Opera for Lovers

by Kiri Te Kanawa, Conrad Wilson

Book by Kanawa, Kiri Te, Wilson, Conrad

Genres: Music

288 pages, Hardcover

First published November 14, 1996

About the author

Te Kanawa was born Claire Mary Teresa Rawstron in Gisborne, New Zealand, to Māori butcher Tieki "Jack" Wawatai and to Mary Noeleen Rawstron, who was the daughter of Irish emigrants. Wawatai was already married. Mary Noeleen Rawstron's mother insisted the baby be given up for adoption.Te Kawana was adopted as an infant by Thomas Te Kanawa, the owner of a successful trucking business, and his wife Nell.

She was educated at St Mary's College, Auckland, and formally trained in operatic singing by Sister Mary Leo Niccol. Te Kanawa began her singing career as a mezzo-soprano but developed into a soprano.Her recording of the "Nuns' Chorus" from the Strauss operetta Casanova was the first gold record produced in New Zealand.

Te Kanawa met Desmond Park on a blind date in London in August 1967, and they married six weeks later at St Patrick's Cathedral, Auckland. They adopted two children, Antonia (born 1976) and Thomas (born 1979). The couple divorced in 1997.

In 1966, without an audition, she enrolled at the London Opera Centre to study under Vera Rózsa and James Robertson, who reputedly said Te Kanawa lacked a singing technique when she arrived at the school but had a gift for captivating audiences. She first appeared on stage as the Second Lady in Mozart's The Magic Flute, as well as in performances of Purcell's Dido and Aeneas in December 1968 at the Sadler's Wells Theatre. She also sang the title role in Donizetti's Anna Bolena. In 1969, she sang Elena in Rossini's La donna del lago at the Camden Festival, and was also offered the role of the Countess in The Marriage of Figaro after an audition of which the conductor, Colin Davis, said, "I couldn't believe my ears. I've taken thousands of auditions, but it was such a fantastically beautiful voice." Praise for her Idamante in Mozart's Idomeneo led to an offer of a three-year contract as junior principal at the Royal Opera House Covent Garden, where she made her debut as Xenia in Boris Godunov and a Flower Maiden in Parsifal in 1970.[ Under director John Copley, Te Kanawa was carefully groomed for the role of the Countess for a December 1971 opening.

Meanwhile, word of her success had reached John Crosby at the Santa Fe Opera, a summer opera festival in New Mexico then about to begin its 15th season. He cast her as the Countess in The Marriage of Figaro, which opened on 30 July 1971. The performance also featured Frederica von Stade in her debut as Cherubino. "It was two of the newcomers who left the audience dazzled: Frederica von Stade as Cherubino and Te Kanawa as the Countess. Everyone knew at once that these were brilliant finds. History has confirmed that first impression."

A long & distinguished musical career followed.

Dame Kiri retired from public performance in 2017.

other than the date of Dame kiri's retirement, this was abridged from Wikipedia.

Reviews

[Carol, She's so Novel ꧁꧂ · Rating 5 out of 5]

I found this book fascinating.

The ghost writer (Conrad Wilson) used a light hand & Te Kanawa's voice shone through.

Dame Kiri touches on her family life. She absolutely adored the father who adopted her - who also adored her! She also loved her adopted mother but found her a bit needy! (wanting letters from her daughter - the nerve!) She was divorced a year after this book was written, so this as well as her obvious belief that her personal life was her own business, explains the brief writing about a husband she had obviously loved very much. While grateful for Dame Mary Leo's fostering of her musical talent she also is candid that this was at the expense of her education as she was often removed from class at St Mary's College in Auckland.

It is her reflections on the Operas she excelled in & why she chose them that was so interesting as also her reflections on what may seem like more trivial matters like how costumes can impede a singers ability to move around the stage. Her praise of often lavish, her criticisms generally "of a ... who shall remain nameless."

She recounts an episode of what would now be considered sexual harassment by an unnamed male singer while they were on stagewith annoyance but doesn't dwell on it.

She writes at far more length about the operas she is associated with, conductors she admired, the pros & cons of appearing at various opera houses. & her grateful thanks to Convent Garden for giving her her start.

A very strong woman who has succeeded because of a strong work ethic (which she freely admits did not come naturally to her) and a truly beautiful voice and presence.

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[Mike · Rating 3 out of 5]

The text is strangely stilted, as though te Kanawa was speaking English as a second language, and the material that's covered is often repeated in different sections, such as her love of Solti as a conductor, and her enjoyment in playing Donna Alivira in Don Giovanni. In spite of that there's some interesting snippets of information - the Paris Opera house having two stages, one behind the other; the Sydney Opera House being wonderfully designed outside but not inside - and a few views of other artists that are mostly positive. The photographs are wonderful but they don't seem to relate to the text in any particular way, and in one case there are descriptions that don't match up. All in all, it's the kind of coffee table book that you wouldn't actually read - otherwise, I'd think, more care would have been taken over the words.

[Kaitlyn Townsend · Rating 3 out of 5]

3.5 stars. A little dry. Te Kanawa had some killer quotes, but on the whole, I was expecting more of an “tell-all” approach like Fleming or Norman’s biographies, but this felt more removed.