Edita GruberováGuest of the Opera
Edita Gruberová is celebrated by the press as „prima donna assoluta, coloratura phenomenon, Queen of the bel canto“. She hails from Bratislava, where she debuted at the Slovak National Theatre as Rosina in Il barbiere di Siviglia in 1968. In 1970 she was hired by the Vienna State Opera, where she debuted as the Queen of the Night in Die Zauberflöte, which was followed by the roles of Olympia, Antonia and Giulietta in Les contes d´Hoffmann.The political situation in Czechoslovakia made it increasingly more difficult for her to travel outside the country, and so she decided to emigrate in 1971 and re-settled in Vienna. Edita Gruberová’s big break came with the role of Zerbinetta in Ariadne auf Naxos and, in particular, after her meeting with conductor Karl Böhm and singing teacher Ruthild Boesch, both of whom played a decisive role in her future professional career. It was also as Zerbinetta that she subsequently succeeded in breaking through the time´s political barriers. In April 1979, Prague received a visit, for the first time since the era of the New German Theatre, by the complete ensemble of the Vienna State Opera, to present on the same premises as then, by now renamed to Smetana Theatre, its production of Ariadne auf Naxos (on April 25 and 27). The Czech side was then reluctant to welcome Gruberová to the country, as she had previously left it for a self-imposed exile, but the Vienna company would not yield, preferring to retain its first-class Zerbinetta on the cast to making the visit to Prague happen at any cost, and set her presence as a conditio sine qua non. Eventually Gruberová was let in. Of course the audiences, familiar with the situation, rewarded Gruberová with thunderous ovations.
The reputation of the “Slovak nightingale” quickly spread, and Edita Gruberová began to receive offers to appear in the leading opera houses of Europe. She sang the Queen of the Night at the Salzburg Festival in 1974, and in 1977 she debuted with the same role at the Metropolitan Opera House in New York. She began as a coloratura soprano, a role she performs with supreme mastery to this day; she then gradually began to concentrate on both lyrical and dramatic bel canto roles, in particular, in Bellini’s and in Donizetti’s operas, and also Mozart’s Donna Anna, Queen of the Night and Konstanze, Rossini’s Rosina, the title role in Massenet’s Manon, R. Strauss’ Aminta and The “Fiakermilli” and Adele (Die Fledermaus). She eventually took on other Verdi roles (Violetta, Gilda).
She has to her credit an extensive discography (including complete opera sets, albums of arias, and song recitals) released by major labels: Deutsche Grammophon, Decca, EMI, Nightingale Classics, and Teldec. Edita Gruberováhas participated in the making of several important opera films: Hänsel und Gretel, Rigoletto, Arabella, Così fan tutte and Ariadne auf Naxos.
Concert songs are a major part of Edita Gruberová’s artistic profile; she performs this genre regularly, convinced that song interpretation is, among other things, from the point of view of technique and expression, an essential prerequisite for first-rate opera performance. In clear recognition of her accomplishments, Edita Gruberová was given the title “Kammersängerin” by the Vienna State Opera, of which she is now an Honorary Member. In the autumn of 2016, she toured Japan with the State Opera company, performing the title role in Norma.
Photo Lukas Beck