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KATHLEEN FERRIER, an ordinary diva

O mare  bucurie imi face MediciTV care a lansat ieri un documentar despre Kathleen Ferrier in lectura actritei Charlotte Rampling. Inca n-am apucat sa-l inchiriez si sa-l vad dar am certitudinea ca o sa ma bucur de fiecare secunda. N-am aici spatiu sa povestesc cat de tare m-a atins vocea acestei femei, cat de mult mi-a imbogatit experienta cu muzica, cat de tare ma misca de fiecare data cand o ascult. I-am citit biografia, am ascultat integrala inregistrarilor ei (da, e in teancul de importanta zero!) si cu prima ocazie am sa-mi cumpar volumul cu scrisorile ei, publicat in aceasta primavara la Londra. S-au facut multe lucruri si inca se mai fac, dovada acest documentar: in 2012 s-au implinit 100 de ani de la nasterea ei. Despre povestea de viata si nedreptul ei sfarsit la doar 41 de ani puteti citi pe Internet.

Kathleen Ferrier a marcat definitiv publicul, oamenii de muzica, artistii. Despre experienta de a o asculta live sau de a lucra cu ea s-a spus ca a fost unica. Despre mine pot sa spun ca mi-a deschis o lume la care aveam usile ferecate: mi-am petrecut vara ascultand Alto Rhapsody, Das Lied von der Erde (o interpretare care nu cred sa mai fie vreodata egalata), The Dream of Gerontius, Orfeo ed Euridice…

Am sa dau cateva citate din biografia ei – “The life of Kathleen Ferrier 1912 – 1953″ ( autor: Maurice Leonard). Daca inca n-ati facut-o, ascultati Kathleen Ferrier!


“The greatest thing in music in my life has been to know Kathleen Ferrier and Gustav Mahler – in that order.”


“…it was one of the very few times I saw Herbert von Karajan burst into tears, when Kathleen sang the Agnus Dei (Bach, B Minor Mass).”

“But the greatest experience of all was when she stood on the platform in Manchester sending out her message as the contralto soloist in the Messiah. It seems to me now – and did then – that there was a prophet speaking through her singing or some other such super-human person. I can only repeat what we would call in German a Binsen – Warhrheit [truism] which applies to her above all others: there are great singers but very few geniuses whom you recognise after hearing one note – Kathleen was one such genius.”

WALTER LEGGE (producator EMI, ii scrie dupa ce Karajan o invitase sa cante Brangane in “Tristan und Isolde” la Bayreuth):

“I have been further asked by Wieland Wagner and Herbert von Karajan to induce you, to cajole you, to talk you into accepting their invitation. If  necessary, to kidnap you, abduct you, bribe you – as if that where possible – so that you can sing Brangane with them next summer…Ever since Tristan was projected for 1952, it has been our unanimous wish and hope that you should undertake this part, which both vocally and dramatically is perfectly suited to you. Everything that can be done to make the Festival easy and pleasant for you shall be done.”

Autorul despre una dintre ultimele ei inregistrari – (foarte bolnava fiind):

“Screwing her eyes with the pain, and with her back hunched, she dragged herself in front of the microphone. Kathleen sang that song as she had never sung it before. Bruno Walter had tears running down his face but his beat never wavered. The take was an artistical and technical triumph. “That was hard” murmured Kathleen.”

TENNESSEE WILLIAMS, care n-a intalnit-o niciodata, a fost coplesit cand a ascultat pentru prima data o inregistrare cu Kathleen Ferrier. Ulterior i-a dedicat cateva versuri superbe:

“She that comes late to the dance / More wildly, must dance, than the rest / Through the strings of the violins / Are a thousand knives in her breast.

A while there was a voice to cry, / A while there was the hand to touch / And if they did not undestand / It may be that we asked too much.”

Acesta a fost un post de suflet pe care ma tin sa-l scriu de asta vara. As vrea foarte tare sa aud, macar la radio, o emisiune dedicata acestei artiste.

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