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- <text id=94TT1671>
- <title>
- Nov. 28, 1994: Opera:In the Lap of the Gods
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1994
- Nov. 28, 1994 Star Trek
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- ARTS & MEDIA/OPERA, Page 93
- In the Lap of the Gods
- </hdr>
- <body>
- <p> Welsh bass-baritone Bryn Terfel, at 29, has taken on the world's
- music capitals--and he is selling out the house
- </p>
- <p>By Martha Duffy--With reporting by William Tynan/New York
- </p>
- <p> It may not benefit the art, but the TV age has brought a new
- way to become an opera star fast: get on the box. In 1986 mezzo-soprano
- Cecilia Bartoli jump-started a huge international career by
- singing an aria on an Italian variety show. She was 19. Now
- Welsh bass-baritone Bryn Terfel, 29, is taking the opera world
- by storm. His career, which is only four years old, began when
- he placed second in the Cardiff Singer of the World competition,
- an event in which both the heats and the finals are televised.
- Videocassettes flew around Europe, and the phone began to ring:
- Solti, Abbado, Sinopoli, Muti. Would Mr. Terfel (pronounced
- tair-vel) care to audition?
- </p>
- <p> What the maestros heard was a simply gorgeous voice, well-produced,
- even and lively from top to bottom--what Solti called "one
- of the great talents of the last 10 years." The man was a mountain,
- 6 ft. 3 in., broad-shouldered, barrel-chested, with a clear,
- open brow and merry eyes. He had easy poise and generous presence
- onstage. His calendar filled up fast (he now has no openings
- until 1998).
- </p>
- <p> Wagner singers of any sort being rare treasures, impresarios
- tried to persuade him to take mighty roles. If he wanted to,
- he could be singing Wotan in the Ring cycle all over the world.
- But Terfel has another quality: intelligence. He aims to conserve
- his voice for a long career, so for now it is Figaro and Leporello
- and a few comparably medium-weight roles. He also loves to sing
- lieder and other nonoperatic works. Conductor Claudio Abbado
- remembers the "beautiful vocal subtlety and understanding" that
- he brought to their recording of Schumann's difficult Faust.
- </p>
- <p> Terfel likes to say that as a singer "you are in the lap of
- the gods." He believes they gave him a perfect upbringing, in
- the shelter of a small North Wales village near Snowdonia. His
- family are farmers; his first language is Welsh. Not for nothing
- is Wales called "the land of song." There, singing is not a
- self-conscious act but a community expression. Eisteddfods,
- or local song contests, flourish even in hamlets. Young Bryn
- won a long string of them and used the modest prize money to
- buy soccer shoes.
- </p>
- <p> Bryn was a busy kid. "I was quite a little taxi for him," recalls
- his mother Nesta Jones. (Terfel is Bryn's middle name; another
- singer uses the name Bryn Jones.) What he learned at the eisteddfods
- was stage presence: "When I went to college I was streets ahead
- of others because I was used to facing the public." At London's
- Guildhall School of Music and Drama, he was awarded a scholarship.
- It was then, Nesta Jones says, "that we thought he had something
- special."
- </p>
- <p> When Terfel emerged five years later, newly married to his childhood
- sweetheart and with a contract from the Welsh National Opera,
- he bought a house in Cardiff, thinking that he and his wife
- Lesley would spend their life there. But the house is already
- sold, and the Terfels now live in London--that is, when they
- are not on the road. They always travel together, joined as
- of four months ago by baby Tomos.
- </p>
- <p> Whatever the alchemy that makes a star of a fine singer, Terfel
- has it. All his Metropolitan Opera performances this fall in
- the title role of The Marriage of Figaro and as Leporello in
- Don Giovanni "went clean"--theatrical slang for sold out--before the first curtain went up, and there were scuffles in
- the line for tickets to his New York City lieder recital last
- month. Onstage his presence is riveting. Both Figaro and Leporello
- are servants, but there is no trace of the oaf or the buffoon
- in Terfel's portrayals. In both parts he can be physically threatening.
- In Don Giovanni he is a formidable enforcer of the Don's will,
- grabbing the young husband Masetto and spinning him into vertigo.
- With the equally tall James Morris singing the Don, the stage
- becomes electric, and Franco Zeffirelli's bland 1990 production
- a hair-raising drama of licentiousness and revenge.
- </p>
- <p> Directors love working with Terfel. Luc Bondy, who directed
- him as Jochanaan in an acclaimed Salome in Salzburg two years
- ago, recalls, "Our first meeting was funny. He was so young
- and so big. I thought, `This big, big baby could be my son."'
- Bondy learned that Terfel "is not a guy who is pretentious and
- insists on his own way." On Terfel's wish list are parts like
- Falstaff, Nick Shadow in The Rake's Progress and Escamillo in
- Carmen. His first Wagner, probably at the Met, will be the comparatively
- light role of Wolfram in Tannhauser, with its lyrical ode to
- the evening star--cat's cream to a baritone with Terfel's
- plush tone.
- </p>
- <p> His worldly ambitions are few. "I'm too big to fit into a Porsche,"
- he muses. He'd like a snooker table. Oh, and a house in North
- Wales, "so I can fly home like a bird." The greatest satisfaction
- his financial success has brought him is helping his father
- buy the family farm. "They nurtured my talent when I didn't
- even know it," he says of his parents. "I was gently placed
- into this tradition." Here is a man who just may survive the
- scourge of celebrity.
- </p>
- </body>
- </article>
- </text>
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