Cluj, Grozăvescu travelled to Vienna to pursue further vocal studies with baritone Franz Steiner +••.••(...)). He accepted an offer from the Vienna Volksoper and made his debut there as Canio in Pagliacci on July 10, 1923. In March of the following year, he was engaged by the Vienna Staatsoper, making his debut there as Rodolfo in La Bohème. By now, Grozăvescu was married to Nelly Kövesdy +••.••(...)), daughter of business magnate Teodor Kövesdy. Unfortunately, the tenor’s wife was a manipulative woman who insisted on controlling every aspect of his life. Nelly Grozăvescu was also a jealous woman who frequently accused her husband of extramarital affairs. Grozăvescu eventually realized that the marriage was a mistake but, in order to maintain peace, passively allowed his wife to handle his professional and personal business. When things became intolerable at home, the tenor sought refuge in his work…and in Viennese nightlife. After most performances, Grozăvescu would relieve his stress by eating, drinking and carousing at his favorite cafes. Although this excessive behavior caused the formerly trim and handsome young artist to grow rather portly, he still enjoyed the company of his adoring female fans, giving his wife Nelly even more reason to suspect him of infidelity. In spite of his domestic woes, Grozăvescu built an impressive career and was even hailed as the successor to Caruso. He continued to add roles to his repertoire including Vasco in L’Africaine, Radames in Aïda, Riccardo in Un Ballo in Maschera, Edgardo in Lucia di Lammermoor, Assad in Die Königin von Saba and the title roles in Andrea Chénier, L’Amico Fritz and Ernani. Frequent guest appearances in Bucharest, Salzburg, Bern, Prague, Budapest, Oslo and Berlin helped to establish him as a major star. By late 1926, the tenor had caught the attention of the Met in New York, who offered him a contract for the following season. Tragically, it was not to be. Grozăvescu grew tired of his wife’s suffocating presence and informed her that he wished to travel to New York without her. The two quarreled bitterly, with Nelly again accusing him of infidelity. The tenor sang what would prove to be his final performance, the Duke in Rigoletto, at the Staatsoper on February 14, 1927. The next day, as he was preparing to leave for New York, Nelly pulled a revolver and fired a single bullet into his head, killing him instantly. Traian Grozăvescu was only 31. Despite ample evidence of a premeditated act, Nelly Grozăvescu literally got away with murder. In the sensational trial that followed, the tenor’s widow used the “crime of passion” defense and, with the help of her influential father, was found not guilty. In a career that lasted barely six years, Traian Grozăvescu managed to establish himself as a major European star. Sadly, it was an ill-advised union with a controlling woman (not to mention his antagonizing said woman with his infidelity) that proved to be his downfall. What a tragic and senseless waste of an extraordinary talent. Grozăvescu’s catalogue of recordings, all made in Berlin for the Odeon label in 1924, capture a youthful artist on the brink of an international career that never came to fruition…a sad reminder of what could have been. These recordings showcase a rich lirico-spinto instrument with a fine sense of artistry. In this recording, Grozăvescu sings a German language version ("Hier an dem Herzen treu geborgen") of The Flower Song from Bizet's Carmen.
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Ion Buzea Giuseppe Verdi Bobescu Purcell Britten Naumann Falla Smetana Moore Bernstein Barber Menotti Bartók George Enescu Dam Maria Cebotari Viorica Cortez Stella Roman Björling Viorica Ursuleac Cotrubas Angela Gheorghiu Nicolae Herlea Eduard Tumagian Georgy Vinogradov Ludovic Spiess Piso Virginia Zeani Vasile Moldoveanu Anna Moffo Corelli Freed Bergonzi Valletti Kraus Mario Monaco Alberto Erede Hilde Güden Aldo Protti Gedda Lehár Vienna State Opera 1895 1926 1927 1934 1935 1938 1947 1965 1968 1970 1974 1976 1989 2006
Ion Buzea, Tenor (*1934) Giuseppe Verdi: LA TRAVIATA "Lunge da lei ... De' miei bollenti spiriti" Conducted by Jean Bobescu / Recorded in 1968 My personal opinion: With the term 'opera' we usually associate Italy, France, Germany, Russia or Great Britain (Purcell, Britten). At the best we still think of Sweden (Naumann), Spain (de Falla), Czechia (Smetana, Dvorak, Janácek) or even America (Moore, Gerswhin, Bernstein, Barber, Menotti). Like Hungary (Bartók's BLUEBEARD'S CASTLE), also Romania gave the world only one important opera: George Enescu's OEDIPE; one of the more tolerable musical stage works of the 20th century (recorded in 1989 with José van Dam). Even if Romania has produced only a few opera composers, there was in contrast a whole flock of interesting singers: Maria Cebotari, Viorica Cortez, Stella Roman (Björling's Leonora in a 1947 Met broadcast of TROVATORE), Viorica Ursuleac, Ileana Cotrubas, Angela Gheorghiu and the baritones Nicolae Herlea and Eduard Tumagian - to name a few. A special chapter deals with Romanian tenors. In my essay about Georgy Vinogradov, I pointed out similar characteristics of Russian tenors: Bright, clear and sometimes wiry voices, paired with a strange melancholic wistfulness. Frequently we also find similarities between Romanian tenors. Their voices are as radiant as those of the Russian colleagues, but in general they are more virile and powerful. Five Romanian tenors may serve as a good example: Traian Grozavescu +••.••(...), murdered by his wife), Ludovic Spiess +••.••(...)), Ion Piso (*1926) and his cousin Ion Buzea (*1934 in Cluj), partner of Virginia Zeani in a complete LA TRAVIATA recording. I've already discussed Vasile Moldoveanu (*1935) in this series. Compared to Ion Piso (a tenor of loud and stentorian high notes), the career of Buzea had more profile. While Piso had acceptable successes at the opera houses of Bucharest and Moscow, Buzea sang almost all over the world, including the Vienna State Opera (nine roles between 1968 and 1976), where Piso never appeared. Piso also vanished from the Met in 1965 after only two performances of LUCIA DI LAMMERMOOR with Anna Moffo, while Buzea at least sang there in the 1970/71 season eight roles (Rodolfo, Pinkerton, Cavaradossi, Dick Johnson, Alfredo, Duke, Edgardo, Alvaro). The reviews were good, albeit not euphoric. It was still hard to fight against the shadow of Corelli. Not without reason a critic wrote, at that time some Eastern European tenors served more or less a "Second-hand-Italianità". Ion Buzea was an interesting singer, perhaps the best Romanian tenor. His recordings are the testimony of a solid spinto voice with a metallic top and "squillo", an Italian term for a trumped-like sound. As far as I can see, Buzea is present in only two complete operas on records: The said TRAVIATA and RIGOLETTO (with a superb Nicolae Herlea), both conducted by Jean Bobescu (and not Stelian Olariu, as claimed by the often inaccurate German author Jürgen Kesting). Buzea's Alfredo is straightforward and freed from all flourishes. Refined nuances, as we know them from Bergonzi, Valletti or Kraus, are not to be expected. Of course, TRAVIATA is the soprano's opera, and Virginia Zeani once again shows her sovereignty. With the right vocal "physique du role" she is the definite Violetta. On the other hand, RIGOLETTO stands and falls with the baritone, and Nicolae Herlea, as always, makes the jester a remarkable thing. Ion Buzea's gleaming Duke is a little rough, but far away from Mario del Monaco's violence in the failed Alberto Erede recording with a boring Hilde Güden and a rude Aldo Protti. If you are willing to look away from some slight bumps (not least because of the strong Romanian accent), Ion Buzea might please you. Surely he was not as beguiling as di Stefano, not as polished as Kraus and not as captivating as Corelli, but Buzea was a sincere and natural singer, at least in the field of Italian opera. In French opera he did not master the subtleties of language and technique: In a scene from Auber's FRA DIAVOLO, he simply avoids all delicate voix mixte passages ("Grâce, monseigneur le brigand, je ne suis qu'une pauvre enfant"). In such moments of truth, the difference becomes evident between a good singer (Buzea) and an admirable stylist (Gedda). In 1974, German TV discovered Ion Buzea's vocal and physical exoticism, and cast him as the gypsy Jószi in Lehár's ZIGEUNERLIEBE - a portrayal, that fulfills all stereotypical expectations when you think of Hungary, Puszta romanticism and fiery violin-sounds ...
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): G...