Evert Jan Nagtegaal on Jessye Norman
Jessye Norman (1945 – 2019)
Berenice, Cleopâtre and Phaedra
As an African American woman who grew up in the segregated American South, Jessye Norman broke through into the world of opera. She was one of the great stars of the 1980s and 1990s before dying in 2019. Although a lyric soprano, she could also tackle alto roles—such was the range of her voice. “Pigeonholes are only comfortable for pigeons,” Jessye Norman would often say. She refused to be confined by the usual categories. She began singing gospel in church at the age of four and later made her breakthrough in the world of opera. She had broad musical tastes, performing not only at the great opera houses but also in concert halls, where she gave song recitals.
This hour features operatic songs, song-like operas—vocal works of all kinds written for the concert hall.
Playlist:
- Joseph Haydn – Scena di Berenice, ‘Berenice, che fai?’ (Hob. XXIVa:10) (Metastasio); Jessye Norman (soprano), Boston Symphony Orchestra, conducted by Seiji Ozawa
- Hector Berlioz – Cléopâtre, H.36, Scène lyrique (Pierre-Ange Vieillard); Jessye Norman (soprano), Boston Symphony Orchestra, conducted by Seiji Ozawa
- Benjamin Britten – Phaedra, Op. 93, Cantata (Jean Racine / translated by Robert Lowell); Jessye Norman (soprano), Boston Symphony Orchestra, conducted by Seiji Ozawa
- Richard Wagner – ‘Steh Stille’ from Wesendonck Lieder, WWV 91 (Mathilde Wesendonck); Jessye Norman (soprano), Berlin Philharmonic, conducted by James Levine
Seji Ozawa
