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JERRY HADLEY
TENOR
VIEWER
TRIBUTES
PROFILE
TRIAL
BY FIRE
OPERA
IMAGES
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SUTHERLAND & BONYNGE
DISCOGRAPHY
THE CONQUISTADOR:
INTERVIEW
CREATING
THE ROLE
THE
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OVERVIEW
PLAY/PAUSE
background music
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| *REMEMBERING
JERRY THROUGH HIS MUSIC* |
LISTEN toselected excerpts from his vast repertoire of arias and songs (CLICK on TITLE): |
| OPERA: |
| "Au
fond du temple saint" (with Thomas Hampson) -duet from The Pearl Fishers by Georges Bizet (from the CD "Famous Opera Duets") |
| "Ach,
so fromm, ach, so traut" - from Martha by Friedrich von Flotow (from the CD "The American Opera Singer") |
| "Che
gelida manina" - from La Bohème by Giacomo Puccini (from the CD "Mad About Tenors" |
| "Já
vím, zes Stevu Lúbila" - from Jenufa by Leos Janacek |
| "All
right, I'll sing y' 'Jaybird'" (with Cheryl Studer) and "It's about the way people is made" - from Susannah by Carlisle Floyd |
| "Oh
- There's a star" - from Desire under the Elms by Edward Thomas |
| ORATORIO: |
| "Then
shall the righteous shine forth" - from Elijah by Felix Mendelssohn |
| "I
know that to be thankful..." - from Liverpool Oratorio by Paul McCartney |
| OPERETTA: |
| "It
must be so" and "Make our garden grow" - from Candide by Leonard Bernstein |
| "Komm
in den kleinen Pavilion" - from Die lustige Witwe by Franz Lehar (from the CD "The World Is Beautiful") |
|
"My heart belongs to you" - from The Land of Smiles by Franz Lehar |
| "Täubchen,
das entflattert ist" - from Die Fledermaus by Johann Strauss |
|
"Drink, drink, drink"
(from the CD opera's Greatest Drinking Songs) and "Golden Days" (from the CD Golden Days) - from Student Prince by Sigmund Romberg |
| BROADWAY: |
| "Make
believe " - from Showboat by Jerome Kern |
| "Stranger
in Paradise" - from Kismet by Robert Wright |
| "How
can you tell an American?" (with Thomas Hampson) - from Knickerbocker Holiday by Kurt Weill (from the CD Kurt Weill on Broadway) |
| "All
I ask of you" (with Marilyn Horne) - from Phantom of the Opera by Andrew Lloyd-Weber (from the CD Marilyn Horne: The Men in My Life) |
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| June
16, 1952 - July 18, 2007 Let us remember Jerry Hadley in our prayers. CLICK HERE if you wish to post a TRIBUTE to JERRY HADLEY. |
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Don Luis de Carvajal y de la Cueva, THE CONQUISTADOR - the first role Hadley created on the operatic stage |
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Jerry Hadley was considered the leading American tenor of his generation
and one of the most sought-after singers of our time. A natural singer,
he was widely acclaimed for both his interpretations of the lyrical tenor
roles of the operatic repertory and his "crossover" ventures
into the less rarefied world of Broadway, operetta, and popular music.
Indeed, to him both types of music are equally valid forms of entertainment
and the judgment of whether they are art was not for him to dictate but
for audiences to make. He sung the popular tenor roles of the bel canto repertory (Il Barbiere di Siviglia, L'Elisir d' Amore, AnnaBolena, La Boheme, Lucia di Lamermoor) as well as Mozart's (Cosi fan tutte, Don Giovanni, Die Zauberflote, La Clemenza di Tito ) and the French Romantics' (Les Contes d'Hoffmann, Faust) in operatic performances, on the concert stage and in the recording studio. CLICK HERE to view some images. Jerry Hadley was born and raised in the Midwest of Italian and English parents. He first studied to become a conductor but after four years realized his true calling was singing. His early years as a singer were spent in regional opera houses in the U.S. He then became a stalwart of the New York City Opera after his baptism-by-fire debut as Arturo in Lucia di Lamermoor, an experience happily looked back on as a comedy of errors. ( CLICK HERE to read the account of that memorable evening - be warned though - it's guaranteed to have you in stitches!) But he could not have had a more propitious international debut. In 1982 he made his first European appearance at the Vienna State Opera as Nemorino in Donizetti's L'Elisir d'Amore. The audience loved him, and debuts in the world's other great opera houses soon followed. He became a frequent performer at the Metropolitan Opera in New York, La Scala in Milan, the Royal Opera House at Covent Garden in London, the Deutsche Oper Berlin, the Hamburg State Opera, the Lyric Opera of Chicago, the San Francisco Opera, the San Diego Opera and the Glyndebourne, Aix-en-Provence and Salzburg Festivals. Then, a professionally mature Hadley increasingly took on the more dramatic and complex role of the troubled hero. For example, Tom Rakewell in The Rake's Progress, Stravinsky's most celebrated and only full-length opera, was a role he has made his own. (He sung it for many years, eventually re-creating the role in a new production of the Metropolitan Opera - only its second in over 40 years.) In the 1998-99 season, he sang the tenor role in Weill's The Rise and fall of the City of Mahagonny at the Salzburg Festival. Starting with The Conquistador (which instantly appealed to both his dramatic and musical instincts), he was sought after by composers to create new roles. In the 1999 season, he created for the Metropolitan Opera the role of The Great Gatsby, John Harbison's work based on F. Scott Fitzgerald's novel of the same title. Jerry Hadley worked with the world's great conductors, but felt particularly close to Richard Bonynge (CLICK HERE for remarks excerpted from a FanFaire interview with Hadley)- with whom he made many recordings in the bel canto genre, and the late Leonard Bernstein - who selected him to sing the title role in the great Maestro's operetta Candide. A prolific recording artist, Hadley's discography expanded as his career flourished. He also sang the solo tenor role in Paul McCartney's Liverpool Oratorio. A thoroughly modern man plying an ancient (yet constantly renewing) craft, he was very comfortable with modern media and was able to build on his television credits along with his stage credentials. Following his performance as The Conquistador, FanFaire interviewed Mr. Hadley who very graciously shared his thoughts about the opera as well as other subjects of musical interest. For excerpts, CLICK HERE. Most of the images and informational materials on Mr Hadley were kindly provided by San Diego Opera and UCSD-TV which telecast an interview (available on video) with Mr. Hadley in the Spring of 1997 Music clip is excerpted from "Ach, so fromm, ach, so traut," an aria from the opera MARTHA by Friedrich von Flotow, - sung by Jerry Hadley. Source: Track 14, The American Opera Singer (RCA, 1997). |
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VIEWER TRIBUTES
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