Norman Treigle as RevOlin Blitch in Susannah by Carlison Floyd
Norman Treigle, one of the greatest American bass-baritones was born in New Orleans March 6, 1927. In 1953 he joined the New York City Opera, making his debut there in March 1953, as Colline in La Boheme. Three years later, he scored his first great success, in the New York premiere of Floyd’s Susannah, as the Reverend Olin Blitch. In 1958, he made his European debut in this opera, at the Brussels World’s Fair.
In the fall of 1974, he made his Covent Garden debut, in Faust.
Treigle was acclaimed as one of the world’s greatest singing-actors, specialising in roles that evoked villainy and terror. Perhaps his finest roles were in Faust, Carmen, Susannah, Les contes d’Hoffmann and Mefistofele
Mefistofele
There have been several famous performers of the role: Chaliapin, for instance, who made his European debut with it (La Scala, 1901) and his American debut six years later. Or the two great basses from Bulgaria: Boris Christoff and Nikolai Ghiaurov. And yet, none left as much of a mark on the role as Norman Treigle.
The American bass, who died young (he died of an overdose of sleeping pills in 1975, not yet 48 years old), was a star at New York City Opera, and the production of Boito’s opera was created especially for him in the 1960s-’70s – this to exploit his enormous talent.
In 1973 he was also allowed to record the role in the studio under the direction of Julius Rudel, the same maestro who accompanied him at the NYCO . That the two were well matched can be heard right from the first notes of ˜Ave, Signor”, there is no mistaking it. A duet of the singer with his conductor, with the orchestra serving as a natural backdrop, a very rare experience.
˜Son lo spirito che nega”, a devilish Credo (was Boito maybe a little more involved in ‘Otello’ than is now known?), evokes reminiscences of Iago, a human devil from another opera. Treigle does not sing a devil, no; he is a devil, a chilling reincarnation of the evil genius.
Treigle sings “Ecco il monde” recorded live in 1969
For the roles of Faust and Margherita, the then very young but already world-famous singers were engaged: Montserrat Caballe and Plácido Domingo. Caballe’s Margherita is innocence itself, but with the requisite ‘spunk’. A virgin still, yet already a woman of flesh and blood. From her, you believe it, she will have done anything to spend a night with her lover. And in her madness, she moves with her colouratures – pianissimo, pianissimo, and oh so heartbreaking. Domingo’s Faust is still young and naive, he is deluded, but also enjoys it. His love for Margherita is genuine, but just as genuine is his admiration for the beautiful Helen of Troy
Basia con fuoco 